Update: I think the site has crashed from all the traffic. Here is the text of the post. Or go here: http://imgur.com/BYpU0SE?r
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ATTENTION SEEKING KID – KEOW WEE LOONG
writing & imagery by:
ARKADIUSZ PODNIESIŃSKI
18 lipca, 2016
People interested in Fukushima have almost certainly heard of the ‘sensational’ post by Keow Wee Loong, a 28-year-old man from Malaysia who claims that he travelled illegally around Fukushima’s ‘no-go’ zones. It turns out, however, that his story is almost completely fabricated. Unfortunately, the story by this man, who hid his face behind a gas mask, was so convincing that people swallowed it whole and it rapidly spread around the world. His story and photos were published in on reputable services like TIME, CNN and hundreds of others. And, as the author himself admits, he gave 34 interviews in a single day. The entire story of his trip through the no-go zones, sneaking through the forest and avoiding the police is a fiction by a man seeking fame and attention, as opposed to the real popularity that he undoubtedly generated.
woo-posts
screenshot of Keow Wee Loong’s Facebook profile – www.facebook.com/uglykiwi and www.facebook.com/KeowPhotography
Keow Wee Loong’s story strongly recalls the story of Elena Filatova, a.k.a. ‘the Kidd of Speed’. This young woman claimed to have made an illegal solo motorcycle trip through the closed, radioactive zone in Chernobyl and hid her face under a motorcycle helmet. In reality, she never drove her motorcycle through the closed zone and all of her photographs were taken outside the zone or during a tourist coach trip, which she went on dressed in motorcycle gear and a helmet.
Keow Wee Loong’s story is similar. Besides having deliberately created a sensational text and portrait photographs depicting him alone in a gas mask with a shopping basket in hand, it quickly became clear that, in principle, his entire text is dishonest, his trip to the no-go zones untrue and the photographs were taken in areas that everyone can access.
I have visited Fukushima many times to document the destruction caused by the disaster at the nuclear power plant, and so I did not have any major problems identifying the sites where Keow Wee Loong took his photographs. It quickly turned out that all of the photos he took were not taken in the red no-go zones as he claimed, but only in the open green zone (sometimes orange) as well as on Road No. 6, which runs through the Fukushima prefecture. All of these places are open and accessible to all.
Keow-Wee-Loong-map
Map with the locations of places where Keow Wee Loong took his photographs. In order to prevent similar behaviour, the locations of some places are approximate.
The green zone in the town of Namie, where the photographer took most of his pictures, have had this status for at least three years and have been open to all since 1 April of this year. In Tomioka, where Keow Wee Loong also took photographs, these zones were open even earlier. Anyone who wished could enter them freely already a few years ago.
Today, the streets of Namie and Tomioka are full of cars and people, which one cannot fail to notice. In Namie, there is a working police station, a petrol station and the first shops have been open. One can also see a lot of repair crews on the streets of Namie and Tomioka, as well as increasing numbers of curious tourists. Radiation in the centre of Namie is approximately 0.1 uSv/h, and is therefore normal; it does not differ from most other cities in Japan and around the world. One doesn’t need a gas mask there, much less a full-face one. It isn’t necessary to hide from the police or hike through the woods for hours to get to Namie or Tomioka. Anyone who wants to can go there without permission.
Only access to the most contaminated zones, referred to as red or no-go zones, located closest to the power plant and contaminated from the radioactive fallout require a special permit. Contrary to the claims of Keow Wee Loong, he never managed to get to these places. Legally or not. Contrary to what he says, a permit can be obtained in just a week – you just have to demonstrate and justify an important public interest. Evidently, however, Keow Wee Long could not justify any public interest.
Why am I writing about all of this?
My interest is not to trivialise the catastrophic consequences of the failures of nuclear power plants. When I was 14 years old, I had to drink liquid iodine, which would help stop the absorption of the radioactive iodine isotope coming from the damaged reactor in Chernobyl. For these and other reasons, I have devoted the last 8 years to the subject of Chernobyl (I have been there dozens of times), as well as with the subject of Fukushima from the moment the disaster in Japan happened (I have visited 4 times in the past year, spending more than a month in total there). During this time, I have seen the effects of nuclear disasters enough to be opposed to this form of energy production.
I am, however, a strong opponent of seeking sensationalism, 15 minutes of fame and the money that comes with it, which has become synonymous for me with Keow Wee Loong. Photographers and writers of unreliable and inaccurate texts, which are then replicated by hundreds of media outlets around the world, create a false picture of the current situation in Fukushima. This is particularly important here as, in contrast to Chernobyl, the consequences of the disaster are still fresh and painful. To date, nearly 100,000 evacuees are still out of their homes. Many of them are following the progress of the disaster recovery works and often base their decision to return (or not) on media reports.
I think that the international community, Japanese society and, above all, the evacuated residents should have reliable information about the places where they once lived and where I hope they will shortly be able to return.
Arkadiusz Podniesiński
Photographer
www.podniesinski.pl
P.S. I only very rarely ask for my articles to be shared. This is an exception because it’s really important. Share it!
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"I have visited Fukushima many times to document the destruction caused by the disaster at the nuclear power plant, and so I did not have any major problems identifying the sites where Keow Wee Loong took his photographs. It quickly turned out that all of the photos he took were not taken in the red no-go zones as he claimed, but only in the open green zone (sometimes orange) as well as on Road No. 6, which runs through the Fukushima prefecture. All of these places are open and accessible to all."
- Polish photographer Arkadiusz Podniesiński who has photographed Chernobyl and Fukushima No-Go zones for real.
#guagua
同時也有1部Youtube影片,追蹤數超過8,520的網紅Josh the Intern,也在其Youtube影片中提到,Far off the beaten path lies an ancient temple, hidden in the shadow of something you would not expect to there! This was my travel adventure, hiking...
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2016中國大陸連州國際攝影年展 (2016 LIANZHOU FOTO, China )
再凝望-台灣當代攝影的新視野 (Yet Another Gaze – A New Horizon for Contemporary Taiwanese Photography) (海報設計 / 湯詠棉)
策展人 / Curator : 沈昭良 (Chao – Liang Shen)
藝術家 / Artist : 李立中 (Li - Chung Lee) – 神遊 (Space Out), 李岳凌 (Yehlin Lee) – 黑暗聆聽(Listening to the dark), 李雅妍 (Ya - Yen Lee) – 俄頃的呢喃 (Flash of Whispering), 杜韻飛 (Yun - Fei Tou) – 生殤相(MEMENTO MORI), 陳以軒 (I - Hsuen Chen) – 遍尋無處 (Nowhere in Taiwan), 陳伯義 (Po - I Chen) – 遺留 (Remains), 陳淑貞 (Shu - Chen Chen) – 婚移全家福 (Interracial marriage family portrait), 黃建樺 (Chien - Hua Huang ) – 編碼者 (Transcoder), 羅晟文 (Sheng - Wen Lo) – 白熊計劃 (White Bear), 蕭又滋 (Arron Hsiao) – 列車計畫 (Train Project) 。
開幕導覽 / Guided Tours : 2016. 11. 20 / PM : 18 : 30 - 19 : 45
地點 / Location : 二鞋厂3、5 展示区 / Shoe Factory - Display Area 3 & 5
展期 / Duration : 2016. 11. 19. - 12. 9
http://www.lianzhoufoto.com/exhibition.aspx
再凝望 - 台灣當代攝影的新視野
文 / 沈昭良
台灣整體藝術創作的發展,自1987年解除戒嚴令以來,明顯透過對於歷史、土地的溯源,聚焦在更為貼近現實的議題建構與意識盤整上,援引生命、生態、環境、城市、空間、能源、消費、權力、殖民、國族、全球化、後工業與內在探索等個別或複合紋理,進行兼具結構性與時代性的回應與提問。
其中,攝影創作的發展,自然也在這種內外衝擊的交流轉向中,一方面逐步調整視覺語法,一方面扎根於在地關注、全球論述與數位融合的基礎上,透過直視景物、排除 / 貫徹個人情感、對於生命哲理與存在價值的探究、關注人類與環境間的議題,數位材料技術的引用,以及大尺幅或視覺群化展示等等形式特徵,具體產生了各式發想自現實題材,時而宏觀遠眺,時而微觀凝視的創作。
此次的<再凝望-台灣當代攝影的新視野>展,則是在上述的發展脈絡下,針對台灣內部,相對具備特定方向與論述的攝影創作內容,所進行的集結與梳理。包括杜韻飛(Yun-fei Tou)的「生殤相」 (MEMENTO MORI),藉由西方藝術史裏的肖像語境,拍攝台灣數家公立收容所內的流浪犬,於安樂死當日的最後身影。在觀看與被觀看、主體與客體的轉換中,以接近人身大小的作品展示,探討人類與他者間的支配與宰制關係。羅晟文 (Sheng-wen Lo)的「白熊計劃」 (White Bear),則是透過在全球各地所拍攝,人類圈養的白熊與其所處的人造環境,進而延伸人與自然環境、動物圈養及動物權等命題。
陳以軒 (I-hsuen Chen)的「遍尋無處」(Nowhere in Taiwan),主要描述自身因為留學而經歷了反向的文化衝擊,在非純粹風景與城市景觀的曖昧交界,透過公路攝影,不自覺望向孤立疏離的自我身影。李岳凌 (Yehlin Lee)的「黑暗聆聽」(Listening to the Dark),試著將抽像聽覺做為視覺書寫的因子,隨著攝影,徘徊在日沒微光的幽暗邊界。李雅妍 (Ya-yen Lee)的「俄頃的呢喃」 (Flash of Whispering),則是藉移動在都市裏的無預警遭遇,透過直覺反射式的隨機抓拍,一方面回應來自城市街頭的呢喃召喚,一方面探索周遭景物與自身靈魂間的密碼囈語。
陳淑貞 (Shu-chen Chen)的「婚移全家福」 (Interracial marriage family portrait)系列作品,內容聚焦在外籍配偶的家庭合照。藉由她們所居住的空間、內部陳設與神韻樣態,進一步思考異國婚姻在語言、文化、習慣乃至於信仰的融匯上,可能的和諧與曲折。蕭又滋 (Arron Hsiao)的「列車計畫」 (TRAIN PROJECT)則是搭配高速閃光燈,以無差別的隨機方式,拍攝快速行進中的列車車廂,呈現個體在封閉空間與人群中的精神樣態。陳伯義(Po-i Chen)的「遺留」(Remains)系列,主要拍攝台灣自1949年起至1960年代,來自中國大陸各省的國民黨部隊及眷屬所居住的眷村,在拆遷後現場所遺留的物件,藉以回溯在大時代下的顛沛遷徙,所隱含的政治、社會、族群與認同議題。李立中(Li-chung Lee)的「神遊」 (Space Out),則是針對現今台灣廟宇內部的空間採集,探索靈界的空間配置在現代化進程中,展現的特異與多元組合。
另外在數位攝影的創作實踐上,黃建樺(Chien-hua Huang )的「編碼者」(Transcoder),透過詼諧馳騁卻猶如社會縮影的樂園,試圖在社會形態、生存機制與角色身份的相互指涉中,折射出人們對於世界的想像與追尋。
最後,期望透過<再凝望-台灣當代攝影的新視野>-這個群展,階段性描繪,在全球當代攝影的發展進程中,台灣新世代攝影創作者的凝望和步履。
Yet Another Gaze – A New Horizon for Contemporary Taiwanese Photography
By Chao-liang Shen
The evolution of the creation of art in Taiwan as a whole has been calling for an answer to the structural questions of the times since Martial Law was abolished in 1987. Undoubtedly, through tracing back to the sources of history and the origin of the homeland, artists have been able to focus on agendas that are closer to reality and the correction of ideology, leveraging individual or compound cases of life, ecology, environment, the city, space, energy, consumption power, authority, colonization, nation, globalization, post-industrial revolution, and inner searching.
Amid these topics, the development of photography naturally echoes the aforesaid internal and external shocks and changes, and different visual languages have gradually been generated. Moreover, photographers have begun to plant their creative roots in the combination of local focus, global discourse, and digital convergence. These concepts are characterized by direct view, including and excluding one’s emotions, combing through life philosophy and the value of existence, addressing human-environment relations, borrowing digital material or techniques, large-scale pieces, conceptual grouping, and so on. All of these have led to concrete creations inspired by real-life topics in views both macro and micro.
The “Yet Another Gaze – A New Horizon for Contemporary Taiwanese Photography” exhibition collects and combs through the aforementioned context, featuring Taiwanese photography pieces with specific angles or arguments. MEMENTO MORI by Yun-fei Tou presents euthanasia in a couple of public animal shelters in Taiwan with the images of the stray dogs on the last day of their lives through portrait works in the style of western art history. Switching roles between the gazing and the gazed-upon, or the subject and the object, the influx of true-to-size photography works probe the dominance relationship between human beings and others. White Bear by Sheng-wen Lo, on the other hand, discusses topics extending to animal rights and captive breeding from the interactions between human and Mother Nature through images, taken all over the world, of captive white bears and the artificial environment in which they are fenced.
Nowhere in Taiwan from I-hsuen Chen mainly illustrates the photographer’s reverse culture shock after returning home from studying overseas. On the vague line between atypical sceneries and city landscape, the photographer looks into his own isolated and lonely shadow. Listening to the Dark by Yehlin Lee attempts to write visually through the abstract sense of hearing. The photographer has been wandering along the dim boundaries in the low light of sunset with his camera. Flash of Whispering by Ya-yen Lee is a collection of reflective snapshots as the response to the summons of the city streets. The images are the code-talk of her surroundings and her soul.
Interracial marriage family portrait by Shu-chen Chen features portraits of foreign spouses and their family in Taiwan. Through representation in details of their facial expressions and living space and interior decorations in their families, Chen’s images demonstrate both harmony and conflicts reflected in the contrasts of their languages, culture, habits and regional beliefs. TRAIN PROJECT by Arron Hsiao uses high-speed flash to engage in a “shooting spree” to capture moving trains. The photographer intends to show the psychological states of individuals in a confined space and among crowds. Remains from Po-i Chen mainly shoots the things left behind by the families of KMT troops who moved from various provinces in China to Taiwan from 1949 to 1960 in their military villages after the demolition and relocation of the military communities. The photographer reviews the historical journey as well as hidden political, social, racial and identity debates. Space Out from Li-chung Lee focuses on picking up of pieces of space in Taiwanese temples to build his narration of the bizarre and diverse combination of space planning of the invisible world in modernization.
On the implementation and practice of digital photography, Transcoder by Chien-hua Huang seeks the refraction of people’s imagination and wants of the world through inter-references of forms of society, the survival mechanism, and role/identity playing in humorous ways, as if society were an entertainment park.
In conclusion, I hope that the group exhibition “Yet Another Gaze - New Horizon of Contemporary Taiwanese Photography” can bring together the creative momentum of the new generation in Taiwan to portray the gazes and steps of the stage we are now at as part of the progress of global modern photography.
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Far off the beaten path lies an ancient temple, hidden in the shadow of something you would not expect to there!
This was my travel adventure, hiking across Macau to reach the old Temple called Sam Seng Temple.
Located behind the mountains of Coloane right on the edge of Macau, China. This temple could be considered the ultimate hidden gem.
To reach it I had to hike off the beaten path and go to a part of Macau I had never been to before. It was a crazy walking adventure through beautiful nature and secret travel locations.
I started my adventure in Taipa side, hiking up the beautiful Taipa hills. Here I found an abandoned building which offered a great view of the city below. I spent the morning drinking coffee and taking in the beautiful view from nature. At the top of Taipa hill this travel hidden gem is perfect for hikers or photographers looking for a good view.
I then walked down to the Cotai Strip. Due to current travel bans this once bustling tourism hub is now completely quiet with nobody around. It is a peaceful walk on a nice day currently.
Next I hiked up the mountains of Coloane, Macau, exploring and discovering hidden hiking trails which brought me to beautiful nature environments and awesome views.
Finally I hiked to the ancient temple found right beside Macau's giant Power Plant. In the Ka Ho Village area of Coloane it is a very secretive travel location and one of my favorite hidden gems I have explored on my Macau travel vlogs.
I really hope you enjoyed this adventure vlog and if you would like to see more travel adventures in Macau please let me know!
Thanks for watching this adventure video and I will see you in the next vlog!
#macau #adventure #travel
Thank you Scott Buckley for making such amazing tracks, please check him out I used some of his music in this video:
https://www.youtube.com/user/musicbyscottb
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