Yet as the exclusion zone remains inaccessible to the public due to the environmental contamination, the exhibition in Fukushima is ongoing but largely invisible—a condition akin to radiation itself. It will only be viewed in the future, if and when it becomes safe once again for the residents to return. While the exhibition opened 5 years ago, there is no clear timeline for public access to these sites, perhaps years or decades—a period of time that could stretch beyond our lifetime.
As the works in the Fukushima exclusion zone exhibition cannot leave the zone and remain unseen, an immersive 360-degree video shows the sites of the exhibition but not the artworks. Instead former residents, artists and curators obscure the artworks with their bodies that are enshrouded in white protective suits. The video interweaves an account of a former resident's visit to his irradiated home inside the zone and his internal conflict having worked for TEPCO, owner of the Fukushima Dai-ichi Nuclear Power Station. The video shows the ongoing conditions inside the contaminated zone yet also demonstrates the limits of technology, gesturing toward necessity of other social capacities to address adversity.
The 360-degree video is viewed via headsets created by a Fukushima family who collaborated with artist Bontaro Dokuyama. The handmade, sculptural headsets created by three generations, grandson, mother, father, and grandmother, interweave the family’s experiences from this contaminated reality and how they view the future and shared they shared their thoughts on the symbolic nature of each component.
Don't Follow the Wind was named for the actions and knowledge of an evacuee that became extraordinary as they fled south towards Tokyo after the disaster so as to avoid exposure to the fallout borne on a northwesterly wind. As humans have no capacity to sense the presence of radiation, the project posits the critical imagination as a tool to overcome its invisibility and bridge the ongoing urgency of the crisis with its long-term duration.
《逆風而行》是一個集體創作計劃，項目發生於日本福島的輻射爆炸區內，亦即是圍繞東京電力公司所擁的福島第一核電站的禁區範圍，該區域是2011年災難發生後被嚴重污染並迫使居民要離開自己的家、土地及社區。輻射是無邊界的，它會隨風與河流而動盪飄流，它們是一種無法以肉眼所見的污染形式。此項目由組織Chim↑Pom策劃，是一個由多位策展人及藝術家所組成的團隊，成員包括Kenji Kubota、 Jason Waite、Eva以及 Franco Mattes。策展作品全為在地性作品，位置是向流離失所者借來在爆炸區的家居以及樓房，參展藝術家包括Meiro Koizumi、Aiko Miyanaga、Ahmet Öğüt、Trevor Paglen、Taryn Simon 以及Kota Takeuchi等。
展覽於2015年3月11日開幕，這是核災的第四年。爆炸區依然是禁區，因為輻射污染而使民眾不得進入，是故此展的情況是在沒有觀眾的情形下持續展出，這就像輻射本身不被看見的形式，而它也只會在未來有一天當禁區被解封並讓居民回家時被看見。展覽在五年前開幕以來，從未有確切時間表讓觀眾前往參觀，也許會在多年或數十年以後，也許時間會超過我們的一輩子。
由於展覽作品不能離開福島核爆區並維持在不被看見的狀態，一個360度的全景錄像記存了展覽的環境但不是每件作品，反之然從前的居民、策展人與藝術家們在全身的白色防護衣物覆蓋之下出現在錄像中，掩蓋著藝術品本身。錄像中可見一前居民再度進入他被污染的家，交織了他曾任職於東京電力公司（即擁有福島第一核電站的公司）的內心衝突情緒。此錄像呈現了在污染區內持續發生的狀況並展示出科技的限制，要應對逆境就需要社會上其他不同的能力及崗位去協助。
此360度視頻需配以由一個福島家庭與藝術家毒山凡太郎的合作而製的VR頭盔裝置欣賞。這些手工製作如雕塑般的頭盔裝置是由三代人（祖母、父母和孫子）所造，交織了一個家庭在這波污染的現實所經歷的，每一個細節均呈現及符號著他們對未來的看法以及思想。
《逆風而行》的命名其實是代表著災難發生後，逃難者南向避往東京，藉以避開西北風帶來的後果，這些都是當時逃難者非比尋常的智慧與行動。人類是沒有感測輻射的能力，這項目是要將批判性想像作為工具去克服輻射的不可視性及連結危機的持續性與長期性。
Don’t Follow the Wind
逆風而行
Artist biography 藝術團隊簡介
Don’t Follow the Wind (2015–now) is collective of artists and curators—Chim↑Pom, Kenji Kubota, Eva and Franco Mattes, Jason Waite—who confront the long-term crisis in Fukushima, Japan. Don’t Follow the Wind is working together with local residents, a committee of cultural workers and the artists Ai Weiwei, Chim↑Pom, Grand Guignol Mirai, Nikolaus Hirsch and Jorge Otero-Pailos, Meiro Koizumi, Eva and Franco Mattes, Aiko Miyanaga, Ahmet Öğüt, Trevor Paglen, Taryn Simon, Nobuaki Takekawa and Kota Takeuchi. Along with the inaccessible project inside the Fukushima exclusion zone the collective has developed a number of Non-Visitor Centers that have taken place at the Watari Museum of Contemporary Art in Tokyo, 20th Biennale of Sydney, Yokohama Triennale 2017, Arts Catalyst in London, CCCB in Barcelona and Extra City in Antwerp.
《逆風而行》（2015 至今）是一個集合藝術家及策展人的群體，包括Chim↑Pom、 Kenji Kubota、Jason Waite、Eva以及Franco Mattes，他們長期面對著在日本福島的長期危機。《逆風而行》持續與當地的居民、文化工作委員會以及藝術家艾未未、Chim↑Pom、Grand Guignol Mirai、Nikolaus Hirsch和Jorge Otero-Pailos、Meiro Koizumi、Eva與Franco Mattes、Aiko Miyanaga、Ahmet Öğüt、Trevor Paglen、Taryn Simon、Nobuaki Takekawa 和Kota Takeuchi等人合作。除了在禁區內的項目，組織還建立了許多「非遊客中心」並展於多個藝術節或藝術場所，包括東京的華達琉美術館、第廿屆悉尼雙年展、2017年的橫濱三年展、倫敦的Art Catalyst、巴塞羅納的CCCB及安特衛普的Extra City等。
