FR

La série des Fleurs est réalisée en préservatifs usés et nettoyés, récupérés dans le jardin du Carrousel du Louvre, très fréquentés par une certaine population gay de Paris. À partir des déchets récupérés, l’artiste crée des fleurs qu’elle assemble selon des formes variées est directement inspiré de leurs lieux d’origine, confrontant ainsi le visible et l’invisible.

Les Fleurs ont été installée au jardin du Carrousel du Louvre à la location de la Nuit Blanche 2015 et 2016.

Pour archiver ce projet, l’artiste a créé deux éditions: la fleur encadrée et le livre reversible inspiré par le contrast entre l’intérieur et l’extérieur de buisson dans ce jardin.

EN

The series of Flowers is made of used and cleaned condoms, recovered in the Carrousel du Louvre garden, where is very frequented by a certain gay population of Paris. From the recovered waste, the artist creates flowers that she assembles in various forms, which is directly inspired by their places of origin, thus confronting the visible and the invisible.

The Flowers were installed in the Carrousel du Louvre garden for the Nuit Blanche 2015 and 2016.

To archive this project, the artist created two editions: the framed flower and the reversible book inspired by the contrast between the inside and outside of the bush in this garden.

FR

Sayo Senoo a vécu en Scandinavie juste après la catastrophe de Tchernobyl (1986). Elle a eu un cancer il y a plusieurs années (2012). Au cours de sa convalescence, elle ne pouvait s'empêcher de se poser des questions sur le lien entre la contamination radioactive et ce qui se passait sur son corps. N'ayant pas obtenu de réponse claire, même après ses longues recherches, ces questions ont décuplé sa peur. Ces airs, qu'elle a recueillis en 2015 à différents endroits de la zone interdite à environ 5 km de la centrale nucléaire de Fukushima-Daiichi, nous amènent à nous poser de telles questions sur la contamination, la sécurité ou la confiance.
Par l'invisibilité de la radioactivité et de l'air, l'artiste reproduit le mécanisme de la peur que possèdent les personnes touchées par les catastrophes.

EN

Sayo Senoo lived in Scandinavia just after the Chernobyl disaster (1986). And, she got a cancer several years ago (2012). During her convalescence she could not stop asking to herself about a relation between the radioactive contamination and what happened on her body. Having got any clear answer even after her long possessed researches, these questions multiplied her fear. These airs, which she collected in 2015 at different places in the No-go zone around 5 km from the Fukushima-Daiichi nuclear power plant, induce to us such kind of hung questions about the contamination, the safety or the confidence.

By the invisibility of the radioactivity and the air, the artist reproduce the mechanism of the fear which is, the people who touched by the disasters have got.

The 2011 Great East Japan Earthquake which triggered a massive tsunami generated tremendous amounts of debris in the pacific coast of northern Japan. The scale of the destruction was so enormous that the local and prefecture governments were unable to manage the debris on their own. Hence, the Japanese Government called upon other municipalities for support.

The Fukushima-Daiichi nuclear disaster which was primarily caused by the immense tsunami led to significant release of radioactivity in the region. The debris that was left outside after the accident was highly likely to be contaminated with radioactivity.

Opposition movement in receiving debris raged throughout Japan because the government and local municipalities were trying to carry out the disposal of waste without an adequate safety steps in mind.

When this was all happening, I had just been discharged from the hospital after having cancer treatment.

I lived in Scandinavia during my childhood. It was just after the Chernobyl nuclear disaster. Twenty five years later I was diagnosed with cancer. While recovering from cancer, I could not stop thinking about the link between radioactive contamination and my disease. I became extremely sensitive to radioactivity and followed the radioactivity movement on the internet.

The Japanese government created a website providing an explanation of the importance of debris management in the affected region. Numerous photos of debris were uploaded on the website which struck me with strangeness. Radioactivity is not visible and it is ridiculous to take photos of it. However, it seems like I could see “something” through these photos.

The eleven images in this book were made from downloaded photos from the website. I printed them onto the back of an ordinary photo paper to let ink spread and blur on it. It is not possible to see neither the radioactivity, nor the fear but I tried to make them visible

FR

Ce livre contient diverses photos de culottes faites à la main à partir de masques jetés dans la rue. Les masques ont été ramassés, désinfectés et portés par moi-même. L’édition spéciale du livre est accompagnée d’un original de culotte-masque mis sous vide.

L’idée m’est venue après avoir vu, sur Internet, durant la période du confinement, deux photos de blague. L’une représentait une fille portant un masque au lieu d’une culotte et l’autre un homme portant une culotte au lieu d’un masque.

À ce moment-là, je me sentais déprimé. Comme j'utilise des matériel abandonné pour mes créations, je m'inquiétais que les gens deviennent préoccuper par les questions hygiénique, et que cela rend difficile mon travail artistique comme avant la crise sanitaire. Le rire ne m’a pas apporté de solution fondamentale dans cette situation incertaine, mais m’a encouragé à reprendre le chemin d’un travail créatif que j’avais presque abandonné.

Avec ce livre, je veux partager mon rire, suite à une blague idiote, dégueulasse, sexuelle, vénéneuse et perverse de la culture underground japonaise, qui a peut-être été inventé par nos ancêtres afin de se relever et continuer à vivre après les régulières catastrophes naturelles qui frappaient le pays.

EN
This book contains various photos of handmade panties made of face masks dumped on the street. The masks were picked up, disinfected and worn by myself. The special edition of the book is accompanied with a vacuum-packed mask pantie.

The idea came from two funny photos I found on the internet during the lockdown period. One was of a girl wearing a face mask instead of a pantie and the other shows a man wearing a pantie instead of a face mask.

At that time, I was feeling depressed. As I use dumped materials for my art work, I was worried that the people become obsessed with cleanliness because of the virus, and that it would be difficult for me to work the same way as before.

The laughter did not give me a fundamental solution to the uncertain situation, but encouraged me to have drive back toward a creative work which i was almost giving up.

With this book, I want to share my laughter, following a silly, dirty, sexual, poisonous and perverted expression of the Japanese underground culture, which was possibly invented by our ancestors in living with catastrophic natural disasters to get up and keep going after being hit.