How do we comprehend such zones or prophecies that grow into wild-life sanctuaries of new mutating animals, flora and fauna, or repositories of the un-dead like in a Natural History Museum?

Project ‘Dear Document Fukushima’ approaches the audiovisual documentation of Fukushima exclusion radioactive zone, as potential layouts for ‘Horror Vacui’ (the fear of empty space), a term used in early cartography to describe a tendency of filling those undiscovered empty spaces with fictional decorative animals, flora and fauna designs in the processes of making maps. Each mediated image of Fukushima is a document, not a record or witnessing evidence of the event of a nuclear accident that took place on March 11, 2011, but an entity which has life, tentacles, and influence. All these images are as wild as the artistic interventions, acts or performances that are stuck in the itinerant loops of time and memory of those places. They open up an enigmatic, dangerous and incomprehensible zone that Fredric Jameson describes as ‘radical other space’.

Documentation of Fukushima can be viewed in parallel with other abandoned places existing on the surface of earth like Chernobyl or Minamata Bay, and many new emerging wastelands that are slipping away from human habitation due to spillage, war, climate change, mining, radiation, pollution, border disputes, and no man's land etc. In our closed, sequired urban pockets, we are living unknowingly in parallel with such hyper worlds which Michel Foucault's calls “Heterotopias”, that appear hostile to humankind but hide many unheard stories of the Future.