f, like Fukushima (2013). Two years after the disaster, Natacha Nisic travels to Fukushima and looks at the landscapes, villages and people who have suffered the ravages of the tsunami and the radiation from the power station. Thanks to a device consisting of a 25-metre tracking shot and 30-centimetre wide vertical mirrors arranged at different intervals, the artist allows the viewer to see the field and the reverse field, the before and after, at the same time. When the camera passes in front of a mirror, a moving image of the counter-field moves in a horizontal travelling shot in the opposite direction across the width of the mirror. It constitutes, without trickery, the play of one image in another, of one movement in another, of a landscape and its opposite. The device makes it possible to conjugate the time of the displacements and the spaces in a single glance.
Echo, Galerie Nationale du Jeu de Paume, Paris, 2014 – Curated by Marta Gili
Making off, directed by Hiroko Akatsu, 2013, 60′
Osoresan, 3 screens video Installation, 2018
e, 3 screens video installation, 2009
The ruins shall be preserved for ever, photography, 200×100, 2009
Fukushima, 1,2,3,4,5,6, drawings, 2011-2019