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Overview
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2011年3月11日の東日本大震災と福島第一原発での事故を受けて製作された作品群。巨大な現実を前にアートの無力が語られ、多くの展覧会が自粛された中、Chim↑Pomは現地に赴いて作品を制作。また、渋谷駅に永久設置されている、日本の被爆のクロニクルとも言える巨大壁画「明日の神話」に福島原発の事故の絵をゲリラで付けたし社会的事件を引き起こした。それらで構成され、5月に自主開催した「Real Times」展は、日本における震災・原発事故への代表的なレスポンスとして、特に海外で報道された。 REAL TIMES is a series of works produced in response to the Great East Japan Earthquake on March 11, 2011, and the following accident at the Fukushima Daiichi nuclear power plant. Facing such overwhelmingly gigantic events in reality, people unanimously of powerlessness of art here and there while a number of exhibitions were cancelled as something impolite, against which ChimPom departed to the accident site to produce works. Chim↑Pom also triggered a social phenomenon after posting a panel depicting the nuclear power plant accident next to "Myth of Tomorrow" by Taro Okamoto, a huge mural permanently installed in Shibuya station and seen as a chronicle of nuclear exposure experiences of Japan. "REAL TIMES" exhibition was held independently in May with these works and eventually reported in many countries as the representative response to the quake and nuclear accident in Japan.
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Media
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Index
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Red Card 2011
REAL TIMES 2011
without say GOODBYE 2011
Level 7 feat.『明日の神話』 2011
気合い100連発 2011
被曝花ハーモニー 2011
日本犬 2011
Never Give Up 2011
Red Card 2011
REAL TIMES 2011
without say GOODBYE 2011
Level 7 feat.'Myth of Tomorrow' 2011
KI-AI 100 2011
Radiation-Exposed Flowers Harmony 2011
Japanese Dog 2011
Never Give Up 2011

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Red CardRed Card
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2011
2011年10月から約2カ月間、水野は福島第一原子力発電所の収束作業に従事した。 世界一禍々しいところのように思え、不安もあったが、これまで経験した肉体労働 の仕事と同じで、現場は整理されていた。撮影のタイミングを計りながら日々の仕 事をこなし、ある日の休憩時間にカメラを持って撮影スポットへ向かった。 大爆 発した3号機を目の前にして、名もなき作業員たちの強さや誇りを感じながら、セ ルフタイマーをセットした。
2011
Toshinori Mizuno worked at the Fukushima Daiichi Nuclear Power Station for two months from October 2011. He was afraid that it might be one of the most horrible places on Earth but when he got there, he found that the job was the same as any other manual labor job he had done before and that the place was organized. He did his everyday job, waiting for the right time to take a photo. One day, during break time, he went over to the spot where he would take his picture. With the exploded reactor No. 3 in front of him, he felt the strength and dignity of those nameless workers as he set the self-timer on his camera.
  • Red Card
    2011
    ラムダプリント(2点組 69×85cm、32×40cm)
    Courtesy of the artist and MUJIN-TO Production
    Red Card
    2011
    Lambda print (a set of 2 works. 69×85cm、32×40cm)
    Courtesy of the artist and MUJIN-TO Production

  • Red Card
    2011
    ラムダプリント(2点組 69×85cm、32×40cm)
    Courtesy of the artist and MUJIN-TO Production
    Red Card
    2011
    Lambda print (a set of 2 works. 69×85cm、32×40cm)
    Courtesy of the artist and MUJIN-TO Production


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REAL TIMESREAL TIMES
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2011
〈3.11〉から1カ月後の4月11日、原発事故によって無人の街となった警戒区域に入 り込み、福島第一原子力発電所から約700メートルにある東京電力敷地内展望台に 登頂、旗を用いたパフォーマンスをした一連の行動を記録した作品。東京電力発表 の放射線量は毎時199マイクロシーベルト。正門付近に車を停めて、片道約20分の トレッキングで向かう。初日の出のスポットとしてPRされていた展望台からは、 白煙を上げる4号機建屋と大量の汚染水が流れ出た太平洋が見えた。そして、展望 台で広げた白旗に赤いスプレーで日の丸を描き、それを放射能マークへと改変。月 面やエベレストなどの「到達困難」な場所での慣例に倣い、その旗を掲げた。タイ トルは、「まさに、いま」という意味の「リアルタイム」、映画「モダン・タイム ス」よろしく「リアルな時代」、そして「ニューヨーク・タイムズ」などのメディ アをもじり、警戒区域内での報道が皆無だった当時の状況に対して、「現実の報 道」という三つの意味を併せ持たせた。
2011
On April 11, just a month after the 3.11 incident, Chim↑Pom trespassed in the hazardous areas of towns that became uninhibited as a result of the nuclear accidents, heading for a lookout point on the site of the TEPCO (Tokyo Electric Power Company) facility, approximately 700 meters from the Fukushima Daiichi Nuclear Power Plant. TEPCO had estimated radiation levels to be 199μSv/hr. Having parked their car near the main gate, Chim↑Pom made a 20 minute trek to reach their destination. From the top of the lookout – which was previously promoted as a site for spectulating the New Year’s sunrise – was the view of white smoke rising from Reactor 4, and the Pacific Ocean, of which a vast amount of contaminated water was leaking into. Chim↑Pom stretched out a white fag, sprayed a red circle on it to resemble the red circle of the Japanese fag, changed it further to a radiation symbol, and raised the fag following the custom of “the pole of inaccessibility” like on the moon or Mt. Everest. The title REAL TIMES has three meanings; as this very moment “right now,” as a “real era” like the film title Modern Times, and as a media title of newspapers like The New York Times, in claim against the situation in which the reality inside these hazardous areas were never reported through mass media.
  • REAL TIMES
    2011
    ビデオ(11分 11秒)
    Courtesy of the artist and MUJIN-TO Production
    REAL TIMES
    2011
    Video (11’ 11'')

  • REAL TIMES
    2011
    ビデオ(11分 11秒)
    REAL TIMES
    2011
    Video (11’ 11'')
    Courtesy of the artist and MUJIN-TO Production


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without SAY GOODBYEwithout SAY GOODBYE
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2011
福島第一原子力発電所の原子炉建屋に近接する、打ち捨てられた状態にあった畑に 設置した、防護服とガスマスク姿の案山子。避難した住民と原発作業員へのオマー ジュとして制作して撮影、葬式用の額に額装した。
2011
Chim↑Pom installed and took a picture of a scarecrow wearing a protective suit and gas mask in a totally abandoned farm close to the Fukushima Daiichi Nuclear Power Station, as homage to evacuated locals and workers at the nuclear power station. It was framed in a funeral photo frame.
  • without SAY GOODBYE
    2011
    ラムダプリント、額
    29.5×24.5cm(プリント)、43×34.5cm(額)
    Courtesy of the artist and MUJIN-TO Production
    without SAY GOODBYE
    2011
    Lambda print, frame
    29.5x24.5cm (image size), 43x34.5cm (size including frame)
    Courtesy of the artist and MUJIN-TO Production


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Level 7 feat.『明日の神話』Level 7 feat.'Myth of Tomorrow'
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2011
渋谷駅にある岡本太郎の壁画《明日の神話》右下にある隙間に、福島第一原子力発 電所の事故を描いた絵をゲリラ設置したプロジェクト。原子炉建屋からドクロ型の 黒い煙が上がる様子を壁画と同じタッチで紙に描き、それを塩ビ板に貼ったもの を、壁画の連続した一部として自然に見えるように設置した。通行人が撮影した画 像がネット上で拡散され、匿名の行為として議論を巻き起こした。《明日の神話》 は、日本の被曝のクロニクルだ。広島・長崎の原爆、第五福竜丸の水爆......、そし て2011年、現実によってこのクロニクルは更新された。Chim↑Pomによって《明日 の神話》の余白に追加された福島第一原発の爆発の絵は、岡本太郎の「描かれな かった」絵であるとともに、ヒロシマ以降を生きた全日本人の現実である。
2011
A guerrilla style installation project in which a panel depicting the accident at Fukushima Daiichi Nuclear Power Station was added to the bottom-right corner of the existing mural Myth of Tomorrow by Taro Okamoto in Shibuya Station. On a piece of paper attached to a PVC panel, the image of rising black smoke in a skull shape was painted in the same style as the mural so that it appeared natural as if it was a sequential part of the painting. Initially, it triggered controversy as an anonymous act, with news of it being spread through Internet posts by passing pedestrians. Myth of Tomorrow is a chronicle of the nuclear exposure in Japan. Witnessing the atomic bombing in Hiroshima and Nagasaki and the hydrogen bomb exposure of the Lucky Dragon No. 5..., and in 2011, reality updated this chronicle. Chim↑Pom added the figure of the explosion at the Fukushima Daiichi Nuclear Power Station to the blank, as a figure that Taro Okamoto was “unable to execute” himself and as the reality for all Japanese people living after Hiroshima.
ステイトメント

渋谷駅にある巨大壁画≪明日の神話≫は、岡本太郎が描いた日本の被曝 のクロニクルだ。 広島・長崎の原爆、第五福竜丸の水爆.....20世紀を飛んでいた放射線は、原発の安全神話とともに、戦争から平和へと世紀を跨いで引き継がれてきた。≪明日の神話≫は展示場所であったホテルの都合から、不定形な形で完成されている。 絵の中で、第五福竜丸が被曝した太平洋は、真ん中で燃える人の下から右下へと続き、その水平線を欠けた余白で途切れさせていた。そして余白はただの壁として、予言的な空白を21世紀にもたらしてきた。2011年、現実によってこのクロニクルは更新された。Chim↑Pomによって≪明日の神話≫の余白に追加された、福島第一原発の爆発の絵は、岡本太郎の「描かれなかった」絵であると共に、ヒロシマ以降を生きた全日本人の現実である。今後、≪LEVEL7 feat.『明日の神話』≫は常に≪明日の神話≫とともにある。 それを余白から見るために僕たちが必要とするものは、歴史や放射線と同じく、もはや目ではなく想像力だ。僕たちは、この想像力こそがグラウンドゼロにとっての可能性であり、未来を作る最も根本的な力だと思っている。そしてアートはそのためにあるということを強く信じている。

Chim↑Pom 2011
Statement

The huge mural Myth of Tomorrow by Taro Okamoto in Shibuya station is a chronicle of the nuclear exposure of Japan.Witnessing the atomic bombing in Hiroshima and Nagasaki and the hydrogen bomb exposure of the Lucky Dragon 5, radiation has traveled through the 20th century and to the present day over centuries, from war to peace, together with the safety myth of the nuclear power plant.Myth of Tomorrow was completed in an unnatural form due to the shape of a hotel where the work was originally located. In the mural, the Pacific Ocean, with the Lucky Dragon 5 being exposed to nuclear ash, spans its horizon from under the central figure of a burning man to the lower bottom, where the horizon is interrupted with a blank space.The margin was left as an ordinary wall, providing a prophetic blank to the 21st century. In 2011, reality updated this chronicle. Chim↑Pom added the figure of the explosion at the Fukushima Daiichi Nuclear Power Station to the blank, as a figure “unexecuted” by Taro Okamoto himself and as the reality of all the Japanese people living after Hiroshima. LEVEL 7 feat. “Myth of Tomorrow” will always be together with Myth of Tomorrow forever. To see the work through its absence must require our imagination instead of eyes, just as to conceive of history or radiation We believe imagination is the very possibility for ground zero, and the most fundamental power to create the future. And we believe art exists as such.

Chim↑Pom 2011
  • LEVEL 7 feat.『明日の神話』
    2011
    ビデオ(6分35秒)、塩化ビニール板、紙、アクリル絵の具、ほか
    200×84cm
    Courtesy of the artist and MUJIN-TO Production
    Level 7 feat.'Myth of Tomorrow'
    2011
    Video (6' 35"), PVC panel, paper, acrylic, etc.
    200×84cm
    Courtesy of the artist and MUJIN-TO Production

  • LEVEL 7 feat.『明日の神話』
    2011
    ビデオ(6分35秒)、塩化ビニール板、紙、アクリル絵の具、ほか
    200×84cm
    Courtesy of the artist and MUJIN-TO Production
    Level 7 feat.'Myth of Tomorrow'
    2011
    Video (6' 35"), PVC panel, paper, acrylic, etc.
    200×84cm
    Courtesy of the artist and MUJIN-TO Production


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気合い100連発KI-AI 100
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2011
2011年5月、東日本大震災の被災地である福島県相馬市で知り合った若者たちと、 100連発の気合いを入れた様子を収めた映像作品。家を流され、大事な人を失った 彼らは、放射能の恐怖のなか、壊滅した街で約2カ月間を過ごしていた。相馬市は 福島第一原子力発電所が近いことも影響し、報道が集中した被災地と違って外から のボランティア不足が続いていた地域。被災者でありながらも自ら救援活動や復興 作業にずっと携わってきた彼らによるリアルな叫びは、すべてアドリブ、一発撮り で収録された。
2011
This video work features Chim↑Pom members with friends in Soma City, Fukushima. They gathered in May 2011 and did 100 sequential yells of “KI-AI” which is the Japanese word for shouts that show a fighting spirit in martial arts. As one of the affected areas of the Great East Japan Earthquake, Soma City locals spent over two months in the destroyed city under fear of radiation. They lost their loved ones and their homes. Unlike other areas that were intensively covered by mass media, and also due its proximity to the Fukushima Daiichi Nuclear Power Station, Soma City suffered from a shortage of volunteers. These were real shouts filmed all in one-cut and ad-libbed, by young locals who, although being victims themselves, had continued to provide relief and help towards reconstruction.
  • 気合い100連発
    2011
    ビデオ(10分30秒)
    Courtesy of the artist and MUJIN-TO Production
    KI-AI 100
    2011
    Video (10' 30”)
    Courtesy of the artist and MUJIN-TO Production

  • 気合い100連発
    2011
    ビデオ(10分30秒)
    Courtesy of the artist and MUJIN-TO Production
    KI-AI 100
    2011
    Video (10' 30”)
    Courtesy of the artist and MUJIN-TO Production


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被曝花ハーモニーRadiation-Exposed Flowers Harmony
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2011
福島第一原子力発電所から30キロの警戒区域で採取した植物で制作した生け花。 フラワーアーティスト、柿崎順一とのコラボレーション。植物は動物と違って逃げ られない。植物は放射能に苦しむのだろうか。花の何かが変わったとして、その美 しさも変わるのだろうか。危険区域にも関わらず、いまも草花や木は相変わらず生 い茂っている。むしろ立ち入り禁止区域の花たちは、今後さらに「狂い咲く」かも しれない。生け花の「切られても生きる」力強い姿には、自ら蒔いた問題に右往左 往する人間への「癒し」だけではない、むしろ自らの「運命を全うする」ような美 しさがあるのではないか。 生け花の起源は「献花」にあると言われている。僕た ちはこれをすべての逆境で生きる生命に献じたいと思った。
2011
In collaboration with flower artist Junichi Kakizaki, this ikebana [the Japanese art of flower arrangement] is made out of plants found around the 30-kilometer radius surrounding the Fukushima Daiichi Nuclear Power Station. Plants cannot run away like animals do. What kind of effect will radiation have on plants: Will they suffer? Does the beauty of the flower differ if something were to happen to them? Te plants remain in the hazardous zone yet do nothing but continue to grow. They might rather bloom massively in the uninhibited zone after all, as the art of ikebana is to nurture the plants vitality beyond human understanding, keeping them alive by cutting them up. Te mighty way in which plants survive does not only represent the healing of human beings with self inflicted wounds, but rather there exists certain beauty while they carry out their destiny. They say the origin of ikebana comes from flower offering. Tis piece is dedicated to all lives that confront adversities.
  • 被曝花ハーモニー
    2011
    植物、ほか
    撮影:宮島径
    Courtesy of the artist and MUJIN-TO Production
    Radiation-Exposed Flowers Harmony
    2011
    plants, etc.
    Photo: Kei Miyajima
    Courtesy of the artist and MUJIN-TO Production


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日本犬Japanese Dog
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2011
東北地方太平洋沖地震で倒壊した家の庭の前で、首輪をした犬が喉を鳴らしてい た。数秒見つめ合う。犬はこちらを気にしながら家のほうへと歩き出す。が、すぐ に立ち止まって、またこちらを振り返る。目が合うと再び家へと歩き出す。ついて いくと、2階の布団の上に足を怪我した別の犬がいた。器が落ちていて、そこで餌 を与えられた形跡がある。水とシーチキンを入れると、犬は足を引きずりながら 寄ってくる。やはりおなかが減っていたのか、あっという間に食べ終えて、また足 を引きながら元の布団に戻っていった。
2011
There was a dog with a collar in front of a collapsed house from the 2011 Tohoku earthquake and tsunami, which growled and stared at us. It started walking towards the house but immediately stopped and looked back at us. Looking at us in the eye, the dog started to walk to the house again. We kept following the dog, and ended up finding another injured dog on the second floor. We noticed a bowl nearby. Seemingly the dogs were being fed. We put some water and canned tuna in it, and the injured dog tried to wriggle and come closer. As expected, it was starving and ate everything up in a moment. It then wriggled back to its bed.
  • 日本犬
    2011
    ラムダプリント、被災した額
    33.5×43cm(額)
    Courtesy of the artist and MUJIN-TO Production
    Japanease Dog
    2011
    Lambda print, devastated frame
    33.5x43cm (size including frame)
    Courtesy of the artist and MUJIN-TO Production


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Never Give UpNever Give Up
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2011
東日本大震災後、広島の被爆者団体代表である坪井直氏から送られたファクスを、 福島で被災した額縁を使って額装した作品。この言葉は、講演など折に触れて50年 以上使ってきた、彼の座右の銘である。壊滅と放射能を乗り越えてきた広島で被爆 者として生き、自らの死後になるかもしれない「核廃絶」という人類的命題を訴 え、そして自らの病魔と闘い続けてきた坪井氏によるこの言葉は、21世紀の日本に とって重い意味を持つ。
2011
Using a frame that survived the Great East Japan Earthquake, Chim↑Pom framed a piece of fax paper sent from Sunao Tsuboi, who is a representative of an A-bomb victim organization in Hiroshima. For over 50 years, this has been the motto Tsuboi used in speeches and public occasions. As an A-bomb survivor living in Hiroshima who endured the devastation and radiation Tsuboi has struggled against his disease and called for the total abolition of nuclear weapons as a theme for all human beings, even though it might only be accomplished after his death. Tis motto is enormously significant to 21st century Japan.
  • Never Give Up
    2011
    坪井直による題字、被災した額
    39.7×47.3cm(額)
    Courtesy of the artist and MUJIN-TO Production
    Never Give Up
    2011
    Title by Sunao Tsuboi, devastated frame
    39.7×47.3cm (size including frame)
    Courtesy of the artist and MUJIN-TO Production