Abstract
The present text approaches the exhibition “Don't follow the wind", set up within the exclusion zone of the Fukushima nuclear disaster, from a dialogue with the warburguian concepts of "imaginary breeze" and "survival". The theme of the winds is the promoter of the co-incidence between the work in Fukushima and the warburguian theory, here conducted by the French art historian Georges Didi-Huberman. The hypothesis brought is that the works in the exhibition carry with them a double emanation: on one hand, they are saturated with the radiation that has pierced them for years; on the other hand, they carry the imagetic heritage of works of art in a post-nuclear culture - where the danger of an ultimate end always surrounds us.
References
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