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ALARA

DIRECTOR – KOUNOSUKE KAWAKAKAMI –

Thursday 24.10. | 20:00 HS

Description

A man applying for refugee status in Japan was told falsely that “If you work in the decontamination effort, your visa will be extended” following the accident at Tokyo Electric Power Company’s Fukushima Daiichi nuclear power plant. ALARA was created based on this incident.
The definition of the “1951 Convention Relating to the Status of Refugees” refers to the protection of persons from political or other forms of persecution. A refugee, according to the Convention, is someone who is unable or unwilling to return to their country of origin owing to a well-founded fear of being persecuted for reasons of race, religion, nationality, membership of a particular social group, or political opinion. Despite the above, Hossein Monie whose situation is reported in this work, has been denied an asylum application for refugee status in Japan since 2013. While the number of applications in Japan has increased more than ten times, from 1,599 in 2008 to 19,628 today, the number of approvals has been decreasing year by year, with only 20 approved last year. In addition, foreigners are detained at the Tokyo Immigration Bureau under conditions which deprive them of human dignity because there are no legal restrictions on the terms of their detention. Japan’s national refugee policy is the most restrictive in the world, which places refugees in an ambiguous space of exclusion and inclusion, much like decontamination soil.
 After nuclear energy was discovered by Otto Hahn in Germany and confirmed and demonstrated as a fission reaction by Lise Meitner, the world’s first atomic bomb was manufactured by the Manhattan Project in the United States in 1945. In early August of that year, atomic bombs were dropped on Hiroshima and Nagasaki, Japan. After that, nuclear power was incorporated into the capital. In other words, nuclear power was first used for military purposes, and the conversion of weapons of mass destruction into civilian use. Therefore, there has always been the possibility of catastrophic accidents.
 Furthermore, the Japanese nuclear power plant system was a project led by former Prime Minister Nakasone, Japan’s leading right-wing leader, as a neoliberal policy emphasizing cost and benefit. As an adherent of neoliberalism, he sought to continuously increase the potential of nuclear armament. The Fukushima nuclear power plant, which was destroyed by a natural disaster in 2011, covers an area of 14,000 square kilometers. The 1 million people living in this area were subjected to an annual exposure of 20 millisieverts, which is 20 times higher than before the accident. In addition, the working environment has deteriorated even more than before the accident.  The gap between regular employees and subcontractors has widened. In the name of the global economy, it has become labor imposed on migrants and refugees.
The constellation of two normalized states of exception, “Nuclear Accidents and Refugees,” is highlighted by a pair of oral histories, text, fictional animation and realistic moving images.

CREDITS

Direction and Editing: 
Kounosuke Kawakami
3DCG Assistant: Takumi Yamamoto
Music: ‘Minimal 05 Light White Surface’ Jonnie 13 Black
Voiceover :
 Chris Walton
Interviewee: 
Hossain Monire
Voice Over Text: Antonio Gramsci “Prison Notebooks” 1929 – 1935
Antonio Negri & Michael Hardt, “Empire” 2000
Ministry of the Environment “Decontamination Guidelines” 2013
Special Thanx: Shuya Masuda, Kozo Shimizu
Supported by: Terumo Foundation for Life Science and Arts

ALARA is an acronym for “as low as (is) reasonably achievable,” which means making every reasonable effort to maintain exposures to ionizing radiation as far below the dose limits as practical, consistent with the purpose for which the licensed activity is undertaken, taking into account the state of technology, the economics of improvements in relation to state of technology, the economics of improvements in relation to benefits to the public health and safety, and other societal and socioeconomic considerations, and in relation to utilization of nuclear energy and licensed materials in the public interest.


Director Biography – Kounosuke Kawakakami

1979 Born in Yamanashi, Japan
2000 – 2003 Central Saint Martins College of Art And Design – BA Fine Art
2003 – 2004 Central Saint Martins College of Art And Design – MA Fine Art
2013 – Lecturer , Kurashiki University of Science and the Arts, Okayama, Japan

Trailer


Director Statement

Solo Exhibitions

2017 Hegemony Here is Born in the Factory, Kotobuki Meeting, Tokyo

2017 Mizushima Complex “History of immigrant workers in Mizhusima” , Blanclass, Yokohama

2015 Dada-inspired performance and re-enactment of “Sanka Theater” , SuperDeluxe, Tokyo

2015 Dada-inspired performance and re-enactment of “Sanka Theater” (1925,Tsukiji Little Theater: 1927, Asahi Kodo, Tokyo), Institut français du Japon, Tokyo

2012 Beaty of Ruin, Identity Art Gallery, Hong Kong

2011 (H)allo-Poiesis, Daiwa Foundation, London, UK

2007 Migration, Houldsworth Gallery, London, UK

2006 Mindustrial Evolution, Bearspace Gallery, London, UK

Selected Exhibitions

2018 Visions in the Nunnery P3 Bedwyr Williams, The Nunnery, London

2017 Maebashi Media Festival, 旧安田銀行担保倉庫 西側, Maebashi, Gunma

2015 The Task of the Transla’tor’, Goethe-Institut Japan, Tokyo

2014 Tag-ten, Matumoto art museum, Japan

2014 Japon, Abbaye Saint Andre Centre d’art Contemporain, Meymac, France

2014 Dualities 3, Identity gallery, Hong Kong

2013 OPEN 16, International Exhibition of Sculptures and Installations, Venice Lido – San Servolo Island

2013 Primordial Essence, Art Lab, Nagoya

2013 Double Message, Scai the Bathhouse, Tokyo

2013 All That Is Solid Melts Into Air : From Interactive To Interpassive, Gallery Momo, Tokyo

2013 Education, Education and Education, Zone, Kurashiki

2013 The Painter of Modern Life, Gallery Hiramine, Kagoshima

2013 Re-View, Identity Gallery, Hong Kong

2012 The Echo, Kunstraum Kreuzberg / Bethanien, Projektraum, Berlin, Germany

2012 BE/LONGINGS, Gazelli Art House, London, UK

2011 Camera lucida, Aisho Miura, Tokyo, Japan

2011 Beyond, Scai The Bathhouse, Tokyo, Japan

2011 VIP Art Fair

2010 Summer Show, Maddox Gallery, London, UK

2010 Cultural Detritus, Pippy Houldsworth, London, UK

2010 Voca Prize-Winning Work 2007-2009, The Dai-Ichi Mutual Life Insurance Gallery, Tokyo, Japan

2010 Sarcophagus of the Kingdom, I-MYU Project, London, UK

2009 Reconstructing the Old House, Rusking Gallery, Cambridge, UK

2009 Virtual Records, YOD Gallery, Osaka, Japan

2009 Reconstructing the Old House, The Nunnery Gallery, London, UK

2009 Barock Plastik, I-MYU Project, London, UK

2008 Marmite Art Prize, studio1.1, London, UK

2008 Twenty, Dazed and Confused Gallery, London, UK

2008 Echo, Zaimu, Tokyo, Japan

2008 Chicago Art Fair, Chicago, USA

2008 Pulse, Pier 40, New York, USA

2008 Voca Art Prize, Ueno Royal Museum, Tokyo, Japan

2007 Scope Miami, Miami, USA

2007 The Future Can Wait, Atlatntis Gallery, London, UK

2007 Hand In Hand, Japan Embassy, London, UK

2007 Year 07 Art Project, County Hall, London, UK

2007 Scope Basel, Basel, Switzerland

2007 Tech- Mach – Maya-Con, Myonichikan, Tokyo, Japan

2007 Selected by Victoria Miro, APT Gallery, London, UK

2007 Selected by Matthew Colloings & Emma Biggs, APT Gallery, London, UK

2007 Scope New York, New york, USA

2007 New London Kicks, Soho House, New York, USA

2006 Dynamic Entropy, Houldsworth Gallery, London, UK

2006 Tokyo Monamo, 43 South Molton Street, London, UK

2006 Synchro-Tron, Aqffin Gallery, London, UK

2006 Curious New Terrain, Nolias Gallery, London, UK

2006 10th Planet, Tower Bridge Business Complex, London, UK

2006 Chimera, 148 Gallery, London, UK

2006 Group Show, My Life in Art Gallery, London, UK

2006 Zoo Art Fair, London, UK

2005 Agoraphobe, Bearspace Gallery, London, UK

2005 What Happens When Everything is Reduced to Ones and Zeros?, Pearlfisher Gallery, London, UK

2004 The Horizon of Expectation The Empire Gallery, London, UK

Awards / Residencies

2010 Trainee under the overseas study program for upcoming artists of the Agency for Cultural Affairs, Tokyo, Japan
2008 Vision of Contemporary Art Prizewinner, Ueno Royal Museum, Tokyo, Japan

2007 Celeste Art Prize shortlist

2007 Creekside Open x 2, Finalist Selected by Matthew Collings and Emma Biggs Finalist

2007 Creekside Open x 2, Finalist Selected by Victria Miro Finalist

​Collections

Pigozzi Collection, USA

Elspeth and Imogen Turner Collection, UK

UBS Bank New York, USA

UBS Bank Los Angeles, USA

UBS Bank, UK

Taguchi Collection, Japan

Progressive Art Collection, USA

West Collection, USA

Wellington Management, USA

The Dai-Ichi Mutual Life Insurance Company, Japan


Kounosuke Kawakakami Director
Kounosuke Kawakakami Writer
Kounosuke Kawakakami Producer
Hossain Monir Key Cast
Film Type:Animation, Documentary, Experimental, Short
Runtime:12 minutes 24 seconds
Completion Date:June 12, 2019
Production Budget:1,000,000 JPY
Country of Origin:Japan
Country of Filming:Japan
Film Language:English, Japanese
Shooting Format:Digital
Aspect Ratio:16:9
Film Color:Color
First-time Filmmaker:No
Student Project:No