Giant Robot Store and GR2 News
Art has the power to provoke ideas and inflame passions. Politics and art, in this way, go hand in hand. When an event of historical magnitude occurs, it’s only a matter of time before an artist emerges and addresses it. Prime Minister Shinzo Abe’s economic plan (Abenomics) as the story of the hour in news circles, it’s easy to forget that Japan endured a nuclear catastrophe just 2 years ago. In March 2011, the Tokyo Electric Power Company’s Fukushima Daiichi Nuclear Power Plant underwent a partial meltdown from the 3.11 Earthquake and Tsunami. Approximately 157,000 residents were forced to flee their homes due to radioactive contamination in Fukushima prefecture with little hope of ever returning. Critics blamed the disaster on negligence and incompetency concerning safety regulations willingly overlooked by TEPCO and the Japanese government. Flash-forward to today and the public carries on as if it’s business as usual. The earthquake, tsunami, or even Fukushima rarely comes up in casual conversations. On the surface, it appears that the populace and Japanese government have forgotten the disaster altogether. One artist hasn’t. The man calling himself 281_Anti Nuke designed stickers, posters, and indiscreetly plastered them throughout Tokyo. His most recognizable piece is a small girl in a slicker with “I hate rain” printed beneath. It isn’t until you glimpse a nuclear trefoil inscribed beneath the text that its message dawns on you and all the events broadcasted from yesteryear return to you in a flood of regret. His ‘mock’ propaganda is a sharp–albeit intrusive– reminder of the gravity of what happened in Fukushima not so long ago. It’s a tragedy that he claims the government created. It’s a tragedy that he believes they coerced the public to forget. Giant Robot Magazine previously reported sightings of his art in October 2011. Back then, information on 281 was scarce. Two years later, major outlets like The Economist, Financial Times, and Wall Street Journal have featured photos of his art in articles about national politics. Others like Japan Rolling Stones, Channel 24, and The Japan Times have even interviewed the enigmatic artist himself. Besides his distrust of the Japanese government and his drive to hold them accountable, almost no one knows anything about 281′s personal life–let alone his actual name. The retrospective at the Pink Cow bar in Roppongi on June 6th, 2013, was held to raise awareness of his work and offer a little more insight into the artist himself. The retrospective hosted a preview screening of filmmaker/photographer Adrian Storey’s self-titled documentary about 281. Storey formerly featured some of 281′s designs in a segment that he submitted for Ridley Scott’s Japan in a Day documentary. 281 contacted Storey and requested permission to use the images from Japan in a Day for his own personal website. Story agreed on the condition that 281 consent to be the subject of the aforementioned self-titled documentary. Filming began in January of this year. Stroey’s documentary not only depicted the platform for 281’s opposition to the corruption of Japanese politicians and nuclear industry, but...
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Art has the power to provoke ideas and inflame passions. Politics and art, in this way, go hand in hand. When an event of historical magnitude occurs, it’s only a matter of time before an artist emerges and addresses it. Prime Minister Shinzo Abe’s economic plan (Abenomics) as the story of the hour in news circles, it’s easy to forget that Japan endured a nuclear catastrophe just 2 years ago. In March 2011, the Tokyo Electric Power Company’s Fukushima Daiichi Nuclear Power Plant underwent a partial meltdown from the 3.11 Earthquake and Tsunami. Approximately 157,000 residents were forced to flee their homes due to radioactive contamination in Fukushima prefecture with little hope of ever returning. Critics blamed the disaster on negligence and incompetency concerning safety regulations willingly overlooked by TEPCO and the Japanese government. Flash-forward to today and the public carries on as if it’s business as usual. The earthquake, tsunami, or even Fukushima rarely comes up in casual conversations. On the surface, it appears that the populace and Japanese government have forgotten the disaster altogether. One artist hasn’t. The man calling himself 281_Anti Nuke designed stickers, posters, and indiscreetly plastered them throughout Tokyo. His most recognizable piece is a small girl in a slicker with “I hate rain” printed beneath. It isn’t until you glimpse a nuclear trefoil inscribed beneath the text that its message dawns on you and all the events broadcasted from yesteryear return to you in a flood of regret. His ‘mock’ propaganda is a sharp–albeit intrusive– reminder of the gravity of what happened in Fukushima not so long ago. It’s a tragedy that he claims the government created. It’s a tragedy that he believes they coerced the public to forget. Giant Robot Magazine previously reported sightings of his art in October 2011. Back then, information on 281 was scarce. Two years later, major outlets like The Economist, Financial Times, and Wall Street Journal have featured photos of his art in articles about national politics. Others like Japan Rolling Stones, Channel 24, and The Japan Times have even interviewed the enigmatic artist himself. Besides his distrust of the Japanese government and his drive to hold them accountable, almost no one knows anything about 281′s personal life–let alone his actual name. The retrospective at the Pink Cow bar in Roppongi on June 6th, 2013, was held to raise awareness of his work and offer a little more insight into the artist himself. The retrospective hosted a preview screening of filmmaker/photographer Adrian Storey’s self-titled documentary about 281. Storey formerly featured some of 281′s designs in a segment that he submitted for Ridley Scott’s Japan in a Day documentary. 281 contacted Storey and requested permission to use the images from Japan in a Day for his own personal website. Story agreed on the condition that 281 consent to be the subject of the aforementioned self-titled documentary. Filming began in January of this year. Stroey’s documentary not only depicted the platform for 281’s opposition to the corruption of Japanese politicians and nuclear industry, but...
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Every visit to the Yasukuni Shrine by the Prime Minister of Japan, enflames all of Japan’s past war crimes. Enshrined are 14 Class A War Criminals (See the list here at China.org.cn of course!) among plenty of soldiers. A possible future PM, Shinzo Abe recently visited the shrine, possibly causing a stir with both Chinese and Koreans during this island dispute. Here are a few photos from a visit in 2010. (CNN – Yasukuni Shrine)
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A decade has passed since Al Qaeda’s attack on the World Trade Center. Multiple news sources have commemorated the event as a moment of self-reflection in which America and the world have evolved–for better or worse–in the Post-9/11 world. Salon ran a story by Matt Zoller Seitz describing some of the ways in which popular culture changed and reacted to the event. We know about America. How did the rest of Asia fare? Mark Austin recalled what it was like in the newsroom at the Daily Yomiuri when both planes struck America’s shoulders. Nothing too interesting to tell and as far as I know, no one has openly recalled on this anniversary of anniversaries how the War on Terror influenced Japanese pop culture. Let’s start with cinema. Battle Royale II: Requiem contained several less than subtle references to the landscape of the time. The most unsettling part about the sequel is that the survivors of the first film formed their own terrorist cell called the “Wild Seven.” The movie veered dangerously close to glorifying terrorism and resistance as a mode of existential relevancy. For video games, Konami released Metal Gear Solid 2: Sons of Liberty, shortly after the attacks. The moral ambiguity of the terrorist antagonists of the game didn’t cause any substantial changes or delays. However, developer Hideo Kojima had to make some last minute changes to the script and cut scenes where downtown “Arsenal Gear” devastated Ellis Island and downtown Manhattan. He further more removed a scene where the American flag fell on the Solidus’s corpse. Additionally, Japan’s Hip Hop scene had a few words of their own to say on the matter. The controversial rap group, King Giddra, released their single, “911,” on the first anniversary of the attack. They criticized the hypocrisy of America’s War on Terror and the Japanese government’s complicity in America’s grand agenda. With the exception of Hideo Kojima, these twoexamples represent a moment in which America’s position in the world came into question. To a certain extent, I wonder whether it marked a moment where Article 9 of the Japanese Constitution on the country’s pacifism came into question. As we all remember, 9/11 eventually led to the Iraq War and then Prime Minister Koizumi supported the invasion with a provision of troops from the Japanese Self Defense Force. America’s inability to secure an immediate victory further called the article’s legitimacy into doubt. If America couldn’t protect itself or prevail as a super power, then how are they going to safeguard Japan? No sooner than this, then Prime Minister Shinzo Abe called for a review of the constitution in 2007 to endow Japan with a stronger role in the world and bolster the country’s national pride. What I’m getting at is that 9/11 may have temporarily thrown the ball further into the Japanese Right’s court. K Dub Shine of King Giddra possessed some right wing views of his own. He produced the soundtrack to the Sakura of Madness film where a Neo-Tojo gang targets...
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