Grierson

Case Pyhäjoki reflects and radiates art & activism

This post comes to you from EcoArtScotland

3d0e04e51fb5c6310f91277d3bca9b3bAndrew Paterson got in touch to highlight the Case Pyhäjoki transdisciplinary expedition and production workshop having seen our earlier posts from Su Grierson in Fukushima Province, Japan.  A group of artists, researchers and activists undertook a drift to Pyhäjoki in Northern Finland at the beginning of August 2013.  Pyhäjoki is the proposed location of a new nuclear power plant.  This is their press release, and hopefully we’ll have some reflections from Andrew in due course.

Erich Berger and Martin Howse organised a geiger counter building workshop in Case Pyhäjoki. For the workshop, they designed an easy to build geiger counter and now, they have made a geiger counter building manual based on this design. The manual is available as a download from the project website. Photo courtesy of project

casepyhajoki.info * facebook.com/casepyhajoki * twitter #casepyhajoki

Case Pyhäjoki – Artistic reflections on nuclear influence is a trans-disciplinary expedition and production workshop in Pyhäjoki, Northern Finland 1. – 11.8.2013. The sixth nuclear power plant of the country is planned to be built in Pyhäjoki.

Participants of Case Pyhäjoki are for example artists, researchers and activists. The programme has consisted of lectures, meeting local people and expeditions of different kinds to get to know the area, nuclear power as a phenomenon, and what the power plant means to people. It reaches from the local to national and global. What is artist’s role in the changes in the area and wider? How can we develop methods of creative work in a complex and contested place of social tragedy and distress? How can we communicate this through to wider networks?

As well as talking, thinking and research, there is also time for action. The participants have created different types of engagements, prototype events and experiments, reaching from a large ‘thank you’ sign for those who refuse to sell their land to the nuclear power company, to the design of a ‘power sports day’, a local fairytale, aswell as a mural painting with local youth, a special karaoke playlist, and a DIY geiger counter building workshop.

The contributing presentations, workshops, expeditions and refections are documented online at
casepyhajoki.info and facebook.com/casepyhajoki

See also links to the broadcasted lectures on the website.

The final ‘show & tell’ day during the residency period took place on Sunday 11.8. at 14.00 in the local Parhalahti School, close to the location of Hanhikivi, the actual site for the planned nuclear power plant.

The participants of Case Pyhäjoki are:
Ryoko Akama (JP/UK), Erich Berger (AT/FI), Brett Bloom (US/DK), Bonnie Fortune (US/DK), Carmen Fetz (AT), Antye Greie-Ripatti (FI/DE), Martin Howse (UK/DE), Mari Keski-Korsu (FI), Maarit Laihonen (FI), Liisa Louhela (FI), Pik Ki Leung (HK), Mikko Lipiäinen (FI), Shin Mizukoshi (JP), Helene von Oldenburg (DE), Opposite_Solutions (RO), Andrew Gryf Paterson (SCO/FI), Leena Pukki (FI), and Heidi Räsänen (FI).  For more information on the participants go here.

Case Pyhäjoki is supported by Kone Foundation and Arts Promotion Centre of Finland.

Contact: Mari Keski-Korsu,
Case Pyhäjoki artistic director & executive producer
+358 40 506 5871
mkk (ät) katastro.fi

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It has been established by Chris Fremantle, producer and research associate with On The Edge ResearchGray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.
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From Fukushima – Pt 5

Link, 2013, Su Grierson, with permission

This post comes to you from EcoArtScotland
I am sorry for the delay in sending this Blog. We have had an exhibition of the work we have made during the residency, and with lots of entertaining besides, time has just evaporated. Yesterday I gave a talk as part of a series at the exhibition.

Exhibition space in rice Kura with Link exhibition installed, photo and permission Su Grierson

Exhibition space in rice Kura with Link exhibition installed, photo and permission Su Grierson

I was asked to talk about Scotland and decided to tell the story of the evacuation of the Scottish Islands of St Kilda in 1928. This involved a lot of internet research to get good information, images and video. My feeling is that there are many similarities with the forced evacuations here in Fukushima as a result of the tsunami disaster 3/11. During the research my feelings were re-enforced many times. While the St Kildans chose to evacuate, the reasons were largely outside their control. The encroaching modern world and their awareness of their own precarious and simplistic life eroded their centuries-old community structure. The slow migration of younger people to Canada and America had started the decline.

The subsequent handling of the financial and personal aspects of their re-homing was as complex, inefficient and time consuming, just as the process we are seeing here in Fukushima has been. And one can imagine that the success of the move for the St Kildans was as dependent on personal attitudes towards making a fresh start, as it is here with the Tohukans.

The question my talk posed was basically … is it possible to go back and re create a shattered community? Will it be forever changed? Is a fresh start needed wherever refugees settle? Where is home? Does it lie in the past, or the future, or is it now?

Bewery Gallery Kura, image and permission Su Grierson

Bewery Gallery Kura, image and permission Su Grierson

Our exhibition has been short but successful in that we have attracted many local people to come and join us. Some of us have always been on hand to welcome and chat to visitors, even if it was only to smile and use sign language. Part of the brief of this project was to help re-establish a cultural life in this area internationally blighted by the nuclear disaster which happened in an area hundreds of miles away but carrying the same Prefecture name.

The two Norwegian artists and I seem to be the only westerners in town and as we were on TV together with our lead Japanese artist Yoshiko Maruyama early on we seem to be known wherever we go. The fact that we are holding the exhibition in the most historically important Kura has also attracted people who rarely get a chance to see inside this privately owned building. It is preserved but un-restored with no glass in doors or windows and only limited electricity, so a chilly place in sub zero temperatures. It is the largest Kura in town, being three separate Kura buildings linked together. A Kura is a traditional rice storage barn and, with the town being in the centre of a very large and fertile rice growing area, there are huge numbers. The Mayor told us there are estimated to be 20,000 Kuras in and near the city. There was a saying that every man born in Kitakata should build his own Kura, and with a current population of 40,000 the numbers still stack up.

Exhibition Kura, photo and permission Su Grierson

Exhibition Kura, photo and permission Su Grierson

The massively thick doors and windows were a feature designed to protect against fire. Clearly with so much flammable material inside if one Kura went up in flames those adjacent would soon stoke the furnace and the whole city could be ablaze. But with solid doors and windows quickly closed the fire could be contained.

Rural Kura, photo and permission Su Grierson

Rural Kura, photo and permission Su Grierson