Fukushima 1, 2, 3, 4, 5, 6, …

Fukushima 1, metallic pencils, Canson paper, 3, 15 x 0,75m, 2012
Fukushima 2, metallic pencils, Canson paper, 2,80 x 0,75m, 2013
Fukushima 3, metallic pencils, Canson paper, 3, 15 x 0,75m, 2013
Fukushima 4, metallic pencils, Canson paper, 3, 15 x 0,75m, 2014
Fukushima 5, metallic pencils, Canson paper, 3, 25 x 0,75m, 2016
Fukushima 6, metallic pencils, Canson paper, 2,70 x 0,75m, 2019
Fukushima 3 and 1, Leopold hoesch Museum, Düren, Germany, 2021-22


Metallic pencils to represent the catastrophe of March 2011, golden, bronze, or moiré tints, a shimmering, a luminous pulsation surrounded by an outline with no real edges, but no spreading or overflowing, no tangible distress—the simple brightness of uneventful, unhistorical lines?

And yet Fukushima refracts our gaze toward the great archive of images of past catastrophes: from the sublime brightness of the nuclear sun to the colored fields of exploding napalm, Nisic gathers the trace of past dazzlements, which here have become fragments, beaded in an infinity of visual stridencies – shards of memory grafted onto the open eye, onto the prohibited pupil 15.

Florent Perrier, in Catalogue du Jeu de Paume, Echo, Actes Sud, 2013

Related Works

f, video installation, 2014

e, video installation, 2009

The ruins shall be preserved for ever, photography, 2008

Vivre-Ikiru, photography, 2001