MUR 004 + CHARLOTTE HAYWOOD / EDWARD HORNE + HUMUS
オーストラリア、ニューサウスウェールズ州北部のバンドジャルンカントリー出身の地域アーティスト、シャーロット・ヘイウッドとエドワード・ホーンによって実現した魅力的な試み、HUMUSを紹介します。彼らのプロジェクトは、インスタレーション、パブリックアート、実験的建築、没入型シアターデザイン、サイトスペシフィックスカルプチャー、コミュニティエンゲージメント、ビデオ、サウンド、テキスタイル、教育学など様々なメディアを軽々と横断し、学際芸術の領域を掘り下げています。石垣島では、バイオミミクリー、エコ美学、マルチナラティブ、互恵性の探求に深く根ざしたクリエイティブなコラボレーションを展開しています。マ・ウミ・レジデンシーでは、織物職人、大工、船大工、音楽家、その他の地元の職人たちと会話を交わし、洞察を深め、コラボレーションを行うために集まっています。彼らの芸術活動の中心は、多様な文化との交流と没入であり、文化的、政治的、生態学的な規範を批判的に検討しながら、その独自性を尊重することです。
Developed along Ishigaki’s Ōura River and the Port of Ibaruma during asa seaweed season, the project draws from photography, filmmaking, and storytelling to trace fragile, entangled relations between nuclear violence and marine life. It is less an act of documentation than of attunement—an attempt to ethically connect with the afterlives of contamination by listening to more-than-human voices.
Amundsen’s practice critically repositions the archive—not as a site of state power, but as a living, oceanic memory that continues to evolve beneath the surface. In doing so, Listening to Seaweed offers a method for sensing radioactive time and imagining post-nuclear futures grounded in ecological care, Pacific resistance, and reciprocal listening.
During her time at MA Umi Residencies, Fiona explored the daily arrival of coastal seaweed along the shores of Ibaruma and Shiraho. Working with both edible asa and various forms of seagrass, her process combined analogue photography with ecological experimentation. Using a handmade pinhole camera, Amundsen recorded the seaweed in situ, then developed the film using a seaweed-based solution she prepared herself.
This alternative, site-responsive technique—marked by minimal chemical intervention—produced remarkably rich visual results. Especially striking were the images rendered from sponge seagrass, which revealed delicate textural imprints shaped by the tidal rhythms and microclimates of the island’s coast. The process not only foregrounded seaweed as subject and medium, but also proposed a slower, more reciprocal mode of imaging attuned to marine temporalities.
Fiona Amundsen is an artist and researcher based in Aotearoa New Zealand. Working across photography, moving image, and oral histories, her practice explores the ethics of witnessing in relation to militarisation, colonial violence, and nuclear legacies across the Pacific and Asia. Amundsen's work focuses on collaborative storytelling, often engaging with communities and sites marked by geopolitical trauma.
Her recent projects examine the ecological and cultural aftermath of Cold War nuclear testing in Moana-Oceania and the entangled roles of memory, survival, and resilience. She is Associate Professor at the School of Art and Design, Auckland University of Technology, and her work has been exhibited internationally, including at the Honolulu Biennial, Tokyo Photographic Art Museum, and the Adam Art Gallery, Wellington.