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This article investigates instances in which mobility justice is highlighted in post-disaster tourism in eastern Tohoku, Japan, a coastal area almost completely destroyed by the March 11, 2011 earthquake and tsunami. After this unprecedented disaster, some of these towns have directed their recovery efforts toward the development of post-disaster tourism as a means to counteract outmigration and loss of jobs. By using the broader frame of mobility justice in tourism and geographies of affect, this article seeks to showcase how affective relations between people and post-disaster places, and between international tourists and locals, can foster a better understanding of the big and small injustices enacted at different scales in the area. In particular, this article focuses on the potential of 'recognition justice' to rebalance the scale between top-down policies and local needs. Post-disaster tourism performances utilize the mobility of information through global media, spreading survivors' narratives, stories, and images. A politics of affect built around landmarks in the post-disaster landscape the tsunami has contributed to the creation of immobile nodes, which become locus of contestations and opportunities to leverage mobility justice and broader recognition justice for the local populations. [ABSTRACT FROM AUTHOR]

Although COVID-19 has commonly been narrated as an impediment to the arts, I argue that it also offered exciting new opportunities to engage audiences with exhibitions focus on public health crises. In this article, I reflect on my experience of curating Picturing the Invisible with students at Technical University Munich (TU Munich) during the COVID-19 pandemic. Organized in memory of the 2011 Great East Japan Earthquake, tsunami and nuclear disaster, the exhibition was shown at the Royal Geographical Society, London (October till December 2021) during the so-called "second wave" and at TU Munich (June 2022) amid the rise of the Omicron Variant. Departing from the common tendency to narrate events as having been successfully organized despite the pandemic, this paper presents the virus as co-creating—perhaps even co-curating—the exhibition. To do so, I provide a brief overview of Picturing the Invisible, before going on to analyze the role that the virus played in calling me to organize this project (as both a researcher and as a lecturer), how it has made it logistically possible, and how it presented new opportunities to engage foreign audiences with the experience of Japan's triple disaster. [ABSTRACT FROM AUTHOR]