This work is part of Yuko Mohri’s ‘Urban Mining’ series, produced as a direct confrontation of the structures around the various forms of energy consumed by cities and their inhabitants, after the Fukushima nuclear disaster. Based on her research
for the series, Mohri focusses on the fact that the heads of street lamps are referred to as maguro (tuna) by electrical construction workers in Japan. Mohri draws lines of reference between electric and nuclear energy in this work: the tuna fishing vessel
hit during a US military hydrogen bomb experiment in 1954, and the implications of the radioactive tuna disposed en masse at this time; the world’s first casualty of hydrogen bombing, Aikichi Kuboyama, and the electronic music piece composed using the recitation of the poem on Kuboyama’s tombstone. What could it be, now, that the scene of discarded street lamp heads – ‘tuna’ – evokes?
Yuko Mohri (b. 1980, Japan) is a widely exhibited installation artist who recasts reconfigured objects into self-contained ‘ecosystems’. She is the 2015 recipient of the Nissan Art Award and was selected as a 2014 grantee of the Asian Cultural Council. Mohri has held artist residencies at the Lower Manhattan Cultural Council, Victoria & Albert Museum and Camden Arts Centre, London.
日本一艘漁船因美軍在 1954 年進行氫彈試爆實驗而被擊
上首位因氫彈試爆死亡的 Aikichi Kuboyama；與及啟發