DOCKER #22

KAZUMA OBARA 

Triumphalism and victimhood shape nationalist narratives of history, obscuring histories and reali- ties of victims of war in other places. These narratives are not innocuous stories. They are often created and employed by nation states to serve geopolitical and governmental ends.

In 2015, on the orders of local government, the Osaka International Peace Centre, one of the few public war museums in Japan, removed all material pertaining to the Japanese invasion of Asian countries before and during World War II. The centre’s subsequent focussing on the material damage done to Osaka during the war seems indicative of a widespread public forgetting of the nation’s violent imperialism. A historical wounding is easier to bear (and, crucially, more important to re-present) than a reminder of aggression; than a reminder of that that might provoke guilt and responsibility.

Japan’s status as the only country to suffer a nuclear attack and a lack of education about the Ja- panese occupations of the period has created a sense of national victimhood in the population. Aside from a few exceptions, such as public pedagogies on the Nanking massacre and the abuse of so-called ‘comfort women’ in South Korea, there is little Japanese recognition of violence against its neighbouring countries. With the atomic bombings of Hiroshima and Nagasaki domi- nating public consciousness regarding World War II, the victims of the Japanese war efforts in SE Asia are largely invisible.

This project takes the tragedy of Japanese imperialism in SE Asia in which more than 10 different nationalities were forced to endure hard labour and extreme hardship, and presents counter-nar- ratives of suffering, loss, and remembrance. Rather than restaging state-sanctioned narratives of war which reduce conflict to a static idea of victory or loss, these images and texts trace the on- going echoes of war in the contemporary. They call us to account. Images have been made and interviews conducted with the families of Dutch, Australian, British, Japanese, Korean, and Malaysian subjects who survived and who guarded camps associated with the railroad. The ‘site’ of the the railroad is expanded to include landscapes of memory associated with life back home after the war to trace war’s ongoing reverberations in the present. Archival family photographs and educational literature on the tragedy are included to explore how narratives of conflict differ from place to place.

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Who? Kazuma Obara

From Japan

Docking October 22 - November 15 2018

Working on Silent Histories

About Hidden Japanese history

 

Kazuma Obara (Japan, 1985) is a photographer based in Japan. He studied at London College of Communication Photojournalism and Documentary Photography. He has published several books as Reset Beyond Fukushima, Silent Histories (selfpublished) or Exposure, among others. Silent Histories was shortlisted for the Paris Photo / Aperture Photobook Award and was selected by TIME, Lens Culture and Telegraph as Best Photo Book in 2014. His project Exposure won World Press Photo 2016 People category, 1st prize. He also won Magnum Photos Graduate Photo- graphers Award in 2017. His photographs appear in The Guardian, Courier international, ZEIT, El Mundo, Le Point, BBC, NHK, IMA Magazine or Wired Japan. 

 

 

 

 

 

 

  

ambassador

 
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ELLEN DOSSE
Director at Spaarnestad Photo

DOCKER #23

VALENTYN ODNOVIUN

Surveillance consists of photographs of the walking yard and prison cell door spyholes in former prisons of oppressive systems, such as KGB prisons in the Baltic States and Ukraine, the Stasi remand prison in Berlin, Germany, the UB headquarters in Poznan, and the MBP (UB) prison in Warsaw, Poland. A spyhole is a detail. It is a very informative object—a lens through which the warden looked at people inside of the prison cell or walking yard, and one of the visual communicative channels that obscured the personality of a prisoner into an object of surveillance, reminding us of the everyday life of people that were on both sides of it.

The Process presents photographed pieces of discarded photo paper which were found in the former KGB “Patarei” prison photography darkroom in Tallinn, Estonia. Photography in KGB prisons was mainly used as a very controlled tool for documentation, capturing the subject and recasting him as an object in the service of the prison system. These pieces of photo paper were not used for such purposes; rather, they were left discarded after the prison was closed and were “processed” by the natural light through the window in an abandoned facility formerly operated by a government that had ceased to exist.

Officially, these State Security agencies were engaged in the provision of law and order; in fact, they were instruments of political repression, spying on the population and fighting “hostile elements.” These prisons became places for political prisoners and people who were considered objectionable and “unwanted” due to their dissent and “anti-Soviet activities.” The same places in the Baltic states, Ukraine and Poland were used for similar purposes by the Gestapo when these countries were under Nazi Germany occupation during WWII. All these oppressive systems used the same methods, which they developed with time based on common experience.

I think that historical origins influence us more than most of us realize. They are a part of our surrounding and of our logic, and of what makes sense when we put them together.

This project is dedicated to my father, Viktor Odnovyun, who spent more than four years in three different prisons as an asylum seeker.

 

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Who? Valentyn Odnoviun

From Ukraine

Docking November 23 - December 14 2018

Working on Surveillance

About oppressive regimes

 

 

 

 

  

ambassador

 
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Lisa Barnard 

Photographic Artist, Lecturer on  Photography BA and MA