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Thursday, March 26, 2020 - 7:00 PM
to Monday, March 30, 2020 - 10:00 PM
7:00 PM - 10:00 PM See all dates and Times
http://www.fluxfactory.org/event/%e4%ba%ba%e6%9f%b1%e3%81%ae%e7%89%a9%e8%aa%9e-hitobashira-no-monogatari/
In her first solo exhibition on Turtle Island, Nine Yamamoto-Masson presents new works that reflect on the private dimensions of war and US imperialism in Asia that, sidelined by hegemonic regimes of knowledge and cold bureaucratization of violence, often elude representation and public discourse – especially within the US public imaginary of Asia and of US military actions.
In this exhibition, Yamamoto-Masson chooses a reduced formal language and visual codes to unlock engagement with the history, reality, and the private and political afterlife of the Manhattan Project and the ongoing global nuclear colonialism it is but one aspect of – including its legions of ghosts around the world. In drawings, collages, installations, and sculptures, the artist negotiates the politics of what can be publicly revealed of the active legacy of gendered and racialized state-sanctioned violence – including rape as a technology of power – and what remains incommunicable and unwelcome.
The works in this exhibition are part of a lager body of intermedia, academic, and activist work in which Yamamoto-Masson maps how fascisms and rape culture operate necropolitically in the battlefields of bodies, memory, historiography, and media representation.
Nine Yamamoto-Masson is a French-Japanese artist, theorist, writer, community organizer, activist, and translator. In academic research, artistic and activist practice, her work analyses the gendered necropolitics of (neo)coloniality with regard to the legacies of European and Japanese colonialism and how they presently manifest as configurations of power and economies of knowledge that exert violence on bodies and futures. She studies the modes of organization of networked resistance, and the workings of resistant memory challenging hegemonic dominant narratives, focusing on the role of art and inter-diasporic, internationalist, inter-generational solidarities. She is a PhD candidate at the University of Amsterdam; in 2018 and 2019 she was a visiting researcher-artist at Hiroshima City University.
In this exhibition, Yamamoto-Masson chooses a reduced formal language and visual codes to unlock engagement with the history, reality, and the private and political afterlife of the Manhattan Project and the ongoing global nuclear colonialism it is but one aspect of – including its legions of ghosts around the world. In drawings, collages, installations, and sculptures, the artist negotiates the politics of what can be publicly revealed of the active legacy of gendered and racialized state-sanctioned violence – including rape as a technology of power – and what remains incommunicable and unwelcome.
The works in this exhibition are part of a lager body of intermedia, academic, and activist work in which Yamamoto-Masson maps how fascisms and rape culture operate necropolitically in the battlefields of bodies, memory, historiography, and media representation.
Nine Yamamoto-Masson is a French-Japanese artist, theorist, writer, community organizer, activist, and translator. In academic research, artistic and activist practice, her work analyses the gendered necropolitics of (neo)coloniality with regard to the legacies of European and Japanese colonialism and how they presently manifest as configurations of power and economies of knowledge that exert violence on bodies and futures. She studies the modes of organization of networked resistance, and the workings of resistant memory challenging hegemonic dominant narratives, focusing on the role of art and inter-diasporic, internationalist, inter-generational solidarities. She is a PhD candidate at the University of Amsterdam; in 2018 and 2019 she was a visiting researcher-artist at Hiroshima City University.
