‘What is it that makes us human? Is it that we love, that we fight? That we laugh? Cry? Our curiosity? The quest for discovery?
Driven by these questions, filmmaker and artist Yann Arthus-Bertrand spent three years collecting real-life stories from 2,000 women and men in 60 countries. Working with a dedicated team of translators, journalists and cameramen, Yann captures deeply personal and emotional accounts of topics that unite us all; struggles with poverty, war, homophobia, and the future of our planet mixed with moments of love and happiness.
Watch the 3 volumes of the film and experience #WhatMakesUsHUMAN.
Part 1 deals with the themes of love, women, work and poverty.
Part 2 deals with the themes of war, forgiving, homosexuality, family and life after death.
Part 3 deals with the themes of happiness, education, disability, immigration, corruption and the meaning of life.’
please click twice to enlarge:
This week there is a piano auction at Conway Hall and the Red Kimono portraits have been joined in the Brockway Room by a dozen pianos:
The four posters bear the powerful contents page of the book titled: Fukushima Radiation: Will You Still Say No Crime Was Committed?. This book book contains a selection of 50 witness statements from people who were residing in Fukushima at the time of the triple disaster of March 11, 2011. The people who wrote these statements are among thousands of complainants for the criminal prosecution of the Fukushima nuclear disaster. A selection of the statements can be found on a further 12 posters hung in other parts of the hallway.
Fukushima Radiation: Will You Still Say No Crime Was Committed? is now available in English as an e-book. No need for a Kindle – readable via the Kindle app:
‘Head to the Conway Hall Ethical Society – built in 1929 and housing a large humanist library – for an appropriate combination of passion and restraint. Lis Fields’ photographs of an extended network of artists and activists, all dressed in the same vintage kimonoand made up geisha-style (a fairly committed process which typically takes three hours). They pose in solidarity with those affected by the radioactive fallout from 2011’s Fukushima nuclear disaster. In a neat play on serialism, people of different races, ages etc initially look similar, but individual characteristics soon burst through. Fields has backed up her concerns through extensive research and has published a booklet of testimonies, all pointing to a failure to acknowledge the full – and potentially worldwide – effects, or to hold anyone meaningfully to account. All without Fields having been to Japan, making this all the more impressive as a lesson in empathy.’
Writer and curator Paul Carey-Kent sets out a rolling ten recommended contemporary art shows in London now. He currently writes freelance including for Art Monthly, The Art Newspaper, Frieze, artcritical, Photomonitor, STATE and Border Crossings, and has a quirky weekly online column at FAD Art News – see http://www.fadmagazine.com.
A shot of one corner of the exhibition showing the shelf for the booklets and exhibition guides and, soon, the guest book:
A shot of a pile of the booklets and the exhibition guides on a shelf at the exhibition:
The design for the cover of the booklet titled ‘Letters, memoirs and statements by evacuees from Fukushima and people who still live there’, with memoir author M.K.’s picture of the chopped down radioactive trees, piled up and left near her house in Fukushima on the front and speech, letter and memoir author Akiko Morimatsu and her children. This booklet will be available for visitors to the exhibition to take, free of charge:
the design for the cover of the booklet titled ‘Letters, memoirs and statements by evacuees from Fukushima and people who still live there’. The cover will be folded in half, so M.K.’s picture of the chopped down radioactive trees, piled up and left near her house in Fukushima, will appear on the front. This booklet will be available for visitors to the exhibition to take, free of charge:
A shot of a pile of the booklets and the exhibition lists on a shelf at the exhibition: