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ExposureKazuma Obara

Exposure, de Kazuma ObaraExposure, de Kazuma ObaraExposure, de Kazuma ObaraExposure, de Kazuma ObaraExposure, de Kazuma ObaraExposure, de Kazuma ObaraExposure, de Kazuma ObaraExposure, de Kazuma Obara

From Slavútych to Chernobyl: round trip

Rubén Ángel Arias

Contenido disponible también en español

Obara’s backgrounds are clarifying. He can boast about being the first
photographer in having access to the nuclear power station of Fukushima after the
2011 tsunami. Same predisposition in highlighting calamities’ portrait is in
the essence of its Silent Histories
(2014), a work on the consequences of the Second World War in Japan. Its task
seem to be based on three ideas or phases of a same critical awareness: this
happent, it was terrible and we should never forget, as forgetful as humankind’s
memory is.

Exposure comes with an unbroken seal from the shop with the appearance of a photo printing envelope. The cover is red and contains arabic numbers and Russian letters (I don’t know Russian, don’t know if Obara knows it, the title is in English, like all the texts included).

Once opened, we find a serie of pictures black and white, all squared and non-bleed (except two, that go full bleed) and more or less fogged, dirty or ghostly. There’s no need to read the texts that come interspersed to follow the hints and discover the referent. Abandoned houses, flawed walls and debris are plentiful until we reach the first picture,

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