Ippon Matsu: the ‘Miracle Pine’ – Ippon Matsu:“奇迹松树”

Picture Piece - 22 Apr 2017

Ippon Matsu: the ‘Miracle Pine’

An image of the sole survivor tree after the 2011 tsunami in Japan 

By Philip Brophy

gettyimages-151842586-2_600.jpg

Ippon Matsu:  the ‘Miracle Pine’ - Ippon Matsu:“奇迹松树”

Dying ‘Miracle Pine’ cut down for preservation, 2012. Courtesy: Getty Images

Six hours northwest of Tokyo, in the coastal town of Rikuzentakata, stands the sole survivor from a grove of 70,000 trees that once bordered the shoreline. In the immediate aftermath of the devastating tsunami that hit Japan in March 2011, this ‘Miracle Pine’ became a national symbol of recovery. However, by late 2012, it had slowly succumbed to saline infection. Inventive measures were devised to transform it: a carbon endoskeleton was inserted into the trunk, while artificial branches and leaves were fabricated to fill out its upper canopy.

A meld of psychogeography and trauma-monumentalism, the plasti-­petrified tree is a fascinating alternative to sculpting an edifice for commemoration. Like the A-Bomb Dome left to stand in Hiroshima, the Miracle Pine is an unsettling fracture of the real with its representation. More aligned with mummification and taxidermy (signs of the real that most Western monuments desperately avoid) the Miracle Pine synchs with Japan’s embrace of cyborg spirituality.

Thousands of images have been taken of the tree, but none truly captures its site-specificity. Twenty-seven metres tall, it stands at ground zero of Rikuzentakata’s urban reconstruction, which includes a 12.5-metre-high sea wall on one side, a massive water-lock on the other and a spread of incomplete arterial overpasses that currently thread across razed planes of bulldozed dirt. It’s a chilling experience, trudging through this flattened
landscape to be confronted by a solitary vertical arborization. With its spindly skyward stretch, the Miracle Pine provides a powerful example of how art can avoid monunmentalism by signifying absence.

Philip Brophy

Philip Brophy is a writer based in Melbourne, Australia.

Picture Piece
Philip Brophy
Japan

Issue 187

First published in Issue 187

May 2017


图片- 22 APR 2017 IPPON妈祖:“奇迹松树”在日本2011海啸后唯一幸存树的形象〉菲利普Brffy GigTyIsE-1518425862Y.600 J.PGWAPP6021602IMG濒临灭绝的“奇迹松”,用于保存,2012。礼貌:盖蒂图片六小时在东京西北部,在沿海城镇Rikuzentakata,站在唯一的幸存者从一个树林的70000棵树,一旦边界海岸线。在2011年3月袭击日本的毁灭性海啸的紧要关头,这个“奇迹松”成为了国家复苏的象征。然而,到2012年底,它已经慢慢地屈服于盐水感染。发明了一些措施来改造它:将碳内骨架插入树干中,而人工枝条和树叶被制作成填满它的上冠层。《心理地理》和《创伤纪念碑》的一个融合,即塑化的树木是一个迷人的替代建筑雕塑纪念。就像一颗留在广岛的原子弹穹顶一样,奇迹松树是一种不真实的真实的断裂。更符合木乃伊化和驯化(大多数西方纪念碑极力避免的真实迹象)与日本拥抱Cybg精神的奇迹松树同步。WPAP60300 3BR WPAP60300 3BR已经拍摄了数以千计的图像的树,但没有真正捕捉到它的站点特异性。它高达二十七米,矗立在RikuZtkaaTaaCouthPault的城市重建地上,包括一个2.5米高的海墙,一边是一个巨大的水锁,另一边是一个不完整的立交桥。这是一个令人寒心的经历,跋涉通过这个平坦的WPAP60300 3BR景观面对一个孤立的垂直树枝状。奇迹般的松树以其细长的天空延伸,提供了一个强有力的例子,说明艺术如何通过表示缺席来避免修道院主义。菲利普.布罗菲.菲利普.布罗菲是澳大利亚墨尔本的作家。图片Philip Brophy日本问题187年2017年5月187期首次出版


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