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1<meta name="next-size-adjust" content=""/><title>Exhibitors | Waza Waza—Iga Art Book Fair</title><meta name="description" content="The exhibitors of Waza Waza—Iga Art Book Fair 2026: artists, publishers, and makers of art books, photobooks, and zines from Japan and abroad. 出展作家一覧。"/><meta name="keywords" content="art book fair,art book fair Japan,Waza Waza,artist books,independent publishing,zine fair,contemporary art event,Japanese art,Iga Mie,Iga City,Sukodo,崇広堂,旧崇広堂,伊賀,伊賀市,伊賀上野,伊賀市 イベント,伊賀 アートイベント,崇広堂 イベント,三重県 アートブックフェア,伊賀 文化イベント,伊賀 図書館,崇広堂 図書館,三重県最古の公立図書館,旧図書館 伊賀,library Iga,アートブックフェア,ZINE,cultural event,heritage venue,art collecting,fine art publishing,luxury art books,limited edition prints,art patronage,cultural sponsorship,foire du livre d&#x27;art,Kunstbuchmesse"/><meta name="robots" content="index, follow"/><meta name="googlebot" content="index, follow, max-video-preview:-1, max-image-preview:large, max-snippet:-1"/><meta name="category" content="Arts &amp; Culture"/><link rel="canonical" href="https://wazawaza-artbookfair.com/exhibitors"/><meta name="google-site-verification" content="3F1RHA0GZqRshY-1ONbs7HtlvORX6gilzgzHNkKrNlU"/><meta property="og:title" content="出展者|Waza Waza—Iga Art Book Fair 2026"/><meta property="og:description" content="The exhibitors of Waza Waza—Iga Art Book Fair 2026: artists, publishers, and makers of art books, photobooks, and zines from Japan and abroad. 出展作家一覧。"/><meta property="og:url" content="https://wazawaza-artbookfair.com/exhibitors"/><meta property="og:site_name" content="Waza Waza—Iga Art Book Fair"/><meta property="og:locale" content="ja_JP"/><meta property="og:image" content="https://wazawaza-artbookfair.com/images/venue/venue-hall-wide.jpg"/><meta property="og:image:alt" content="畳七十二枚の大広間 / The hall of seventy-two tatami mats"/><meta property="og:locale:alternate" content="en_US"/><meta property="og:type" content="website"/><meta name="twitter:card" content="summary_large_image"/><meta name="twitter:title" content="出展者|Waza Waza—Iga Art Book Fair 2026"/><meta name="twitter:description" content="The exhibitors of Waza Waza—Iga Art Book Fair 2026: artists, publishers, and makers of art books, photobooks, and zines from Japan and abroad. 出展作家一覧。"/><meta name="twitter:image" content="https://wazawaza-artbookfair.com/images/venue/venue-hall-wide.jpg"/><link rel="icon" href="/favicon.ico?favicon.70b87b7e.ico" sizes="256x256" type="image/x-icon"/><link rel="icon" href="/favicon.ico" sizes="any"/><link rel="icon" href="/icon-32.png" sizes="32x32" type="image/png"/><link rel="icon" href="/icon-192.png" sizes="192x192" type="image/png"/><link rel="icon" href="/icon-512.png" sizes="512x512" type="image/png"/><link rel="apple-touch-icon" href="/apple-icon.png" sizes="180x180" type="image/png"/>
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1<header class="fixed left-0 right-0 top-0 z-50 flex h-14 items-center gap-3 px-4 transition-colors duration-500 md:px-6  bg-sage border-b border-border"><button class="flex flex-col gap-1.5 p-2" aria-label="メニューを開く" aria-expanded="false"><span class="block h-0.5 w-6 bg-dark transition-transform duration-300 "></span><span class="block h-0.5 w-6 bg-dark transition-opacity duration-300 "></span><span class="block h-0.5 w-6 bg-dark transition-transform duration-300 "></span></button><a class="block h-10 w-52" href="/"><img src="/svg/Type_Title_ENG.svg" alt="Waza Waza—Iga Art Book Fair 2026" class="h-full w-auto"/></a></header><main class="pt-14 flex-1"><div class="bg-sage"><header class="px-5 pb-2 pt-8 md:hidden"><h1 class="font-serif text-2xl font-bold tracking-wide text-dark">出展者絵巻</h1><p class="mt-1.5 font-sans text-xs tracking-wide text-dark/60">38<!-- -->組の作り手、<!-- -->6<!-- -->の国と地域から、わざわざ伊賀へ。</p><div class="mt-5"><img src="/images/emaki-preview.jpg" alt="出展者絵巻 — デスクトップでの巻物表示のイメージ" class="w-full rounded-[2px] border border-dark/10" loading="eager"/></div><p class="mt-3 font-sans text-[11px] leading-relaxed tracking-wide text-dark/45">巻物仕立ての絵巻は、パソコンなど大きな画面でご覧いただけます。<span class="block">The picture-scroll view unrolls on larger screens.</span></p></header><div class="relative hidden md:block"><style>
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5</style><div class="cursor-grab overflow-x-auto [direction:rtl] active:cursor-grabbing" style="scrollbar-width:thin"><div class="em-anim relative flex h-[calc(100vh-3.5rem)] w-max items-stretch bg-light shadow-[0_20px_60px_rgba(0,10,3,0.16)]" style="animation:em-open 1.2s cubic-bezier(0.22,1,0.36,1) both"><span aria-hidden="true" class="pointer-events-none absolute inset-0 opacity-[0.05] mix-blend-multiply" style="background-image:url(&quot;data:image/svg+xml,%3Csvg xmlns=&#x27;http://www.w3.org/2000/svg&#x27; width=&#x27;140&#x27; height=&#x27;140&#x27;%3E%3Cfilter id=&#x27;p&#x27;%3E%3CfeTurbulence type=&#x27;fractalNoise&#x27; baseFrequency=&#x27;0.85&#x27; numOctaves=&#x27;2&#x27; stitchTiles=&#x27;stitch&#x27;/%3E%3C/filter%3E%3Crect width=&#x27;100%25&#x27; height=&#x27;100%25&#x27; filter=&#x27;url(%23p)&#x27;/%3E%3C/svg%3E&quot;);background-size:140px 140px"></span><span aria-hidden="true" class="my-3 w-2 shrink-0 rounded-full bg-dark/85"></span><div class="flex shrink-0 flex-row-reverse items-center gap-9 px-14 [direction:ltr]"><div class="em-anim self-center border border-dark/20 p-[3px]" style="animation:em-rise 0.9s ease-out 0.25s both"><h1 class="border border-dark/40 px-3.5 py-8 font-serif text-3xl font-bold tracking-[0.3em] text-dark [writing-mode:vertical-rl]">出展者絵巻</h1></div><p class="em-anim font-serif text-xl font-bold leading-loose tracking-widest text-dark/85 [writing-mode:vertical-rl]" style="animation:em-rise 0.9s ease-out 0.45s both">見たことのない本に、出会う。</p><p class="em-anim self-start pt-14 font-serif text-sm leading-loose tracking-wide text-dark/60 [writing-mode:vertical-rl]" style="animation:em-rise 0.9s ease-out 0.62s both">38<!-- -->組の作り手、<!-- -->6<!-- -->の国と地域から。</p><p class="em-anim self-end pb-32 font-sans text-[11px] uppercase tracking-[0.3em] text-dark/40 [writing-mode:vertical-rl]" style="animation:em-rise 0.9s ease-out 0.78s both">Waza Waza—Iga Art Book Fair 2026</p></div><a href="/exhibitors/gato" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">&amp;gato.</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-base max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「インターネット上の情報が絶えず流れ去っていくのに対し、紙面に乗る情報は、読み手それぞれのペースでじっくりと伝わっていきます。」</p></div><div class="flex self-start pt-10 px-2"><img src="/images/exhibitors/gato/02.jpg" alt="&amp;gato." loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/0x8x0_no" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">0x8x0_no</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-xl max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「私の作品づくりの根底には、時空のレイヤーと無意識ã
5®åŒæœŸãŒã‚る。」</p></div><div class="flex self-center px-2"><img src="/images/exhibitors/0x8x0_no/02.jpg" alt="0x8x0_no" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/51-personae" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">51 Personae</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">中国</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-base max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「その意味で本は、読むための対象であるだけでなく、異なる人生・地理・時間が意図をもって束ねられる、一時的な集いの場でもあります。」</p></div><div class="flex self-end pb-10 px-2"><img src="/images/exhibitors/51-personae/02.jpg" alt="51 Personae" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/angelica-ong" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">Angelica Ong 王歆惠</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">シンガポール</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-xl max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「私がわざわざアーティストブックをつくるのは、物理的な形式そのものが、作品の受け取られ方を変えるからです。」</p></div><div class="flex self-start pt-10 px-2"><img src="/images/exhibitors/angelica-ong/02.jpg" alt="Angelica Ong 王歆惠" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/anna-darab" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">Anna Darab</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">イラン</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-xl max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「詩とは、本を手に、想像を羽ばたかせながら、多くは一人きりの静けさの中で読むものです。」</p></div><div class="flex self-center px-2"><img src="/images/exhibitors/anna-darab/02.jpg" alt="Anna Darab" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/aprilbooks" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">AprilBooks</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-base max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「インターネットにはない、雑音と思える中から、自分と感性の合う本を探すことができた喜びやブラウンジング機能のある形態の本と、紙媒体で出会うことができる場所であると思います。」</p></div><div class="flex self-end pb-10 px-2"><img src="/images/exhibitors/aprilbooks/01.jpg" alt="AprilBooks" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div><span class="ml-2 mr-6 flex items-center" aria-hidden="true"><span class="h-[34vh] w-24 self-start rounded-b-full bg-sage/70"></span><span class="-ml-10 h-[26vh] w-32 self-end rounded-t-full bg-sage/50"></span></span></a><a href="/exhibitors/between-in-between" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">between in between</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-base max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「紙に何かを記して束にまとめるということは、小さな子どもでもお絵描き帳をまとめるように、人間に備わった本能的な行為だと感じています。」</p></div><div class="flex self-start pt-10 px-2"><img src="/images/exhibitors/between-in-between/02.jpg" alt="between in between" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/darf" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">DARF</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">チュニジア</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-base max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「本のように何かを物理的に差し出すことは、オンラインの何か——
5触れられず、誇らしげに飾ることもできない何か——よりも、私にははるかに具体的で、満ち足りたものに思えます。」</p></div><div class="flex self-center px-2"><img src="/images/exhibitors/darf/03.jpg" alt="DARF" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/iceberg" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">I.CEBERG</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-xl max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「私たちにとって本は、追いかけた怪物が確かにそこにいた、という証です。」</p></div><div class="flex self-end pb-10 px-2"><img src="/images/exhibitors/iceberg/03.jpg" alt="I.CEBERG" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/jaron-menzimer" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">Jaron Menzimer</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">アメリカ</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-xl max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「この作品集はとりわけ、人と人とのつながりはどこにでも見出し、分かち合えるということを探究しています。」</p></div><div class="flex self-start pt-10 px-2"><img src="/images/exhibitors/jaron-menzimer/03.jpg" alt="Jaron Menzimer" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/kitai" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">kitai</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-base max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「自分の正義を、不特定多数が見ている SNS 上に発信することで誰かを否定してしまう可能性があると思い、いつも気を使った文章しか書けないことにモヤモヤしていました。」</p></div><div class="flex self-center px-2"><img src="/images/exhibitors/kitai/01.jpg" alt="kitai" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/naomi-murakami" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">Naomi Murakami</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-xl max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「現在、「手紙」をテーマにした未発表のアーティストブック・プロジェクトを進めています。」</p></div><div class="flex self-end pb-10 px-2"><img src="/images/exhibitors/naomi-murakami/02.jpg" alt="Naomi Murakami" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div><span class="ml-2 mr-6 flex items-center" aria-hidden="true"><span class="h-[34vh] w-24 self-start rounded-b-full bg-sage/70"></span><span class="-ml-10 h-[26vh] w-32 self-end rounded-t-full bg-sage/50"></span></span></a><a href="/exhibitors/nekoba" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">nekoba</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">中国</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-base max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">
5「今は、どんなものでもすぐにアップロードされて、コピーされて、流れていってしまう時代だけど、だからこそ私は「痕跡を残すこと」を大事にしたいと思っています。」</p></div><div class="flex self-start pt-10 px-2"><img src="/images/exhibitors/nekoba/03.jpg" alt="nekoba" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/nessie" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">NESSIE</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-2xl max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「本(じゃない本)という物質的な媒体で残していること。」</p></div><div class="flex self-center px-2"><img src="/images/exhibitors/nessie/01.jpg" alt="NESSIE" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/polly-fossey" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">Polly Fossey</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">アメリカ</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-base max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「私が日本語を学ぶことに実用的・経済的な理由がないのと同じように、これほど手間のかかる本を作ることにも実用的・経済的な理由はありません。」</p></div><div class="flex self-end pb-10 px-2"><img src="/images/exhibitors/polly-fossey/04.jpg" alt="Polly Fossey" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/ppp-site" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">PPP site</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-sm max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「インターネットが廃れた未来を考えると、書籍という形態の特徴上、50年後100年後にどこかで見つかる可能性があり、自分では把握できない場所へ運ばれていくことも期待できます。個人的な思想をひらいていくメディアとしての書籍が他者に所有され、手に取った方にとって手元に残る私的な財産になることも、本を作る理由の一つだと考えています。」</p></div><div class="flex self-start pt-10 px-2"><img src="/images/exhibitors/ppp-site/03.jpg" alt="PPP site" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/sohei-terui" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">Sohei Terui</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-2xl max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「山川草木悉皆成仏。」</p></div><div class="flex self-center px-2"><img src="/images/exhibitors/sohei-terui/01.jpg" alt="Sohei Terui" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/stairs-press" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">STAIRS PRESS</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-2xl max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「写真を見るだけなら、画面でも十分かもしれません。」</p></div><div class="flex self-end pb-10 px-2"><img src="/images/exhibitors/stairs-press/04.jpg" alt="STAIRS PRESS" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div><span class="ml-2 mr-6 flex items-center" aria-hidden="true"><span class="h-[34vh] w-24 self-start rounded-b-full bg-sage/70"></span><span class="-ml-10 h-[26vh] w-32 self-end rounded-t-full bg-sage/50"></span></span></a><a href="/exhibitors/twelvebooks" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">twelvebooks</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-2xl max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「残る(アーカイブされ、継承されていく)ものだから。」</p></div><div class="flex self-start pt-10 px-2"><img src="/images/exhibitors/twelvebooks/02.jpg" alt="twelvebooks" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a>
5<a href="/exhibitors/written-by-daniel" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">Written by Daniel</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">アメリカ</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-base max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「私にとって、この「わざわざ」という概念は、作り手が仕事に注ぐ手間のかけ方を物語り、それがめぐって、いつか出会う読者への心づかいを伝えるものだと思います。」</p></div><div class="flex self-center px-2"><img src="/images/exhibitors/written-by-daniel/03.jpg" alt="Written by Daniel" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/arica_shop" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">アリカ</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-xl max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「紙へのこだわりなどは、実物をみることでしかわからないからです。」</p></div><div class="flex self-end pb-10 px-2"><img src="/images/exhibitors/arica_shop/01.jpg" alt="アリカ" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/michiko_skylla" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">うちだ みちこ</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-base max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「デジタル化の時代ですが、紙の本を捲る手触りと、見開きにすると絵と詩の世界観が広がるようにとの思いで、手に取りやすい横A5版サイズの詩画集を作りました。」</p></div><div class="flex self-start pt-10 px-2"><img src="/images/exhibitors/michiko_skylla/01.jpg" alt="うちだ みちこ" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/okko_osa" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">オッコ</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-base max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「表現者やそれを自称しない人が所に出入りしながら、本やプリント等、物理媒体を中心した出版プロジェクトを手掛けることで著者が持つ個性的で実験的なアイデアを市場に送り出しています。」</p></div><div class="flex self-center px-2"><img src="/images/exhibitors/okko_osa/01.jpg" alt="オッコ" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/tamayurayu" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">たまゆら湯</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-base max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「なぜ自分はこれを人に届けたいのか。それを伝えるには、自分とじっくり向き合う時間があるほど、人の奥のほうに届くのではないか——そう考えなã
5Œã‚‰çµ„み立てていく工程も大切にしています。」</p></div><div class="flex self-end pb-10 px-2"><img src="/images/exhibitors/tamayurayu/01.jpg" alt="たまゆら湯" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div><span class="ml-2 mr-6 flex items-center" aria-hidden="true"><span class="h-[34vh] w-24 self-start rounded-b-full bg-sage/70"></span><span class="-ml-10 h-[26vh] w-32 self-end rounded-t-full bg-sage/50"></span></span></a><a href="/exhibitors/yutai_9" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">ティックの日本</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-xl max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「データは劣化しない。でも、手でつくったものは、時間とともに変わっていく。」</p></div><div class="flex self-start pt-10 px-2"><img src="/images/exhibitors/yutai_9/01.jpg" alt="ティックの日本" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/nekoze_shouten" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">ネコゼ商店</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-xl max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「今は愛知県にいますが、高校生までは伊賀地方で暮らしていました。」</p></div><div class="flex self-center px-2"><img src="/images/exhibitors/nekoze_shouten/02.jpg" alt="ネコゼ商店" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/nombrebunch" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">のんぶる</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-xl max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「土師ノ里から伊賀まで、遠いようで意外と近く、車のアクセスもとてもよいので、繰り返し訪ねたいと思っています。」</p></div><div class="flex self-end pb-10 px-2"><img src="/images/exhibitors/nombrebunch/01.jpg" alt="のんぶる" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/nakamura__kanon" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">ビジテリアン大祭</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-2xl max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「Zine は、ある意味で無駄なものだと思います。」</p></div><div class="flex self-start pt-10 px-2"><img src="/images/exhibitors/nakamura__kanon/02.jpg" alt="ビジテリアン大祭" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/shoyagyu" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">ヤギュウ ショウ</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-xl max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「一冊の本にまとめるのは、一枚の写真では捉えきれない思考や時間の流れを、写真と言葉の連なりとして残しておきたいからだ。」</p></div><div class="flex self-center px-2"><img src="/images/exhibitors/shoyagyu/01.jpg" alt="ヤギュウ ショウ" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/okude-masato" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">奥出理人 / OKUDE MASATO</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-xl max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「本には表紙と裏表紙があります。余白があり、順序があり、閉じることもできます。」</p></div><div class="flex self-end pb-10 px-2"><img src="/images/exhibitors/okude-masato/04.jpg" alt="奥出理人 / OKUDE MASATO" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div><span class="ml-2 mr-6 flex items-center" aria-hidden="true"><span class="h-[34vh] w-24 self-start rounded-b-full bg-sage/70"></span><span class="-ml-10 h-[26vh] w-32 self-end rounded-t-full bg-sage/50"></span></span></a><a href="/exhibitors/senseinokukai" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">森永侑樹(せんせいの句会)</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-2xl max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「家の本棚に、そっと立てておくためです。」</p></div><div class="flex self-start pt-10 px-2"><img src="/images/exhibitors/senseinokukai/01.jpg" alt="森永侑樹(せんせいの句会)" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/blue_lily_3331" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">蒼草書院</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-2xl max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「紙にふれる感覚、本のもつ温度、匂い、重さ。」</p></div><div class="flex self-center px-2"><img src="/images/exhibitors/blue_lily_3331/02.jpg" alt="蒼草書院" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/ayamasumoto" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">増本 ç¶¾</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-xl max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「『18』は、1932年に書かれたラブレターをソウルで見つけ、それをテーマに作った写真集です。」</p></div><div class="flex self-end pb-10 px-2"><img src="/images/exhibitors/ayamasumoto/02.jpg" alt="増本 ç¶¾" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/kgbjj_" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">庭の拝見</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-base max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「本イベントのコンセプトにある「本は、読むためだけでなく、見る・触れる・感じるという体験の中にある」という部分に共鳴しました。」</p></div><div class="flex self-start pt-10 px-2"><img src="/images/exhibitors/kgbjj_/02.jpg" alt="庭の拝見" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a>
5<a href="/exhibitors/michioto-publishing" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">道音舎 / Michioto Publishing</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-xl max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「これまで伊賀と特別なつながりがあるわけではありませんが、たまたま募集を発見し「旅してみたい」と感じました。」</p></div><div class="flex self-center px-2"><img src="/images/exhibitors/michioto-publishing/01.jpg" alt="道音舎 / Michioto Publishing" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/naoko-kusunoki" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">楠尚子 / Naoko Kusunoki</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-2xl max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「香りの作品は、展示が終わると消えてしまいます。」</p></div><div class="flex self-end pb-10 px-2"><img src="/images/exhibitors/naoko-kusunoki/04.jpg" alt="楠尚子 / Naoko Kusunoki" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div><span class="ml-2 mr-6 flex items-center" aria-hidden="true"><span class="h-[34vh] w-24 self-start rounded-b-full bg-sage/70"></span><span class="-ml-10 h-[26vh] w-32 self-end rounded-t-full bg-sage/50"></span></span></a><a href="/exhibitors/nekoyahoujyudou" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">猫屋芳樹堂</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-xl max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「自身のきりえ作品を見せるための表現形態(媒体)として ZINE を作っています(オリジナルカードの出版も同じ理由です)。」</p></div><div class="flex self-start pt-10 px-2"><img src="/images/exhibitors/nekoyahoujyudou/05.jpg" alt="猫屋芳樹堂" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><a href="/exhibitors/houkashobo" class="group ml-14 flex shrink-0 flex-row-reverse items-stretch [direction:ltr] md:ml-24"><div class="flex items-center pl-2 pr-8"><div class="flex flex-row-reverse items-start gap-3"><h2 class="max-h-[74vh] font-serif text-2xl font-bold text-dark transition-colors [writing-mode:vertical-rl] group-hover:text-primary">烽火書房</h2><p class="pt-1 font-sans text-[11px] tracking-[0.35em] text-dark/45 [writing-mode:vertical-rl]">日本</p></div></div><div class="flex items-center pl-16 pr-8 md:pl-24"><p class="font-serif leading-loose text-dark/60 text-base max-h-[74vh] overflow-hidden [writing-mode:vertical-rl]">「本をつくるという行為を意識し、編集しはじめた時点で、すべての物事と自分にかかわりしろが生まれ、すべての物事は自分と関係しはじめます。」</p></div><div class="flex self-center px-2"><img src="/images/exhibitors/houkashobo/04.jpg" alt="烽火書房" loading="lazy" draggable="false" class="max-h-[46vh] w-auto max-w-[26rem] bg-dark/5 object-contain transition-transform duration-300 group-hover:scale-[1.02]"/></div></a><div class="ml-10 flex shrink-0 items-center px-14 [direction:ltr]"><p class="font-serif text-lg tracking-[0.3em] text-dark/60 [writing-mode:vertical-rl]">九月二十六・二十七日 於 史跡旧崇広堂</p></div><span aria-hidden="true" class="my-3 w-2 shrink-0 rounded-full bg-dark/85"></span></div></div><div aria-hidden="true" class="pointer-events-none absolute bottom-0 right-0 h-px bg-primary/70 transition-[width] duration-150" style="width:0%"></div><p class="pointer-events-none absolute bottom-3 left-1/2 z-10 -translate-x-1/2 whitespace-nowrap font-sans text-xs tracking-wide text-dark/45">右から左へ、ドラッグで繰る絵巻です。名にふれると、その作り手のページへ — drag to unroll, right to left. Click a name to meet the maker (each page is in Japanese &amp; English).</p><a href="#zenshutten" class="absolute bottom-3 right-5 z-10 rounded-full border border-dark/15 bg-light/90 px-3.5 py-1.5 font-sans text-xs tracking-wide text-dark/70 backdrop-blur transition-colors hover:border-dark/30 hover:text-dark">全出展者へ ↓</a></div><section id="zenshutten" class="scroll-mt-16 px-5 pb-20 pt-10 md:px-6"><div class="mx-auto max-w-5xl"><div><div><h2 class="font-serif text-2xl font-bold text-dark">全<!-- -->38<!-- -->組の目録</h2><p class="mt-1.5 font-serif text-sm text-dark/65">お目当ての作り手は、こちらから名前で。国とかたちの前情報つき。<span class="mt-0.5 block font-sans text-xs tracking-wide text-dark/45">The full index — look up a maker by name, with country and format at a glance. Every exhibitor page can be read in English.</span></p></div></div><ul class="mt-8 grid grid-cols-3 gap-x-4 gap-y-7 sm:grid-cols-4 md:grid-cols-5 lg:grid-cols-6"><li class="reveal"><a href="/exhibitors/gato" class="group block"><img src="/images/exhibitors/gato/02.jpg" alt="&amp;gato." loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">&amp;gato.</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">写真集・ZINE</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Photobook · ZINE</p></a></li><li class="reveal" style="transition-delay:45ms"><a href="/exhibitors/0x8x0_no" class="group block"><img src="/images/exhibitors/0x8x0_no/02.jpg" alt="0x8x0_no" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">0x8x0_no</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">アーティスト・写真集・ZINE</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Artist · Photobook · ZINE</p></a></li><li class="reveal" style="transition-delay:90ms"><a href="/exhibitors/51-personae" class="group block"><img src="/images/exhibitors/51-personae/02.jpg" alt="51 Personae" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">51 Personae</span><span class="shrink-0 text-[11px]">🇨🇳</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">書店・小出版</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Bookstore / Small Press</p></a></li><li class="reveal" style="transition-delay:135ms"><a href="/exhibitors/angelica-ong" class="group block"><img src="/images/exhibitors/angelica-ong/02.jpg" alt="Angelica Ong 王歆惠" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">Angelica Ong 王歆惠</span><span class="shrink-0 text-[11px]">🇸🇬</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">アーティスト・写真集・個人出版・その他</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Artist · Photobook · Self-publisher · Other</p></a></li><li class="reveal" style="transition-delay:180ms"><a href="/exhibitors/anna-darab" class="group block"><img src="/images/exhibitors/anna-darab/02.jpg" alt="Anna Darab" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">Anna Darab</span><span class="shrink-0 text-[11px]">🇮🇷</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">アーティスト</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Artist</p></a></li><li class="reveal" style="transition-delay:225ms"><a href="/exhibitors/aprilbooks" class="group block"><img src="/images/exhibitors/aprilbooks/01.jpg" alt="AprilBooks" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">AprilBooks</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">書店・小出版</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Bookstore / Small Press</p></a></li><li class="reveal" style="transition-delay:270ms"><a href="/exhibitors/between-in-between" class="group block"><img src="/images/exhibitors/between-in-between/02.jpg" alt="between in between" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">between in between</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">コレクティブ</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Collective</p></a></li><li class="reveal" style="transition-delay:315ms"><a href="/exhibitors/darf" class="group block"><img src="/images/exhibitors/darf/03.jpg" alt="DARF" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">DARF</span><span class="shrink-0 text-[11px]">🇹🇳</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">アーティスト</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Artist</p></a></li><li class="reveal"><a href="/exhibitors/iceberg" class="group block"><img src="/images/exhibitors/iceberg/03.jpg" alt="I.CEBERG" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">I.CEBERG</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">アーティスト</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Artist</p></a></li><li class="reveal" style="transition-delay:45ms"><a href="/exhibitors/jaron-menzimer" class="group block"><img src="/images/exhibitors/jaron-menzimer/03.jpg" alt="Jaron Menzimer" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">Jaron Menzimer</span><span class="shrink-0 text-[11px]">🇺🇸</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">アーティスト</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Artist</p></a></li><li class="reveal" style="transition-delay:90ms"><a href="/exhibitors/kitai" class="group block"><img src="/images/exhibitors/kitai/01.jpg" alt="kitai" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">kitai</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">ZINE</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">ZINE</p></a></li><li class="reveal" style="transition-delay:135ms"><a href="/exhibitors/naomi-murakami" class="group block"><img src="/images/exhibitors/naomi-murakami/02.jpg" alt="Naomi Murakami" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">Naomi Murakami</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">アーティスト・ZINE</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Artist · ZINE</p></a></li><li class="reveal" style="transition-delay:180ms"><a href="/exhibitors/nekoba" class="group block"><img src="/images/exhibitors/nekoba/03.jpg" alt="nekoba" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">nekoba</span><span class="shrink-0 text-[11px]">🇨🇳</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">アーティスト・ZINE</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Artist · ZINE</p></a></li><li class="reveal" style="transition-delay:225ms"><a href="/exhibitors/nessie" class="group block"><img src="/images/exhibitors/nessie/01.jpg" alt="NESSIE" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decorati
5on-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">NESSIE</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">アーティスト・写真集</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Artist · Photobook</p></a></li><li class="reveal" style="transition-delay:270ms"><a href="/exhibitors/polly-fossey" class="group block"><img src="/images/exhibitors/polly-fossey/04.jpg" alt="Polly Fossey" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">Polly Fossey</span><span class="shrink-0 text-[11px]">🇺🇸</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">アーティスト</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Artist</p></a></li><li class="reveal" style="transition-delay:315ms"><a href="/exhibitors/ppp-site" class="group block"><img src="/images/exhibitors/ppp-site/03.jpg" alt="PPP site" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">PPP site</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">個人出版・その他</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Self-publisher · Other</p></a></li><li class="reveal"><a href="/exhibitors/sohei-terui" class="group block"><img src="/images/exhibitors/sohei-terui/01.jpg" alt="Sohei Terui" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">Sohei Terui</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">アーティスト・写真集・個人出版・その他</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Artist · Photobook · Self-publisher · Other</p></a></li><li class="reveal" style="transition-delay:45ms"><a href="/exhibitors/stairs-press" class="group block"><img src="/images/exhibitors/stairs-press/04.jpg" alt="STAIRS PRESS" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">STAIRS PRESS</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">写真集・書店・小出版</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Photobook · Bookstore / Small Press</p></a></li><li class="reveal" style="transition-delay:90ms"><a href="/exhibitors/twelvebooks" class="group block"><img src="/images/exhibitors/twelvebooks/02.jpg" alt="twelvebooks" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">twelvebooks</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">その他</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Other</p></a></li><li class="reveal" style="transition-delay:135ms">
5<a href="/exhibitors/written-by-daniel" class="group block"><img src="/images/exhibitors/written-by-daniel/03.jpg" alt="Written by Daniel" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">Written by Daniel</span><span class="shrink-0 text-[11px]">🇺🇸</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">アーティスト・個人出版・その他・ZINE</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Artist · Self-publisher · Other · ZINE</p></a></li><li class="reveal" style="transition-delay:180ms"><a href="/exhibitors/arica_shop" class="group block"><img src="/images/exhibitors/arica_shop/01.jpg" alt="アリカ" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">アリカ</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">書店・小出版</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Bookstore / Small Press</p></a></li><li class="reveal" style="transition-delay:225ms"><a href="/exhibitors/michiko_skylla" class="group block"><img src="/images/exhibitors/michiko_skylla/01.jpg" alt="うちだ みちこ" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">うちだ みちこ</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">アーティスト・個人出版・その他</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Artist · Self-publisher · Other</p></a></li><li class="reveal" style="transition-delay:270ms"><a href="/exhibitors/okko_osa" class="group block"><img src="/images/exhibitors/okko_osa/01.jpg" alt="オッコ" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">オッコ</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">アーティスト・写真集・コレクティブ</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Artist · Photobook · Collective</p></a></li><li class="reveal" style="transition-delay:315ms"><a href="/exhibitors/tamayurayu" class="group block"><img src="/images/exhibitors/tamayurayu/01.jpg" alt="たまゆら湯" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">たまゆら湯</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">ZINE</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">ZINE</p></a></li><li class="reveal"><a href="/exhibitors/yutai_9" class="group block"><img src="/images/exhibitors/yutai_9/01.jpg" alt="ティックの日本" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">ティックの日本</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">アーティスト</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Artist</p></a></li><li class="reveal" style="transition-delay:45ms"><a href="/exhibitors/nekoze_shouten" class="group block"><img src="/images/exhibitors/nekoze_shouten/02.jpg" alt="ネコゼ商店" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">ネコゼ商店</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">書店・小出版</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Bookstore / Small Press</p></a></li><li class="reveal" style="transition-delay:90ms"><a href="/exhibitors/nombrebunch" class="group block"><img src="/images/exhibitors/nombrebunch/01.jpg" alt="のんぶる" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">のんぶる</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">ZINE</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">ZINE</p></a></li><li class="reveal" style="transition-delay:135ms"><a href="/exhibitors/nakamura__kanon" class="group block"><img src="/images/exhibitors/nakamura__kanon/02.jpg" alt="ビジテリアン大祭" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">ビジテリアン大祭</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">アーティスト・ZINE</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Artist · ZINE</p></a></li><li class="reveal" style="transition-delay:180ms"><a href="/exhibitors/shoyagyu" class="group block"><img src="/images/exhibitors/shoyagyu/01.jpg" alt="ヤギュウ ショウ" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">ヤギュウ ショウ</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">写真集・ZINE</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Photobook · ZINE</p></a></li><li class="reveal" style="transition-delay:225ms"><a href="/exhibitors/okude-masato" class="group block"><img src="/images/exhibitors/okude-masato/04.jpg" alt="奥出理人 / OKUDE MASATO" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">奥出理人 / OKUDE MASATO</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">写真集・ZINE</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Photobook · ZINE</p></a></li><li class="reveal" style="transition-delay:270ms"><a href="/exhibitors/senseinokukai" class="group block"><img src="/images/exhibitors/senseinokukai/01.jpg" alt="森永侑樹(せんせいの句会)" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">森永侑樹(せんせいの句会)</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">その他</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Other</p></a></li><li class="reveal" style="transition-delay:315ms"><a href="/exhibitors/blue_lily_3331" class="group block"><img src="/images/exhibitors/blue_lily_3331/02.jpg" alt="蒼草書院" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">蒼草書院</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">ZINE</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">ZINE</p></a></li><li class="reveal"><a href="/exhibitors/ayamasumoto" class="group block"><img src="/images/exhibitors/ayamasumoto/02.jpg" alt="増本 綾" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">
5増本 綾</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">アーティスト</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Artist</p></a></li><li class="reveal" style="transition-delay:45ms"><a href="/exhibitors/kgbjj_" class="group block"><img src="/images/exhibitors/kgbjj_/02.jpg" alt="庭の拝見" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">庭の拝見</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">ZINE</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">ZINE</p></a></li><li class="reveal" style="transition-delay:90ms"><a href="/exhibitors/michioto-publishing" class="group block"><img src="/images/exhibitors/michioto-publishing/01.jpg" alt="道音舎 / Michioto Publishing" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">道音舎 / Michioto Publishing</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">書店・小出版</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Bookstore / Small Press</p></a></li><li class="reveal" style="transition-delay:135ms"><a href="/exhibitors/naoko-kusunoki" class="group block"><img src="/images/exhibitors/naoko-kusunoki/04.jpg" alt="楠尚子 / Naoko Kusunoki" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">楠尚子 / Naoko Kusunoki</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">アーティスト</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Artist</p></a></li><li class="reveal" style="transition-delay:180ms"><a href="/exhibitors/nekoyahoujyudou" class="group block"><img src="/images/exhibitors/nekoyahoujyudou/05.jpg" alt="猫屋芳樹堂" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">猫屋芳樹堂</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">ZINE・その他</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">ZINE · Other</p></a></li><li class="reveal" style="transition-delay:225ms"><a href="/exhibitors/houkashobo" class="group block"><img src="/images/exhibitors/houkashobo/04.jpg" alt="烽火書房" loading="lazy" class="aspect-square w-full bg-light object-cover shadow-sm"/><p class="mt-1.5 flex items-baseline gap-1 font-serif text-xs leading-snug text-dark md:text-xs"><span class="min-w-0 truncate underline decoration-transparent underline-offset-2 transition-colors group-hover:decoration-dark/40">烽火書房</span><span class="shrink-0 text-[11px]">🇯🇵</span></p><p class="mt-0.5 truncate font-sans text-xs tracking-wide text-dark/70">書店・小出版・ZINE</p><p class="truncate font-sans text-[11px] tracking-wide text-dark/45">Bookstore / Small Press · ZINE</p></a></li></ul><nav class="border-t pt-10 border-dark/10 mt-24"><p class="font-sans text-[11px] uppercase tracking-[0.3em] text-dark/45">つづきへ — Keep Exploring</p><ul class="mt-5 grid gap-y-4 font-serif md:grid-cols-3 md:gap-x-8"><li><a href="/events" class="group block"><span class="text-lg font-bold underline decoration-transparent underline-offset-4 transition-colors text-dark group-hover:decoration-dark/40">イベント</span><span class="mt-1 block font-sans text-xs tracking-wide text-dark/50">Events — tea, the bookmobile, the archive, coffee</span></a></li><li><a href="/tea-ceremony" class="group block"><span class="text-lg font-bold underline decoration-transparent underline-offset-4 transition-colors text-dark group-hover:decoration-dark/40">茶会「読み茶」</span><span class="mt-1 block font-sans text-xs tracking-wide text-dark/50">Tea Ceremony — a reading tea by Thomas Vauthier</span></a></li><li><a href="/about-venue" class="group block"><span class="text-lg font-bold underline decoration-transparent underline-offset-4 transition-colors text-dark group-hover:decoration-dark/40">会場とアクセス</span><span class="mt-1 block font-sans text-xs tracking-wide text-dark/50">Venue &amp; Access — Sukodo, Iga</span></a></li></ul></nav></div></section></div><!--$--><!--/$--></main><footer><div class="max-w-7xl mx-auto px-6 py-3 flex items-center justify-between"><p class="font-sans text-xs text-dark">© <!-- -->2026<!-- --> <!-- -->Waza Waza—Iga Art Book Fair</p><div class="flex items-center gap-4"><a class="group inline-grid py-1.5 -my-1.5 font-sans text-xs text-dark hover:text-primary transition-colors" href="/privacy-policy"><span class="[grid-area:1/1] group-hover:invisible">プライバシーポリシー</span><span aria-hidden="true" class="invisible [grid-area:1/1] group-hover:visible">Privacy Policy</span></a></div></div></footer><noscript><img height="1" width="1" style="display:none" alt="" src="https://www.facebook.com/tr?id=978316631272407&amp;ev=PageView&amp;noscript=1"/></noscript><!--$!--><template 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5<script>self.__next_f.push([1,"8:[\"$\",\"$L14\",null,{}]\n9:[\"$\",\"$L15\",null,{}]\na:[\"$\",\"$L16\",null,{}]\nb:[\"$\",\"$1\",\"c\",{\"children\":[null,[\"$\",\"$L11\",null,{\"parallelRouterKey\":\"children\",\"error\":\"$undefined\",\"errorStyles\":\"$undefined\",\"errorScripts\":\"$undefined\",\"template\":[\"$\",\"$L12\",null,{}],\"templateStyles\":\"$undefined\",\"templateScripts\":\"$undefined\",\"notFound\":\"$undefined\",\"forbidden\":\"$undefined\",\"unauthorized\":\"$undefined\"}]]}]\n18:Tc6f,1. NotFunAnymore!!!\nジン / 既発表 2025/ A5 / 100 edition\n2026年、世界中の友人たちとパンガン島のフルムーンパーティーに集まりたかった。でも今の時代は、簡単にそうはさせてくれない。2014年から2018年に撮った写真—まだ楽しむことができた頃の記録。今、それらを見返すと、意味が変わっている。観光、土地、占領、そして戦争の余波。遠く離れた場所にも、年金基金の中にさえも届いてくる。このジンは、そのような意識の変化について。\n\n2. POV(タイトル仮)\nアーティストブック / 未発表 / 30cm x 30cm\n-PVC素材に写真を転写した手製アーティストブックで制作途中。\n\n日常の風景を、透明で人工的な素材に転写することで、現実の歪みと、見えているのに見ようとしない世界のあり方を表現した作品\n\nPVCは人工的で、化学的で、石油由来で、人体に良くない素材。でも、だからこそ完璧だと思った。PVCがどれだけ長持ちするのか、私にはわからない。黄ばむかもしれない、劣化するかもしれない。でもそれは今、私たちが生きているこの世界と同じに思えた。気候変動、地政学的緊張、情報操作、ナショナリズムの台頭、TOP1%の富裕層による政治。世界は今いくつもの導火線に火がついた爆弾のようだ。私たちはそれを知っている。そして知ってか知らずか目を逸らす。PVCのページは透明でクリアで全部見えているのに、見ていないふりをする。それがこの世界だと思うから、PVCという素材を選びました。それでも日常を生きている。PVCは、その矛盾を抱えたまま存在する素材で、不確かな素材で、不確かな時代をつくる。それがこの本です。\n日常の風景を、透明で人工的な素材に転写することで、現実の歪みと、見えているのに見ようとしない世界のあり方を表現した作品。本フェアでの初公開できたらいいなと思っています。\n\n3. 黒版Kuro-ban /白版 Shiro-ban\nダミーブック/ 未発表 / A4\n-言葉を持たない写真集\n\n重いテーマから意図的に距離を置き、写真のシークエンスそのものを純粋に体験するために作られたダミーブック。\n\n4. 新作ミニジン(仮)\nジン / 未発表 /  15cm x 10cm\n未発表・制作予定\n\n小さな写真とイラストによる、不可解で奇怪な内容のジン。黒い表紙にシルバーでタイトルを箔押しした、手のひらより少し大きいサイズを予定。\n\n5. RainbowRemix(ジン版)\nジン / 未発表 /  ハガキサイズ\n未発表・制作予定\n\n2023年に発表したNFT作品「RainbowRemix」(6点の写真と詩、隠されたURLからアクセスできる自作の詩の朗読音声)を、紙のジンとして制作予定。\n\n6.(仮)過去のアーティストブック\n販売目的ではなく、展示としての持参を検討中。再制作不可能な一点物。19:Tb88,Waza Waza—Iga Art Book Fairのインスタグラムのbioに\"International Art Book Fair that is far from the big city for the reason\"と書いてあります。それを見て私はとても納得しました。どうやってこのアートフェアのインスタグラムのアカウントにたどり着いたのかは覚えていませんがずいぶん前に見ã
5¤ã‘てその時に期限が近づいたら絶対に応募しようと思い今応募しています。こういう出会"])</script>
5<script>self.__next_f.push([1,"いはいつも偶然のようでいて、何かしらの縁だと思っているところもあり、また崇広堂の写真を見たとき、その建物が包括的に持つそのエナジー、それはそこで起きたことのその時その時が重なりできたものと建物そのものが持つエナジーを写真から直感的に感じとって、とても良い場所だと感じて大変に興味が湧きました。\n\nまた私には桃源郷という言葉をテーマにしていてそれは、桃源郷(TōGen-Kyō): No one can reach TōGen-Kyō unless you never want it, If you want it badly, you will never find it. Never exist physically, it is in your mind. (桃源郷には、求めない者だけがたどり着ける。強く望めば望むほど、決して見つからない。それは現実には存在せず、心の中にあるもの。)としています。\n\nそしてもうひとつ、ずっと気をつけている事があります。社会が私たちに追わせようとするスピードたち、四半期ごとの数字、納税期限、生産性、消費のサイクル、組織が持つスピードなど、それは資本主義がつくった画一的な速さであって、本来の時間の流れではない。時間は本来、季節や天気、自分の心と体の状態によって、ゆっくりにもなれば速くもなる。人それぞれの性格によっても違うかもしれない。十代の頃、私はその速さに振り落とされ、自分は何もできない人間だと思い込んでいました。20代前半でオーストラリアに渡ってから気づきました。急ぐ必要のないときは急がなã
5ã¦ã„い。必要なときは速く動けばいい。大事なのは、世の中や他人のスピードに惑わされて、自分の中にある自分でも気づくのに時間がかかることやふとすれば忘れてしまいそうな事があることを忘れないように、世の中の物事や人がスピードについていく時にこぼれ落したものをしっかり見ていられるように。\nそういうこともあり、このアートブックフェアは他のアートブックフェアにはない独自の時間軸やスピードがあるように見えて、もし会えるのならそこに集まる人たちに会ってみたい、チャレンジしてみたいと思いました!!宜しくお願いします。1a:Tb7c,"])</script>
5<script>self.__next_f.push([1,"1. NotFunAnymore!!!\nZine / already published, 2025 / A5 / edition of 100\nIn 2026, I wanted to gather with friends from all over the world at the Full Moon Party on Koh Phangan. But these times don't make that so easy. Photographs taken between 2014 and 2018 — a record of a time when we could still have fun. Looking back at them now, their meaning has changed. Tourism, land, occupation, and the aftermath of war. It reaches even faraway places, even into pension funds. This zine is about that shift in awareness.\n\n2. POV (working title)\nArtist book / unpublished / 30cm x 30cm\n- A handmade artist book with photographs transferred onto PVC material, still in progress.\n\nA work that transfers everyday scenes onto a transparent, artificial material to express the distortions of reality and the way we refuse to look at a world that is right there in plain sight.\n\nPVC is artificial, chemical, petroleum-derived, and bad for the human body. But that is exactly why I thought it was perfect. I don't know how long PVC lasts. It may yellow, it may degrade. But that seemed just like the world we are living in now. Climate change, geopolitical tension, information manipulation, the rise of nationalism, politics run by the top 1% of the wealthy. The world right now is like a bomb with any number of fuses already lit. We know it. And whether we know it or not, we look away. The PVC pages are transparent and clear, everything is visible, yet we pretend not to see. Because I think that is what this world is, I chose PVC as the material. And still we go on living our daily lives. PVC is a material that exists while holding that contradiction, an uncertain material that makes an uncertain age. That is what this book is.\nA work that transfers everyday scenes onto a transparent, artificial material to express the distortions of reality and the way we refuse to look at a world that is right there in plain sight. I hope I can unveil it for the first time at this fair.\n\n3. Kuro-ban (black edition) / Shiro-ban (white edition)\nDummy book / unpublished / A4\n- A photobook with no words.\n\nA dummy book made to keep a deliberate distance from heavy themes and to experience the sequence of photographs itself, purely.\n\n4. New mini-zine (working title)\nZine / unpublished / 15cm x 10cm\nUnpublished, planned for production.\n\nA zine of small photographs and illustrations with strange, uncanny content. A little larger than the palm of a hand, with a black cover and the title foil-stamped in silver.\n\n5. RainbowRemix (zine version)\nZine / unpublished / postcard size\nUnpublished, planned for production.\n\nA plan to make the NFT work \"RainbowRemix\" (released in 2023; six photographs and a poem, plus a self-made audio recording of the poem being read, accessible via a hidden URL) into a paper zine.\n\n6. (working title) Past artist books\nNot for sale; considering bringing them to display only. One-of-a-kind pieces that cannot be remade."])</script>
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5<script>self.__next_f.push([1,"At the root of my work are layers of space-time and the synchronizing of the unconscious. Things not yet visible, but already there. That is what I explore. And I think photobooks — handmade photobooks in particular — are well suited to expressing that, which is why I go to the trouble of making them.\n\nThe private experience that arises between the viewer and the photobook in the act of looking at it. And what the flow of the photographic sequence creates: as the person facing it turns each page, they flow along with it. That experience spreads outward as a wave, resonating in many layers with different layers of time and with each viewer's own memories and feelings. It then synchronizes with something else again, and continues. I want to make the starting point of that. Or perhaps it is already the continuation of a resonating synchronicity, and I simply make one \"point\" — that is, my own work — for now, in order to give it a comprehensible form. From that point, I hope the waves of resonance keep synchronizing on and on.\n\nI also insist on the form of the book because I think that, unlike a painting, a single photograph cannot draw you into a world on its own — or rather, that a single one is too fragmentary. It is only when there is a sequence of photographs — eight, or fifty, or two hundred — that you can finally touch the work, and if it is handbound, all the better. That is why I make them."])</script>
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5<script>self.__next_f.push([1,"The Instagram bio of Waza Waza—Iga Art Book Fair says \"International Art Book Fair that is far from the big city for the reason.\" Seeing that, I felt deeply convinced. I don't remember how I ended up finding this art fair's Instagram account, but I discovered it a long time ago and decided then that I would absolutely apply once the deadline drew near — and now I am applying. I always feel that encounters like this, which seem like chance, are also some kind of fate. And when I saw the photographs of Sukodo, I intuitively sensed from them the energy the building holds as a whole — an energy made from the layering of everything that has happened there, moment by moment, together with the energy the building possesses in itself — and I felt it was a very good place and became greatly interested.\n\nI also take the word Togenkyo (an earthly paradise) as a theme, which I frame as: Togenkyo: No one can reach Togenkyo unless you never want it. If you want it badly, you will never find it. It never exists physically; it is in your mind.\n\nAnd there is one more thing I always keep in mind. The various speeds that society tries to make us chase — quarterly figures, tax deadlines, productivity, cycles of consumption, the speed that organizations carry — these are a uniform speed created by capitalism, not the natural flow of time. Time can, by nature, slow down or speed up depending on the season, the weather, and the state of one's own mind and body. It may differ from person to person by temperament, too. In my teens, I was thrown off by that speed and convinced myself I was a person who could do nothing. After I moved to Australia in my early twenties, I realized: when there's no need to hurry, you don't have to hurry. When you need to, you can move fast. What matters is not to be swayed by the speed of the world or of other people — so as not to forget the things inside me that take even me a long time to notice, the things I might forget in an instant, and so that I can keep looking clearly at what the world and other people let fall as they keep up with the pace.\nFor reasons like these, this art book fair seemed to have a unique axis of time and a pace unlike any other art book fair, and I thought that, if I can meet them, I want to meet the people who gather there, and I want to take on the challenge! Thank you very much."])</script>
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5<script>self.__next_f.push([1,"51 Personae is an independent experimental publishing and art project based in Shanghai, China. Our practice moves across and beyond conventional categories of publishing, art, and book production, working with artist books, zines, independent comics, printmaking, and documentary-based publications. We understand publishing as a social and artistic practice that is both material and relational, rather than a fixed genre or format.\n\nThe project originated in 2016–2017 as part of a socially engaged art initiative developed during the 11th Shanghai Biennale, with an initial focus on urban working-class communities and everyday life in the city. Since 2018, we have developed an independent publishing practice that deliberately crosses the boundaries between contemporary art and publishing, using books as a form of fieldwork, documentation, and distribution.\n\nSince 2023, we have increasingly published multilingual editions and expanded collaborations with printmakers and independent artists across Asia. These collaborations allow us to develop low-cost, accessible, and reproducible forms of publishing, while maintaining a strong emphasis on autonomy and affordability. We distribute our publications through direct circulation, including participation in international art book fairs and zine festivals, where the booth itself functions as a site of exchange, encounter, and informal exhibition.\n\nThrough this ongoing practice, 51 Personae seeks to construct a trans-local network of readers, artists, and collaborators, situating publishing as a mode of collective inquiry into social realities, marginal histories, and lived experiences across Asia and the Global South."])</script>
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5<script>self.__next_f.push([1,"At the fair, we plan to present a selection of recent and forthcoming independent publications developed by 51 Personae, alongside collaborative projects with artists and writers across Asia and Europe. Our table will include both published works and new or recently released titles.\n\n**Published / recently released works:**\n\n* *Kalashnikov* — Yi Hu (2025)\n  Format: independent comic\n  Size: 165 x 220 mm\n  Edition: small offset edition\n  Previously presented at multiple international art book fairs and zine festivals.\n\n* *Ahead Beheaded* — edited by TkTk (2026)\n  Format: documentary zine combining printmaking, hand-drawn comics, and text\n  Size: A5\n  Edition: small offset / independent edition\n  First presented in 2026.\n\n* *Our Daily Lives Have to Be a Satisfaction in Themselves* — Miriam, Emily Larned, Noel Furie (2026)\n  Format: artist book / documentary publication\n  Size: 165 x 220 mm\n  Edition: small offset edition\n  To be published in June 2026\n\n* *Sound of Shanghai* — Vyn Lee (2026)\n  Format: illustrated photo-zine / essay publication\n  Size: pocket size\n  Edition: small offset edition\n  To be published in July 2026\n\n* *Between Animals* — May Frazen (forthcoming July 2026)\n  Format: independent graphic novel\n  Size: A5\n  Edition: small offset edition\n  Status: new release; limited or first presentation depending on fair timing.\n\nSongs of Silent Valley — 51 Personae (forthcoming August 2026)\nFormat: artist book / documentary publication\nSize: A5 (planned)\nEdition: in production\nStatus: new publication; first public presentation planned at selected fairs.\n\nAcross these publications, we prioritize low-cost offset printing, portable formats, and fair distribution through direct circulation at book fairs. Many of the works are developed through long-term collaborations and are designed to circulate as both reading material and informal exhibition objects."])</script>
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5<script>self.__next_f.push([1,"For 51 Personae, making a physical book is not simply a choice of medium, but a way of insisting on a form of durability for lived experience, especially those experiences that are often marginal, unstable, or easily erased. In an era where publishing can be instantaneous, editable, and endlessly circulated in digital space, we continue to return to the book as a material object because it holds a different kind of permanence—one that resists the speed and volatility of online circulation.\n\nWe understand paper and the book form as an ultimate form of medium: a structure capable of storing human experience and thought in a way that cannot be easily overwritten or deleted. This is particularly important when working with the stories of ordinary people, working-class lives, and communities positioned outside dominant cultural visibility. To make a book is not only to translate these experiences into visual or textual form, but also to construct an archive that has physical weight, presence, and endurance.\n\nOur process deliberately engages with slowness, effort, and what might appear as inefficiency. This includes the time of editing, sequencing, printing, binding, and physically transporting books across borders and contexts. We consider these material and logistical constraints not as obstacles, but as part of the meaning of the work itself. The difficulty of circulation becomes a form of care and commitment—each book carries with it the effort required to bring it into another space and into another hand.\n\nEmotionally, this process is often grounded in attention and responsibility: attention to how fragments of lived experience are arranged and held together, and responsibility toward the people and narratives that enter the publication. The physicality of the book allows us to think not only about representation, but about custody—how knowledge and memory are held, transmitted, and protected over time.\n\nTo make a book waza waza—on purpose, with care—is to refuse the idea that efficiency should determine value. Instead, it is to affirm that the act of making, assembling, and carrying a book can itself be a form of ethical and aesthetic practice. In this sense, the book is not only an object for reading, but also a temporary gathering place where different lives, geographies, and temporalities are held together with intention."])</script>
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5<script>self.__next_f.push([1,"Since 2023, due to increasing difficulties in the circulation and exchange of Chinese-language publications within mainland China (as a result of state regulation), we have begun to publish our books more intentionally in multilingual editions, including Japanese translations. This decision comes from a recognition that books should not be confined within a single linguistic or cultural boundary. However, the mainstream publishing world still often operates within national and linguistic frameworks, implicitly assuming that books are primarily meant for domestic readers. This significantly limits the potential of publishing as a transregional and cross-cultural form of communication.\n\nFor us, bringing our work to Iga is part of this broader effort to reimagine circulation beyond dominant cultural centers. We place particular importance on participating in book fairs outside major metropolitan hubs. Our project itself originated from a site-specific artistic practice in a working-class community in Shanghai, and this early experience continues to shape how we understand where books should go and whom they should reach.\n\nWe believe that non-metropolitan spaces—places that are not typically considered central nodes of cultural production—can open up different conditions of encounter. In such contexts, communication is less mediated by institutional visibility and more grounded in direct exchange. Many of our publications focus on small places, everyday lives, and marginalized communities; bringing these books into similarly non-central locations creates a resonance between content and context.\n\nUltimately, we hope that in a place like Iga, books and readers can activate each other in a more immediate and unexpected way. This is the most important possibility we are seeking: not circulation defined by scale or visibility, but by proximity, attention, and mutual encounter."])</script>
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5<script>self.__next_f.push([1,"Angelica Ong is a Singaporean artist working primarily with photography and artist books. Her practice explores time and its indexes, language, materiality and slowness, often looking to natural cycles, rhythms and phenomena as ways of experiencing the passage of time. How do we feel and experience time’s passing, which is both cosmic and intimately human in scale? She creates a range of artist books, from zines to more sculptural pieces. Combining photographic processes, material sensibility and self-reflexivity, Angelica challenges conventional notions of what an artist book can be by creating ‘pages’ and ‘spreads’ that are more than pages to turn, operating as layered sites of memory and meaning, embodying fragility and temporality. Visitors can expect a table featuring both editioned and unique works, each fully handcrafted from concept and design to printing, binding and construction.\nAngelica has exhibited at artist book fairs around the world, including the Singapore Art Book Fair (2025), the Hong Kong Photobook Festival (2025), and Tropic Bound (2025) in Miami. Her artist books can be found in the permanent collections of Ohio State University, Virginia Commonwealth University, Bryn Mawr College, and the School of the Art Institute of Chicago. Her work 「俳句の箱庭」 (‘Garden of Haikus’) was a Semi-Finalist for the Minnesota Centre for Book Arts (MCBA) in 2024 and her work 《起伏》‘sea tiles: dreaming tides, gathering and unravelling’ is currently on view as part of the Fore Edge Fair at the MCBA in Minneapolis."])</script>
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5<script>self.__next_f.push([1,"1. Title: ‘drifting nimbus’ 「透影」\nFormat: Handmade sculptural artist book\nSize: 12 x 18 x 3.8 cm\nEdition: Open edition, Copy 1 of 1\nWork has been previously presented\n2. Title: ‘Ascent’ 「山気」 (Working title)\nFormat: Handbound artist book (either accordion-bound or stab binding)\nSize: 20 x 12.7 cm (To be confirmed)\nEdition: Open edition\nWork has never been shown (currently being completed)\nFormat: Handbound accordion book, black and light grey risograph print on washi\nSize: 15 x 10 cm\nEdition: Edition of 35\nWork has been previously presented\nFormat: Handbound book via Japanese stab binding, inkjet print on washi\nSize: 10 x 16 cm\nEdition: Open edition\nWork has been previously presented\nFormat: Handmade sculptural artist book\nSize: 20.6 x 21.6 x 5.7 cm\nEdition: Open edition, Copy 2 of 2\nWork has been previously presented\nFormat: Handbound via saddle stitch binding, inkjet on tracing paper and laser print on newsprint\nSize: 21 x 13.5 cm\nEdition: Edition of 100\nWork has been previously presented\n7. Title: ‘cyanotypes of the sun’\nFormat: Cyanotype prints on kyōseishi\nSize: To be determined\nEdition: Unique\nWork has never been shown (currently being completed)\n8. Title: 「天の川」 ‘sea tiles: memories of the tides’\nFormat: Handbound accordion book, white riso ink on black paper\nSize: 10 x 16 cm\nEdition: Second edition, Edition of 40\nWork has been previously presented, currently deciding if I should print a second edition"])</script>
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5<script>self.__next_f.push([1,"In my practice, material, form, process and concept intertwine with and reinforce one another. What am I using, and why do I use it? This self-reflexive attention to meaning and making has drawn me to the artist book form for its intimacy, bodily scale and capacity to bring together images, materials and words in a single encounter.\nI go through the trouble of making artist books because the physical form changes how the work is understood. A book must be held, opened, turned, unfolded, moved around, and looked at closely. It asks for a slower and more intimate rhythm than an image encountered on a screen. In my works, pages are not only surfaces for images, but spaces of touch, transparency, weight, and movement. Semi-translucent papers allow images to merge under shifting light; thin materials heighten a sense of fragility; folds, bindings, boxes, and compartments give the work an architectural quality. The book becomes a small, portable exhibition—one that can be carried, shared, and experienced in our hands.\nWhile this way of working is often inefficient and generally not cost-effective, I value materiality and craftsmanship in artworks and the presence of the artist’s hand in the work. I spend a great deal of time sourcing papers, testing printing methods, considering colour tone, texture, thickness, translucency, and the way pages join or move against one another. Taking on the editing, printing, binding, and finishing myself gives me a closer relationship to the final object, and allows seemingly trivial but important decisions and changes to remain attentive to the ideas and feelings behind the work."])</script>
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5<script>self.__next_f.push([1,"The fact that I would be able to bring my works to Iga speaks to a key reason why I turned to bookmaking rather than large-scale installation: books are mobile, portable, and intimate. I love the relationship that books have with the hand and how they can be touched, stored, carried, and returned to again and again. I am drawn to how much a book can contain, and how images, text, materials, sequence, and touch can come together within a single encounter.\nMy artist books are concerned with the relational quality of images, text, and materials, and it would be especially meaningful to share them in Iga, the birthplace of Matsuo Bashō. I was first introduced to Bashō through my Japanese language teacher in school, and later re-encountered Japanese haikus through an anthology that included poets such as Masaoka Shiki, Kawabata Bōsha, and Natsume Sōseki. I was deeply struck by the impossibility of translation during this serendipitous encounter.\nThe specific momentum and sequence of text in a haiku is crucial in shaping the experience of reading it.\nHaikus also convey the most with the least (just 17 syllables)—they are vastness held in tremendous smallness. This has shaped the way I approach photography and multilingualism in my practice: the ‘emptiness’ and negative space around an image are just as important as the images on view, and shaping these negative spaces in my arrangements has become an important part of my process. I am also drawn to the strong relationship between haikus and time, for a key component of each haiku is its kigo (季語), forming a direct link with the seasons.\nThese concerns shaped my work 「俳句の箱庭」 (‘Garden of Haikus’), which responds to selected Japanese haikus through particular book forms, objects, and materials. Rather than merely translating what the haiku says, I am interested in translating how it feels: its nuances, atmosphere, and revelatory potential.\nTo bring my books to Iga is therefore not only to reach a new audience, but to return these questions to a place where poetry and literary history have deep resonance. I hope the works can enter into conversation with Iga’s history and the people who encounter them there."])</script>
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5<script>self.__next_f.push([1,"As long as I can remember, art has always occupied an important place in my life. I always loved drawing and never stopped, with a deep fascination for comics and the fact that you can create a whole universe with only a piece of paper and a pencil. My dream has always been to become an illustrator.\n\nWhen I was in high school, I had to make a choice about my professional future. I was dealing with a lot of remarks from people who told me that this future was impossible and uncertain. But the young Tunisian girl who was always reading books and imagining images and characters could not accept that. At the same time, I felt that I should listen to the adults, so I put all my dreams aside and turned to 2D and 3D animation.\n\nThere, I found a part of my passion, but in the end, something was missing, something more important than anything else: the freedom to draw anything I want, to explore new forms, new colors, anatomy, and backgrounds, to learn, to fail, and to start again.\n\nThis dream never abandoned me. For a long time, I never dared to create because I thought my work was never going to be good enough. I limited myself, without the courage to experiment with the potential of my imagination.\n\nToday, I decided not to repress it anymore. I want to reconnect with the passion of my childhood, the one that made me put all my drawings on the walls, the one that made me draw nonstop and see my dad with his “oh no, not again” face.\n\nAnd most importantly, I want to share it. I want to create images that kids, teenagers, and adults can relate to, to share a little piece of my mind through my style and my vision of the world."])</script>
5<script>self.__next_f.push([1,"26:T51b,I.CEBERG is an art collective of five artists who belong to WOW, a visual design studio in Tokyo. We call one another \"maisons,\" and while each of us pursues a different theme — physical phenomena, form, collage — we explore expression that crosses the boundaries between the digital and the analog, the artificial and the organic.\n\nWhat we chase is what lies beneath the waterline of an iceberg: the things that lurk in everyone's heart yet have not yet found words. Fear and longing, ugliness and tenderness, folded together into something we call the \"monster.\" To unearth it and offer it up as expression is the core of our activity.\n\nAt the center of that practice is our independent art book, I.CEBERG MAGAZINE. ISSUE 01 (2025) was a large-format volume composed of visuals alone, without words; through a unique binding that staggers the fore-edge in five tiers, we made the five artists' separate worlds coexist within a single book. ISSUE 02 (2026) placed words at its center, with the reading direction switching between vertical and horizontal for each maison, so that the reader progresses by rotating the book itself. As for exhibitions, we have taken part in TOKYO NODE's \"TOKYO PROTOTYPE,\" the \"New Kaiju Exhibition\" at Shibuya Hikarie, ZINE FES, and HOMEWORKS 2025 (Osaka), among others.27:T551,■ I.CEBERG MAGAZINE ISSUE 01 (published, 2025)\nA large 250×300mm format. It presents the artwork and creative process of the five maisons through visuals alone, without words. Bound with a unique method that staggers the fore-edge in five tiers, like a telephone book, it raises up five separate worlds within a single volume. The serial-numbered first edition sold out; it is now in its second edition.\n\n■ I.CEBERG MAGAZINE ISSUE 02 (published, 2026)\n110×180mm. An issue that traces the outline of the collective with words at its center. The reading direction switches between vertical and horizontal for each maison, so that the reader progresses while physically rotating the book. The first edition sold out.\n\n■ I.CEBERG MAGAZINE ISSUE 03 (prov
5isional / unreleased, in preparation)\nAn art book we are preparing as the culmination of our practice so far. In addition to a masterpiece from each maison, it will gather dialogues with the collaborators and connections who met and supported us through our work, weaving into a single volume the very theme of \"the relationships with people that expand through making.\" We are aiming to unveil it for the first time at this fair (format, size, and print run are still being adjusted).\n\nWe also plan to distribute \"Fragments of Iceberg,\" small works that give three-dimensional form to shards of thought.28:T725,"])</script>
5<script>self.__next_f.push([1,"Our main work is commission-based digital content, made in response to clients' requests. Even work into which we have poured enormous effort is consumed and swept away the moment it goes out into the world. The sense that a work slips from our hands in exchange for its completion was something we could never quite shake.\n\nI.CEBERG is the practice of gathering up what spilled away in that process. The emotions and hesitations that never became words and were left behind in the flow of work — when we scoop them up one by one and reassemble them, an outline eventually rises into view. Something in which fear and longing, ugliness and tenderness, are inseparably bound together, something that has not yet fully become words. We call it the \"monster.\" To believe in its existence, and — knowing full well that it cannot easily be grasped — to keep reaching for it all the same. It is in that very pursuit that we find meaning.\n\nI.CEBERG MAGAZINE is the record of that pursuit. The monster itself never resolves into an image, but to inscribe in a single volume the movements of the hands that chased it, and the traces of our wavering, becomes proof that we were here.\n\nAs a form for leaving that proof, we feel that the book is the most fitting. A material with thickness and weight, one that the fingers holding it know for certain to exist. A book, which remains along with its tactile feel, keeps the easily-scattered \"meaning of making\" close at hand. The five-tiered staggered binding of ISSUE 01, and the read-while-rotating structure of ISSUE 02, are both, by the measure of efficiency, \"things one need not do.\" We choose them nonetheless because we want to leave the invisible monster behind as something that was, without doubt, present in this world. That is why we make things \"the hard way\" — wazawaza."])</script>
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5<script>self.__next_f.push([1,"I chose to undertake the immense labour involved in making a second edition of 7 Color Contrasts with Risography because I saw it as an opportunity to learn new skills. For example, in order to prepare the complex files for a riso book that involves 192 masters, I first need to learn new software skills. Writing with simplicity and clarity about the complex topic of color theory also helped solidify the theoretical concepts for my own artistic work. \n\nAfter writing, designing and preparing files, I physically transported around 200 lbs of paper to the riso lab, printing in two hour increments over the course of four months. Only being able to access the lab at certain times forced me to slow down even more and think about the details. Even so, there are imperfections in the work that naturally occur when an object is handmade and it makes each copy in the edition precious. When the printing was finished, I carried the pages home by subway in manageable batches. Then my task was to crease, fold, punch, and bind 4,500 individual sheets of paper. Doing this kind of repetitive work gave me a feeling of purpose but can also bring up feelings of doubt. I am constantly recommitting to the enormity of the task.  \n\nI feel connected to the work because of the mental and physical labor that I put into it. It felt important for the message of the book that it be made in this way because I didn't want a book about riso color to be printed with cmyk inks. Making this book has been worthwhile because it has opened up opportunities for me to meet with other artists and to travel to new places for book fairs."])</script>
5<script>self.__next_f.push([1,"2a:T552,My name is Sakiwa Oshiro, and I run PPP site. I am currently enrolled in the graduate school of Kyoto City University of Arts, where my research focuses on artist books and on the art book fairs that serve as the settings in which they are received. PPP site is a publishing label I launched in January 2026. In my daily practice I work in collaboration with designers and artists to bring a single work into being together, thinking all the while about how private thoughts can be enclosed within, and spread through, the public medium of the book.\n As for my activities so far: in December 2025 I exhibited at the Ibaraki Art Book Fair by THE COPY TRAVELERS, where I presented “Re-Reading (Practice),” a book that documents the act of re-reading books. In January 2026, together with the launch of PPP site, I presented and exhibited 「It Has Not Been / Must Not Be Forgotten That We Waited Longingly for One Another, Different and Alternating」—a collection of correspondence pairing drawings and poems, created under the names of the artist Namiko Toyama and Sawana Naganemine—at the group exhibition “Gyokuosei, Ryuhei Souka, and Namiko Toyama: The Transparent Onion” (gallery gobangura, Kyoto). In June 2026, at Pages Fukuoka Art Book Fair 2026, I exhibited “Skipping stones,” an artist book made to interpret the work of Namiko Toyama.2b:T5db,"])</script>
5<script>self.__next_f.push([1,"The reason I go to the trouble of expressing myself in the medium of the book is partly that I regard the very act of making a book as a form of artistic expression, but above all it is because I feel a strong affinity between self-published works—particularly those in limited editions—and the exhibition, which makes the book a medium well suited to conveying an artist’s thought and the way a work exists. In the process of reproducing a book, even in a small edition, in a state that preserves the traces of the artist’s and my own handwork, and delivering it to viewers within arm’s reach, I find a value equal to that of building an exhibition. Behind this lies inspiration from Seth Siegelaub’s exhibition-on-paper The Xerox Book. Beyond the interest of expression on the page and the shifting images that appear as one turns the pages, I am drawn to the way a book—like a portable exhibition—opens up simultaneously in many different places as a personal experience for each viewer. And when I think of a future in which the internet has fallen into disuse, the very n
5ature of the book as a form means it may be found somewhere fifty or a hundred years from now; I can look forward to the book being carried off to places I myself cannot foresee. That a book, as a medium for opening up private thought, comes to be owned by others and becomes a private possession that remains in the hands of the person who has picked it up—this too is one of my reasons for making books."])</script>
5<script>self.__next_f.push([1,"2c:T482,When I first began publishing, I learned that the word “publish” carries the meaning of making knowledge or thought public, and that from this it came to mean “to issue in print.” When I think about the history of Iga and of Sukodo—that for some eighty years it was a place beloved by the townspeople as a place for reading and learning centered on its lecture hall, and that it developed from a domain school into a library and then a cultural-property facility—I felt my own activity, “PPP (Private Public Publishing),” and the “site” that embodies it, overlap with this history of the transmission of thought through books. I have also heard that Iga is a place rich in nature, and since my publications include artist books that take nature as their motif in particular, a wish welled up in me to have the people of Iga see them. In addition, I applied to exhibit in the hope that, through meeting all sorts of exhibitors, art books, and visitors, cultures and ideas would intersect, that exchanges I have never experienced before would arise through books and creative activity, and that I might discover new value there as well.2d:T4e5,Since 1993 I have photographed Kumano, Koyasan, and the Omine Okugake pilgrimage route. In 1996 I traveled to the United States, mastering the Zone System in Ansel Adams's darkroom. In 1998 I completed my studies in photography at Osaka University of Arts and graduated. At the YPF (Young Portfolio) of the Kiyosato Museum of Photographic Arts, ten black-and-white photographs of the Kii Peninsula were added to the permanent collection through the jury of Yasuhiro Ishimoto, Kishin Shinoyama, and Eikoh Hosoe. I served as an assistant to Elliott Erwitt at Magnum Japan. I have held solo exhibitions at the Nara City Museum of Photography, the Tokyo Metropolitan Museum of Photography, Gallery Art Graph Ginza, and elsewhere. I published \"Noroshi\" (Signal Fire), a photobook gathering my private landscapes of the Kii Peninsula in black-and-white fine art photography. It sold out in 2024, and in that same year, 2024, I published a second edition. Last year, in 2025, I took part in book fairs centered on Asia — Hong Kong, Seoul, Singapore, Taipei, and Shanghai (coming this June) — exhibiting and selling original prints and the photobook. For 2026 as well, I plan to travel to various places, positioning it as a second-edition publication tour.2e:T555,I'll be presenting three main works alongside a variety of other poetry zines and comics:\n\nFruitless... (Japanese edition, 2025). This is a condensed 40-page Japanese translation of my 2023 fable illustrated by Japanese artist Tanate Asami, riso-printed by Retro JAM in Osaka. The book is accompanied by an album of music. In 2025 I stocked this edition in stores across Tokyo, Shizuoka, Okayama, and Hiroshima during a month-long visit to Japan.\n\nRzo #1 (Japanese edition, 2026, debuting at the fair). This is a riso-printed comic illustrated by Japanese artist Mori Yuu, following the motivational lizard mascot of the fictional nutrition brand SureVival as he begins to question the company he has devoted his life to. I also have supplemental brand material and ephemera from SureVival, so my table will showcase aspects of the immersive satirical world built around the story.\n\nTea zines (in progress and intended to debut at this fair). This is my first autobiographical work, collecting writing and photography from teahouses I've visited across different countries and the unexpected connections they've brought into my life. Given the region's relationship with tea, Iga feels like the most meaningful place to debut it.\n\nMany of my works come with a free download of music, and I often hand out a download code with exclusive music made for each festival.2f:T533,It has always been important to me to have a physical component to my art, even when the music exists digitally. In my household growing up, physical media like comics, books, newspapers, and CDs made a strong impact on me. As I grew older, I began attending indie comics and zine festivals a"])</script>
5<script>self.__next_f.push([1,"nd worked briefly for an independent comics publisher, which introduced me to the world of self-publishing. As I’ve traveled the world, I’ve encountered zines that have given me unique insight into the individual and the area they came from. (Some of these zines have even led to friendships!)\n\nBecause of all these experiences, I find the physical component of my art to be an essential point of connection. To me, this concept of わざわざ speaks to a level of care put into craft that in turn communicates a care for the reader who might encounter it. When someone picks up a copy of something I printed, I want them to feel a personal connection, like someone in the world cared enough to consider their experience.\n\nIntentionally designed physical media creates a space to slow down and appreciate the work someone has put into their art. And self-publishing in particular allows me to iterate on a design and continue to reinterpret my art so that they are living statements that grow along with the people who encounter them.30:T450,■ Hito Zine vol.1 (2025): limited edition of 50 copies, 800 yen.\n■ Hito Zine vol.2 (2025): limited edition of 100 copies, 1,500 yen.\n\"Hito Zine\" is a collective zine project organized by \"Nombre,\" a community for learning about books, letters, and printing.\nContributors bring together expressions that vary in both genre and format — illustration, essays, photography, graphics — and the zine is bound in a style that combines pages of differing sizes and specifications. Under the concept of \"a project where people gather rather than a zine,\" creators connected with Nombre take part. Rather than the degree of polish, we value the enjoyment of the process and the connections between people. It is a zine packed with the individuality of each contributor.\n\n■ Vacances \"HAJINOSATO ZINE\" (4 kinds in all / Vol.1–4), 500 yen each.\nThe HAJINOSATO ZINE of Hajinosato, created together by the illustrator Atsushi Toyama and children through workshops. A crystallization of the town's scenery, expressed through illustration and lettering, born from each person's perspective and their teamwork.31:T699,"])</script>
5<script>self.__next_f.push([1,"I am always thinking about the future, and before I know it I spend my time with my heart somewhere other than here. What gently pulls that self back to the \"now\" in front of me, and reties my connection with the world, is, I think, the act of taking photographs. And yet a photograph, from the very instant the shutter is released, is already receding into the past. What is captured there is not only the subject, but also a faint trace of the fact that I existed in that time, in that place, gazing at the world.\n\nThe reason I gather it all into a single book is that I want to preserve the flow of thought and time that a single photograph cannot hold, as a sequence of images and words. You turn a page, pause for a moment, then go back to the previous page. A book has a margin, a space in which each viewer can face the work in their own time. The texture and weight of the paper, the tones of the printing, right down to the binding. To be able to give my thoughts a body through all of these things, that too is one of the reasons I choose the form of the book.\n\nFor me, making a book is not a means to convey finished ideas efficiently. It is, I think, the act of feeling my way toward emotions that have not yet fully become words, and questions I cannot quite explain even to myself, borrowing the forms of photographs, poems, and stories. The information on a screen keeps flowing past, endlessly updated. A book, by contrast, remains in someone's hands as a single object, and continues to exist, surely, even in some time I will never know. To leave a trace of the fact that I was here, thinking, gazing at the world, is why I go to the trouble of making the form of a book."])</script>
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5<script>self.__next_f.push([1,"Recently, when I looked at the back of a DVD, I had a strange sensation. Along with nostalgia, I also felt something fresh.\nSince it became ordinary to encounter films and music through subscriptions, works tend to appear as thumbnails. Titles and jacket images catch the eye, but there is almost no occasion to come into contact with the synopsis and the layout of scene photographs on the back of a DVD, or with the design of a CD’s lyric booklet and disc surface.\nWhat I realized then was that I am strongly drawn not only to the work itself but also to what surrounds it.\nA book has a front cover and a back cover. It has margins, it has an order, and it can be closed. Unless you turn the page, the next photograph will not appear. Those parts other than the photographs shape the distance to a photograph and the way one meets it.\nI do not want to make books solely in order to present photographs. I want to give form to everything, including what lies around the photograph.\nIf efficiency were all that mattered, there would be any number of easier ways. Even so, the reason I choose the form of the book is that I want to create the very environment in which photographs are seen. I want to give form to the distance, the order, and even the boundaries one crosses in reaching the work.\nIn order to give a single form to the space and time surrounding a photograph, I go to the trouble of making books."])</script>
5<script>self.__next_f.push([1,"33:T566,"])</script>
5<script>self.__next_f.push([1,"I resonated with the part of this event's concept that says, \"A book exists not only to be read, but within the experience of seeing, touching, and feeling.\" On that basis, when I looked into Iga as a place, I learned that many historic structures remain there. I was especially struck that the venue, the historic Sukodo, has been maintained as a hall serving as a library and cultural-property facility, cherished over a long span of time.\n\nThe act of taking an experience — receiving the garden's atmosphere while still in that pleasant state — and recording it as a book was one in which the sensory experience I had been unconscious of was translated into paper, layout, ink, and thread, deepening my understanding all the more. That has nothing to do with whether one knows the proper etiquette; if anything, being an unfamiliar viewpoint may allow for a fresh way of receiving it.\n\nI would love for people to make the trip to Iga and, with a relaxed sensibility for reading, take this book in. I believe it can become an occasion to slowly draw out the appeal of gardens and their approach paths, in the same way one reads a book. It is also a way of conveying the thinking of those who made the garden and those who tend it every morning. I am very interested, too, in exchanges with the people who come all the way there to read, and with those who set up their stalls."])</script>
5<script>self.__next_f.push([1,"34:T461,Works of scent vanish once the exhibition ends. The conversations exchanged in a workshop, the experience of smelling a fragrance — these belong only to that moment. «Olfactophone», too, is a project that places its value in the process of exchange itself rather than in a finished work. For that reason, there is much that photographs or text alone cannot fully preserve.\nThis time, I regard the book not as a medium for conveying information but as an object that comes with scent, material, and touch. The reason I use scent-testing strips and insert-type parts is not so that the book can be read, but so that it can be opened, touched, drawn out, and smelled. Precisely because we live in an age where digital recording is so easy, I wanted to preserve something that cannot be fully reproduced — like scent — in a limited, handmade form. Incomplete, inefficient, and impossible for anyone to experience identically. That state overlaps with the \"communication through partial understanding\" that «Olfactophone» explores. This book is not a record of the work but exists as an extension of the work itself.35:T431,From the outset, I conceived of this work as a 
5structure that would not fit the format of an ordinary art book or zine and its extensions. It can have pages, but it is not premised on being circulated lightly or shared as a uniform reading experience; rather, I felt a need to redefine the very form of the \"book\" itself.\nAmid this, I learned of this fair and became strongly interested in its stance of trying to expand the very form of the \"book,\" and its attempt to update the framework of production and circulation. It proceeds from premises different from those of the conventional art-book framework, and in that respect I sense a possibility of connection with this project.\nDelivering the work to a place like Iga is not about leaving behind urban speed or the center of existing contexts; rather, it is an act of testing how a work is reconstituted under different conditions. The very form of an art book fair is a device that produces not distribution but \"encounter,\" and within it I want to experiment with how a book gets misread and has its meaning updated."])</script>
5<script>self.__next_f.push([1,"c:[\"$\",\"$1\",\"c\",{\"children\":[[\"$\",\"$L17\",null,{\"exhibitors\":[{\"slug\":\"gato\",\"exhibitorName\":\"\u0026gato.\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"photobook\",\"zine\"],\"social\":\"https://www.instagram.com/karin_nkym/\",\"website\":\"https://karinnakayama.myportfolio.com/\",\"activityIntro\":\"京都、浜松、東京を拠点に活動するクリエイティブユニット。絵画、音楽、写真などを中心とした表現活動を展開しています。これまで企画展の主催や地域イベントへの参加を通じ、多様な繋がりを広げながら活動を続けています。\",\"presentWork\":\"1. アメリカ旅写真集『NOT TOO LATE』\\n2. 写真|詩集『TOY BOXⅡ』\\n3.絵本 『ポールとコインランドリー』\\n4. 写真集『I like your footsteps!』\",\"whyBook\":\"紙媒体でしか伝わらない温かみや空気感を大切に、本を制作しています。インターネット上の情報が絶えず流れ去っていくのに対し、紙面に乗る情報は、読み手それぞれのペースでじっくりと伝わっていきます。また、イベントなどで本を手に取り、興味を持ってくださった方々と直接言葉を交わすことで、私たち自身も作品への解釈が深まっていきます。本という「実体」があるからこそ生まれる、そのようなコミュニケーションも、私たちがわざわざ本を作る大きな理由です。\",\"whyIga\":\"まず大きな理由は、私(Karin)自身のルーツが伊賀にあるからです。幼い頃から海外で育った私にとって、伊賀は出身地でありながら、どこか馴染みの薄い存在でした。しかし、高校生になって日本へ戻り、改めてこの土地を知り直す過程で、伊賀の持つ魅力や文化の奥深さに気づかされました。\\nこのBook Fairを通じて伊賀という土地にどのようなコミュニティが生まれ、新たな文化が形成されていくのかに興味関心があります。\\nまた、前項でも触れましたが、ふだんは私たちの作品が届かない場所で、新たに出会う人々と言葉を交わしたいという思いもあります。伊賀という特別な場所での対話を通じて、私たち自身の作品への解釈をさらに深めていきたいと考えています。\",\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/gato/02.jpg\",\"/images/exhibitors/gato/01.jpg\",\"/images/exhibitors/gato/03.jpg\",\"/images/exhibitors/gato/04.jpg\",\"/images/exhibitors/gato/05.jpg\"],\"submittedAt\":\"2026-06-21T23:43:32.000Z\",\"talkInterest\":\"No\",\"comments\":\"運営お疲れ様です!よろしくお願いします!\",\"i18n\":{\"en\":{\"activityIntro\":\"A creative unit based in Kyoto, Hamamatsu, and Tokyo. We develop expressive activities centered on painting, music, photography, and more. Through hosting our own exhibitions and taking part in local events, we have continued our work while widening a diverse range of connections.\",\"presentWork\":\"1. American travel photobook 'NOT TOO LATE'\\n2. Photography|poetry collection 'TOY BOX II'\\n3. Picture book 'Paul and the Laundromat'\\n4. Photobook 'I like your footsteps!'\",\"whyBook\":\"We make books while cherishing the warmth and atmosphere that can only be conveyed through print. In contrast to information on the internet, which flows ceaselessly away, information that rides on the printed page is conveyed slowly, at each reader's own pace. Also, by handing our books to people at events and exchanging words directly with those who take an interest, our own interpretation of the work deepens as well. That kind of communication, which arises precisely because a book is a \\\"physical presence,\\\" is a major reason we go out of our way to make books.\",\"whyIga\":\"The biggest reason, to start, is that my own (Karin's) roots are in Iga. Having grown up abroad from a young age, Iga was for me my birthplace and yet somehow an unfamiliar presence. But when I returned to Japan as a high school student and, through the process of getting to know this land anew, I came to realize the appeal of Iga and the depth of its culture.\\nI am curious about what kind of community will emerge in this land of Iga through this Book Fair, and how a new culture will take shape.\\nAlso, as I touched on earlier, I have a wish to exchange words with people I newly meet in places our work does not usually reach. Through dialogue in the special place that is Iga, I hope to further deepen our own interpretation of our work.\"}}},{\"slug\":\"0x8x0_no\",\"exhibitorName\":\"0x8x0_no\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"artist\",\"photobook\",\"zine\"],\"social\":\"https://www.instagram.com/hellpeas\",\"website\":\"https://www.gemini.ooo\",\"activityIntro\":\"東京出身。日本大学芸術学部写真学科を経て2009年にシドニーへ移住、UTS海洋生物学部卒。「Sara Pao」名義でオーストラリア各地のギャラリーにて展示、「Ge:mini」名義でNFTプロジェクトを展開後、2024年に日本へ完全帰国し、地元・高円寺を拠点に両者を統合した現名義「0x8x0_no」として活動を再開。写真を軸に、デジタルから手製本まで、形にとらわれなã
5„かたちで作品を発表してきた。過去には「桃源郷」(2018)、西オーストラリアの先住民の土地をテーマにした「Dear,」(2019)などのダミーブックを制作。また「白餡虎(Shiroanko)」名義でイラストも気まぐれに手がける。インディペンデントアートショップ「unprompted.love」運営。\",\"presentWork\":\"$18\",\"whyBook\":\"私の作品づくりの根底には、時空のレイヤーと無意識の同期がある。まだ見えていないけれど、既にそこにあるもの。それを探求しています。そして写真集、特に手製の写真集がそれを表現するのに適していると思うからわざわざ作っています。\\n\\n写真集を見ることでそれを見る人と写真集の間で起きる私的な経験。そして写真のシークエンスの流れが作りだすものに、向き合う人もページをめくる度に一緒に流れていく。その経験は、違う時間のレイヤーや見る人それぞれの記憶や思いと幾重にも呼応しながら、広がる波となっていく。それはまた別の何かとシンクロし、続いていく。私は、その始まりの地点をつくりたいと思っています。あるいは、それはすでに呼応のシンクロの続きで私はただ、それをわかりやすい形にするために、ひとつの「地点」、つまり自分の作品を一旦つくる。その地点から、呼応の波がこれからもシンクロし続けていけばいいなと思っています。\\n\\nまた、本という形にこだわるのは写真は絵画とは違い一枚で世界に入ることができないと考えている、もしくはそれでは断片的すぎると考えているからです。写真は8枚でも50枚でも200枚とシークエンスがあってはじめて、ようやくその作品に触れることができると、さらにそれが手製本であれば尚更良いと思っているから作っています。\",\"whyIga\":\"$19\",\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/0x8x0_no/02.jpg\",\"/images/exhibitors/0x8x0_no/01.jpg\",\"/images/exhibitors/0x8x0_no/03.jpg\"],\"submittedAt\":\"2026-06-22T00:00:02.000Z\",\"talkInterest\":\"Yes\",\"comments\":\"どうぞよろしくお願い致します!\",\"i18n\":{\"en\":{\"activityIntro\":\"Born in Tokyo. After studying at the Department of Photography, College of Art, Nihon University, moved to Sydney in 2009 and graduated from the Marine Biology program at UTS. Exhibited at galleries across Australia under the name \\\"Sara Pao,\\\" and developed an NFT project under the name \\\"Ge:mini.\\\" In 2024, moved back to Japan for good and, based in home neighborhood Koenji, resumed working under the current name \\\"0x8x0_no,\\\" which unites both earlier practices. Centering on photography, has presented work in forms unconstrained by medium, from digital to handbound books. Past dummy books include \\\"Togenkyo\\\" (2018) and \\\"Dear,\\\" (2019), which took the land of the Indigenous people of Western Australia as its theme. Also makes illustrations on a whim under the name \\\"Shiroanko.\\\" Runs the independent art shop \\\"unprompted.love.\\\"\",\"presentWork\":\"$1a\",\"whyBook\":\"$1b\",\"whyIga\":\"$1c\"}}},{\"slug\":\"51-personae\",\"exhibitorName\":\"51 Personae\",\"country\":\"China\",\"originalLang\":\"en\",\"categories\":[\"bookstore\"],\"social\":\"https://www.instagram.com/51personaeproject/\",\"website\":\"https://drive.google.com/file/d/1BhD1SW-MrgO7eBZfQiJ0G5rD9ET9tZtr/view?usp=sharing\",\"activityIntro\":\"$1d\",\"presentWork\":\"$1e\",\"whyBook\":\"$1f\",\"whyIga\":\"$20\",\"i18n\":{\"ja\":{\"activityIntro\":\"51 Personae は、中国・上海を拠点とする独立系の実験的な出版・アートプロジェクトです。私たちの実践は、出版・アート・書籍制作という従来のカテゴリーを横断し、またそれを越えて展開しており、アーティストブック、ジン、インディペンデント・コミック、版画、ドキュメンタリーに基づく出版物などを手がけています。私たちは出版を、固定されたジャンルやフォーマットではなく、物質的であると同時に関係的でもある、社会的かつ芸術的な実践として捉えています。\\n\\nこのプロジェクトは、第11回上海ビエンナーレの会期中に展開されたソーシャリー・エンゲージド・アート(社会関与型芸術)の取り組みの一環として、2016〜2017年に始まりました。当初は都市の労働者階級コミュニティと、街の日常生活に焦点を当てていました。2018年以降は、現代アートと出版の境界を意図的に横断する独立した出版実践を発展させ、書籍をフィールドワーク・記録・流通の一形態として用いてきました。\\
5n\\n2023年以降は多言語版の刊行を増やし、アジア各地の版画家やインディペンデントなアーティストとのコラボレーションを拡大しています。こうした協働により、自律性と手頃さを重視しつつ、低コストで入手しやすく再生産可能な出版のかたちを追求しています。出版物は直接的な流通を通じて頒布しており、国際的なアートブックフェアやジン・フェスティバルへの参加もその一環です。そこではブースそのものが、交換・出会い・インフォーマルな展示の場として機能します。\\n\\nこうした継続的な実践を通じて、51 Personae は読者・アーティスト・協働者からなるトランスローカル(地域を越えた)なネットワークの構築を目指しています。出版を、アジアおよびグローバル・サウスにおける社会の現実、周縁化された歴史、生きられた経験への、集合的な探求の方法として位置づけています。\",\"presentWork\":\"フェアでは、51 Personae が手がけた最近および近刊のインディペンデント出版物に加えて、アジアやヨーロッパのアーティスト・作家との協働プロジェクトを展示する予定です。私たちのテーブルには、既刊のほか、新刊・近刊のタイトルも並びます。\\n**既刊/最近リリースした作品:**\\n形態:インディペンデント・コミック\\nサイズ:165 x 220 mm\\nエディション:少部数オフセット\\n複数の国際アートブックフェアやジン・フェスティバルで発表済み。\\n形態:版画・手描きコミック・テキストを組み合わせたドキュメンタリー・ジン\\nサイズ:A5\\nエディション:少部数オフセット/インディペンデント版\\n2026年に初発表。\\n形態:アーティストブック/ドキュメンタリー出版物\\nサイズ:165 x 220 mm\\nエディション:少部数オフセット\\n2026年6月刊行予定\\n形態:イラスト入りフォト・ジン/エッセイ出版物\\nサイズ:ポケットサイズ\\nエディション:少部数オフセット\\n2026年7月刊行予定\\n* *Between Animals* — May Frazen(2026年7月近刊)\\n形態:インディペンデント・グラフィックノベル\\nサイズ:A5\\nエディション:少部数オフセット\\n状況:新刊。フェアの時期により、限定または初発表となる予定。\\n形態:アーティストブック/ドキュメンタリー出版物\\nサイズ:A5(予定)\\nエディション:制作中\\n状況:新刊。選定したフェアでの初の一般発表を予定。\\nこれらの出版物全体を通じて、私たちは低コストのオフセット印刷、持ち運びしやすい判
5型、そしてブックフェアでの直接流通による公正な頒布を重視しています。多くの作品は長期的な協働から生まれており、読み物であると同時にインフォーマルな展示物としても流通するよう設計されています。\",\"whyBook\":\"51 Personae にとって、物質としての本をつくることは単なる媒体の選択ではなく、生きられた経験——とりわけ周縁的で、不安定で、容易に消し去られてしまいがちな経験——に、持続するかたちを与えようとする意志の表れです。出版が瞬時に行え、編集も可能で、デジタル空間で際限なく流通しうる時代にあって、私たちはなお物質的なオブジェクトとしての本に立ち返ります。本は、オンラインの流通がもつ速さや移ろいやすさに抗う、別種の永続性を備えているからです。\\n\\n私たちは紙と本という形式を、究極の媒体のかたちとして捉えています。すなわち、人間の経験や思考を、容易には上書きも削除もできないかたちで蓄える構造です。これは、市井の人々の物語、労働者階級の暮らし、支配的な文化的可視性の外に置かれたコミュニティを扱うとき、とりわけ重要になります。本をつくることは、こうした経験を視覚的・テキスト的な形へ翻訳するだけでなく、物理的な重み・存在感・耐久性をもったアーカイブを構築することでもあるのです。\\n\\n私たちのプロセスは、遅さ・労力・一見すると非効率に見えるものに、あえて深く関わります。それは編集・構成・印刷・製本、そして国境や文脈を越えて本を物理的に運ぶことに費やされる時間でもあります。私たちはこうした物質的・物流的な制約を、障害ではなく、作品そのものの意味の一部だと考えています。流通の難しさは、ケアとコミットメントのかたちへと変わります——一冊一冊が、別の場所へ、別の手へと届けるために要した労力を携えているのです。\\n\\n感情の面では、このプロセスはしばしば、注意深さと責任に根ざしています。生きられた経験の断片がどのように配置され、束ねられるかへの注意。そして出版物に入ってくる人々と物語に対する責任です。本の物質性は、表象についてだけでなく、「保管(custody)」についても考えることを可能にします——知識と記憶が、時を越えてどのように保持され、伝えられ、守られていくのか、ということです。\\n\\n本をわざわざ——意図して、丁寧に——つくることは、効率こそが価値を決めるという考え方を拒むことです。むしろ、本をつくり、組み上げ、運ぶという行為そのものが、倫理的かつ美的な実践でありうると肯定することなのです。その意味で、本は読むためのオブジェクトであるだけでなく、異なる生・地理・時間性が意図をもって束ねられる、一時的な集いの場でもあります。\",\"whyIga\":\"2023年以降、中国本土における中国語出版物の流通や交換が(国家による規制の結果として)ますます困難になったことを受け、私たちは日本語訳を含む多言語版での刊行を、より意識的に進めるようになりました。この決断は、本が単一の言語的・文化的境界の内側に閉じ込められるべきではない、という認識から生まれています。しかし主流の出版界は今なお、国家や言語の枠組みの中で動くことが多く、本は主に国内の読者に向けたものだと暗黙のうちに前提しています。これは、地域や文化を越えたコミュニケーションの形としての出版がもつ可能性を、大きく狭めてしまいます。\\n\\n私たちにとって、作品を伊賀へ届けることは、支配的な文化的中心の外側で流通を捉え直そうとする、こうした広い試みの一部です。私たちは、大都市圏の外にあるブックフェアへの参加をとりわけ大切にしています。私たちのプロジェクト自体が、上海ã
5®åŠ´åƒè€…éšŽç´šã‚³ãƒŸãƒ¥ãƒ‹ãƒ†ã‚£ã«ãŠã‘ã‚‹ã‚µã‚¤ãƒˆãƒ»ã‚¹ãƒšã‚·ãƒ•ã‚£ãƒƒã‚¯ãªèŠ¸è¡“å®Ÿè·µã‹ã‚‰å§‹ã¾ã£ã¦ãŠã‚Šã€ãã®åˆæœŸã®çµŒé¨“ãŒã€æœ¬ãŒã©ã“ã¸è¡Œãã€èª°ã®ã‚‚ã¨ã¸å±Šãã¹ãã‹ã¨ã„ã†ç§ãŸã¡ã®è€ƒãˆæ–¹ã‚’ã€ä»Šã‚‚å½¢ã¥ãã£ã¦ã„ã¾ã™ã€‚\\n\\n私たちは、非大都市的な空間——通常は文化生産の中心的な結節点とは見なされない場所——こそが、異なる出会いの条件を開きうると信じています。そうした文脈では、コミュニケーションは制度的な可視性によって媒介される度合いが小さく、より直接的な交換に根ざしています。私たちの出版物の多くは、小さな場所、日常の暮らし、周縁化されたコミュニティに焦点を当てています。こうした本を、同じように中心から外れた場所へ持ち込むことは、内容と文脈のあいだに響き合いを生み出します。\\n\\n最終的に私たちは、伊賀のような場所でこそ、本と読者がより直接的で予期せぬかたちで互いを活性化しうることを願っています。これこそが私たちが探し求めている、最も大切な可能性です——規模や可視性によってではなく、近さ・注意・相互の出会いによって定義される流通なのです。\"}},\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/51-personae/02.jpg\",\"/images/exhibitors/51-personae/01.jpg\",\"/images/exhibitors/51-personae/03.jpg\",\"/images/exhibitors/51-personae/04.jpg\",\"/images/exhibitors/51-personae/05.jpg\"],\"submittedAt\":\"2026-06-07T02:30:25.000Z\",\"talkInterest\":\"Yes\"},{\"slug\":\"angelica-ong\",\"exhibitorName\":\"Angelica Ong 王歆惠\",\"country\":\"Singapore\",\"originalLang\":\"ja\",\"categories\":[\"artist\",\"photobook\",\"self-publisher\",\"other\"],\"categoryOther\":\"writer; researcher; etc.)\",\"social\":\"https://www.instagram.com/catchingsunlight_\",\"website\":\"https://angelicaong.art/\",\"activityIntro\":\"アンジェリカ・オンは、写真とアーティストブックを制作するシンガポール出身のアーティストです。彼女の実践は、時間とその痕跡、言語、物質性、そして「遅さ」を探求するものであり、自然の循環、リズム、現象を、時間の経過を感じ取り、経験するための手がかりとして捉えています。宇宙的なスケールでありながら、同時にきわめて人間的で親密なものでもある時間の流れを、私たちはどのように感じ、経験しているのでしょうか。\\n彼女は、ジンからより彫刻的な作品まで、幅広いアーティストブックを制作しています。写真のプロセス、素材への感受性、そして自己省察的な姿勢を組み合わせながら、アンジェリカはアーティストブックとは何かという従来の概念に問いを投げかけます。彼女の作品における「ページ」や「見開き」は、単にめくるためのものではなく、記憶と意味が幾層にも重なり合う場として機能し、儚さや時間性を内包しています。会場では、エディション作品とユニーク作品の双方をご覧いただけます。いずれも、コンセプトとデザインから、印刷、製本、構造の制作に至るまで、すべて手作業で制作された作品です。\\nアンジェリカはこれまで、Singapore Art Book Fair(2025年)、Hong Kong Photobook Festival(2025年)、マイアミで開催されたTropic Bound(2025年)など、世界各地のアーティストブックフェアに出展してきました。彼女のアーティストブックは、オハイオ州立大学、バージニア・コモンウェルス大学、ブリンマー大学、シカゴ美術館附属美術大学の永久コレクションに収蔵されています。作品 「俳句の箱庭」(‘Garden of Haikus’)は、2024年にMinnesota Center for Book Arts(MCBA)のブックアート賞においてセミファイナリストに選出されました。また、《起伏》‘sea tiles: dreaming tides, gathering and unravelling’は現在、ミネアポリスのMCBAで開催中のFore Edge Fairにて展示されています。\",\"presentWork\":\"3. Title: 「暁月夜」 ‘grey suns’《黎明》\\n4. Title: ‘the smallest registers of motion’《微尘似梦》「上り月や 手に震える」\\n5. 「俳句の箱庭」 (Garden of Haikus)\\n6. Title: ‘on things fugitive’ 《如朝露暮霭》「果敢無い物事」 «sur les choses fugitives»\",\"whyBook\":\"私の実践において、素材、形、プロセス、コンセプトは互いに絡み合い、補強し合っています。私は何を用いているのか、そしてなぜそれを用いるのか。意味と制作に対するこうした自己省察的なまなざしが、親密さ、身体的なスケール、そしてイメージ、素材、言葉をひとつの出会いのなかに結びつけることのできるアーティストブックという形式へと、私を引き寄せてきました。\\
5n私がわざわざアーティストブックをつくるのは、物理的な形式そのものが、作品の受け取られ方を変えるからです。本は、手に取られ、開かれ、めくられ、広げられ、動かされ、近くでじっくりと見られるものです。それは、スクリーン上で出会うイメージとは異なる、よりゆっくりとした、親密なリズムを鑑賞者に求めます。私の作品において、ページは単にイメージを載せるための面ではなく、触覚、透明性、重さ、そして動きのための空間でもあります。半透明の紙は、移ろう光のもとでイメージ同士が溶け合うことを可能にし、薄い素材は被写体のもろさを強めます。また、折り、綴じ、箱、仕切りといった構造は、作品に建築的な性質を与えます。本は、持ち運び、共有し、手の中で経験することのできる、小さな可動式の展覧会のようなものになるのです。\\nこのような制作方法は、多くの場合、非効率的で、一般的に費用対効果の高いものではありません。それでも私は、作品における物質性や手仕事、そして作家の手の痕跡を大切にしています。紙を探し、印刷方法を試し、色調、質感、厚み、透け感、ページ同士のつながり方や動き方を考えるために、多くの時間を費やします。編集、印刷、製本、仕上げまでを自分自身で担うことで、完成したオブジェクトとの距離がより近くなります。そして、一見些細に見えるけれど重要な判断や変更を、作品の背後にある考えや感情に寄り添わせ続けることができるのです。\",\"whyIga\":\"私の作品を伊賀まで持っていくことができるということは、アーティストブックへと向かった大きな理由を示しています。本は移動可能で、持ち運ぶことができ、親密な形式だからです。私は、本と手との関係性に強く惹かれています。本は触れられ、保管され、運ばれ、そして何度でも再び手に取ることができます。また、一冊の本がどれほど多くのものを内包できるのか、そしてイメージ、テキスト、素材、シークエンス、触覚がひとつの出会いのなかで結びつくことにも魅力を感じています。\\n私のアーティストブックは、イメージ、テキスト、素材の間に生まれる関係性を巡るものです。そのため、松尾芭蕉の生誕地である伊賀で作品を紹介できることは、私にとって特別な意味を持ちます。私は学生時代、日本語の先生を通して初めて芭蕉に出会いました。その後、大学時代に、正岡子規、川端茅舎、夏目漱石などの俳句を収めた現代日本俳句選集と偶然再会し、そのとき翻訳の不可能性に深く心を打たれました。\\n俳句における言葉の固有の流れや配列は、それを読む経験を形づくるうえで非常に重要です。また俳句は、最小限の言葉、わずか十七音のなかで最大限のものを伝えます。それは、途方もない小ささのなかに抱えられた広大さのようなものです。この考え方は、私の写真や多言語性への向き合い方にも影響を与えています。イメージの周囲にある「空白」や余白は、目に見えるイメージそのものと同じくらい重要であり、作品の配置においてその余白を形づくることは、私の制作プロセスの大切な一部となっています。さらに、俳句と時間との強い結びつきにも惹かれています。俳句の重要な要素である季語は、季節との直接的なつながりを生み出すからです。\\nこうした関心は、私の作品 「俳句の箱庭」(“Garden of Haikus”)にも反映されています。この作品では、選ばれた日本の俳句に対して、特定の本の形式、物体、素材を通して応答しています。私は、俳句が何を言っているのかを単に翻訳するのではなく、それがどのように感じられるのか、すなわち、そのニュアンス、空気感、そして啓示的な力を翻訳することに関心があります。\\nしたがって、私の作品を伊賀へ持っていくことは、単に新しい観客に届くということだけではありません。それは、詩と文学史が深く響き合う場所へ、こうした問いを持ち帰ることでもあります。作品が伊賀の歴史、そしてそこで出会う人々と対話を始めることを願っています。\",\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/angelica-ong/02.jpg\",\"/images/exhibitors/angelica-ong/01.jpg\",\"/images/exhibitors/angelica-ong/03.jpg\",\"/images/exhibitors/angelica-ong/04.jpg\",\"/images/exhibitors/angelica-ong/05.jpg\"],\"submittedAt\":\"2026-06-21T16:56:46.000Z\",\"talkInterest\":\"Interested but unsure\",\"i18n\":{\"en\":{\"activityIntro\":\"$21\",\"presentWork\":\"$22\",\"whyBook\":\"$23\",\"whyIga\":\"$24\"}}},{\"slug\":\"anna-darab\",\"exhibitorName\":\"Anna Darab\",\"country\":\"Iran\",\"originalLang\":\"en\",\"categories\":[\"artist\"],\"social\":\"https://instagram.com/anna.darab.illustrations https://instagram.com/anna.darab.studio\",\"website\":\"https://visualartjournal.com/2026/03/14/anahita-darabbeigi-anna-darab/\",\"activityIntro\":\"Visual artist (painting, Illustration, artist book, sculpture,...) , Tehran, Iran, Underground book projects like \\\"Persian Image\\\"\",\"presentWork\":\"I am planning to represent my book on the Persian poetry imagery. This little hand book called the Persian Image, has another volume which is going to be ready by the time the waza waza book fair starts. This book has not been exhibited yet, and has only 50 editions.\",\"whyBook\":\"I have worked on the images of the Persian poetry from the classical times to the very present day poetry, to be able to communicate through the image in a poem, and show my audience what can be visualized and imagined when reading it. Poems are something we read mainly in private and silence, with a book in hand and while letting our imagination fly. I made this book to be able to show fragments of visuals in a poem. The notion of omens are also interesting for me. We tend to use Divans (book of poems) for fortune telling in Yalda night, so this book of mine can also be used in that way. I have gathered all these pictures through time and with selection of every beautiful image I found in Persian poems. So there is no need to know Persian in order to see those poems if you hold my little \\\"Persian Image\\\" in your hands!\",\"whyIga\":\"This is an experiment for me, I want to test how can words translated to images connect with an audie
5nce who can't read these poems. This is a test for the power of the pictures.\",\"i18n\":{\"ja\":{\"activityIntro\":\"ビジュアルアーティスト(絵画、イラストレーション、アーティストブック、彫刻など)。イラン・テヘラン在住。『Persian Image』のようなアンダーグラウンドの本のプロジェクトに取り組んでいます。\",\"presentWork\":\"ペルシャ詩のイメージを扱った私の本を出展する予定です。『Persian Image』と名付けたこの小さな手のひらサイズの本には続巻があり、わざわざブックフェアが始まる頃までに完成する予定です。本書はまだ展示されたことがなく、限定50部のみです。\",\"whyBook\":\"私は古典期から現代に至るまでのペルシャ詩のイメージに取り組んできました。詩の中のイメージを通して語りかけ、読むときに何が視覚化され想像され得るのかを観客に示すためです。詩は主に、本を手に想像を羽ばたかせながら、私的に、静けさの中で読むものです。私はこの本を、詩の中の視覚の断片を見せられるように作りました。前兆(omen)という概念も私には興味深いものです。私たちはヤルダーの夜に詩集(ディーワーン)を占いに用いる習慣があり、私のこの本もそのように使うことができます。私は長い時間をかけ、ペルシャ詩の中に見つけた美しいイメージを一つひとつ選び、これらすべての絵を集めてきました。だからこの小さな『Persian Image』を手にすれば、それらの詩を見るのにペルシャ語を知る必要はないのです。\",\"whyIga\":\"これは私にとって一つの実験です。言葉が変換されたイメージが、これらの詩を読めない観客とどうつながり得るのかを試したいのです。これは絵の力を試す実験です。\"}},\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/anna-darab/02.jpg\",\"/images/exhibitors/anna-darab/01.jpg\",\"/images/exhibitors/anna-darab/03.jpg\",\"/images/exhibitors/anna-darab/04.jpg\",\"/images/exhibitors/anna-darab/05.jpg\"],\"submittedAt\":\"2026-05-06T23:57:25.000Z\",\"talkInterest\":\"Interested but unsure\",\"comments\":\"I would love to be there but it is extra expensive for me to visit Japan. Please let me know how many of the book editions I have to provide, and the best way to post it to you.\"},{\"slug\":\"aprilbooks\",\"exhibitorName\":\"AprilBooks\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"bookstore\"],\"social\":\"https://instagram.com/aprilbooks.tsuge\",\"website\":\"\",\"activityIntro\":\"伊賀市柘植町柘植駅前の本屋兼まちライブラリーのAprilBooksです。新刊書、古本、まちライブラリーの機能が合わさって、さらにコーヒーが飲めるスペースを設けています。店内には約700冊の本が並びます。\\n\\nアノニマスタジオとのコラボフェア、自然食通信社の企画展、交通新聞社、ニジノ絵本屋さんとの原画展、書肆侃侃房の海外文学フェア、子どもの文化普及協会さんと長新太さんの企画展などを開催しています。\",\"presentWork\":\"造本に関する本\",\"whyBook\":\"新刊書店が減る中、独立型書店は増えている傾向にあります。インターネットにはない、雑音と思える中から、自分と感性の合う本を探すことができた喜びやブラウンジング機能のある形態の本と、紙媒体で出会うことができる場所であると思います。本好きや本づくりに興味を持ってもらったら、嬉しいです。そのような棚づくりを目指しており、わざわざ書店に来てもらえる付加価値のあるサービスも提供していきたいと思っています。\",\"whyIga\":\"生まれ育ち、36年生きている伊賀市のポテンシャルをもっと引き出し、本好きはもっとオープンに!\\n伊賀には素晴らしい文化や資財、企業、サークルがあります。伊賀市の外に出ずとも世界に誇れる文化や資財をアピールする方法は、このブックフェアにあると思っています。まずは立ち止まり、わざわざ伊賀に来る価値を作るきっかけづくりをできたらなと思います。\\nよろしくお願い申し上げます。\",\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/aprilbooks/01.jpg\",\"/images/exhibitors/aprilbooks/02.jpg\"],\"submittedAt\":\"2026-06-24T09:49:02.000Z\",\"talkInterest\":\"Yes\",\"i18n\":{\"en\":{\"activityIntro\":\"AprilBooks is a bookshop and community library in front of Tsuge Station in Tsuge-cho, Iga City. It brings together new books, secondhand books, and the functions of a community library, and also provides a space where you can have a coffee. Around 700 books line its shelves.\\n\\nWe have held events such as a collaborative fair with Anonima Studio, an exhibition with Shizenshoku Tsushinsha, original-artw
5ork exhibitions with Kotsu Shimbunsha and the picture-book shop Nijino Ehonya, an overseas-literature fair with Shoshi Kankanbō, and an exhibition featuring the Association for the Promotion of Children's Culture and Shinta Cho.\",\"presentWork\":\"Books about bookbinding.\",\"whyBook\":\"Even as new-book bookstores are dwindling, independent bookstores are on the rise. A bookstore is a place where—amid what might look like noise you won't find on the internet—you can experience, in print, the joy of hunting out a book that matches your own sensibility, and the browsable form that books take. I would be happy if people came to love books, or to take an interest in making them. That is the kind of shelf I aim to build, and I want to keep offering added-value services worth going out of your way to the shop for.\",\"whyIga\":\"I want to draw out more of the potential of Iga City—where I was born, raised, and have lived for thirty-six years—and to help book lovers be more open! Iga has wonderful culture, resources, businesses, and communities. I believe this book fair holds a way to show off, to the world, culture and assets we can be proud of, without ever having to leave Iga City. First of all, I hope we can make an occasion that gives people a reason to pause—and to feel it is worth going out of their way to come to Iga.\\nThank you very much.\"}}},{\"slug\":\"between-in-between\",\"exhibitorName\":\"between in between\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"collective\"],\"social\":\"https://www.instagram.com/betwinbetw/\",\"website\":\"https://between-in-between.com/\",\"activityIntro\":\"和歌山県の里山を拠点に、山で入手した素材を起点に本を作ったり、オブジェを作ったりしています。本には裏山に自生する楮から漉いた紙を使うなど、周囲で手に入る材を最大限に活用しています。\\n\\n過去の出版物は、石や素材のビジュアルリサーチ、制作したオブジェを収録したポートフォリオ、本とオブジェの中間的なものなどがあります。\",\"presentWork\":\"hinoki reconstructed (Isamu Hazama, 2026, 20cm x 27cm, 24 pages) をメインに、本に加えて収録しているオブジェも合わせて展示できればと考えています。その他、過去の出版物を持参予定です。\",\"whyBook\":\"紙に何かを記して束にまとめるということは、小さな子どもでもお絵描き帳をまとめるように、人間に備わった本能的な行為だと感じています。それは効率的に情報発信することが目的の場合は「わざわざ」と捉えられるかもしれませんが、あくまで目の前で感じたことや表現したいことを物質的に整理し、人とコミュニケーションをとろうとした結果の行いだと思います。そこでは“わざわざ”作るという行為自体に意味や喜びがあるように感じています。\",\"whyIga\":\"普段は山に囲まれた環境で制作していることから、同じく山に囲まれた伊賀の雰囲気に親近感を持ちました。また、古民家で暮らしながら制作しているため、会場の雰囲気の中で展示する様子が容易に想像できました。昔の人が山を伝って別の場所に移動したように、いくつかの山を越えて伊賀にも本を届けられたらと思っています。\",\"booth\":\"Exhibition Room: 4.5畳 (12,000 JPY) ※限定1室\",\"images\":[\"/images/exhibitors/between-in-between/02.jpg\",\"/images/exhibitors/between-in-between/01.jpg\",\"/images/exhibitors/between-in-between/03.jpg\",\"/images/exhibitors/between-in-between/04.jpg\"],\"submittedAt\":\"2026-04-24T18:54:57.000Z\",\"talkInterest\":\"Interested but unsure\",\"comments\":\"フェアを通じて伊賀に訪れることができるのを楽しみにしております。どうぞよろしくお願いいたします。\",\"i18n\":{\"en\":{\"activityIntro\":\"Based in the satoyama foothills of Wakayama Prefecture, we make books and objects starting from materials we obtain in the mountains. For our books we use paper we make ourselves from the paper mulberry that grows wild on the hill behind us, making the fullest possible use of the materials available around us.\\n\\nOur past publications include visual research on stones and materials, portfolios collecting the objects we have made, and things that sit somewhere between a book and an object.\",\"presentWork\":\"Centering on hinoki reconstructed (
5Isamu Hazama, 2026, 20cm x 27cm, 24 pages), we hope to exhibit not only the book but also the objects included within it. We also plan to bring past publications.\",\"whyBook\":\"To write something on paper and gather it into a bundle is, I feel, an instinctive act inherent in human beings—just as even a small child gathers up a drawing pad. When the aim is to send out information efficiently, this may be seen as going to unnecessary trouble, but I think it is simply what results from trying to materially organize what one has felt and wishes to express right before one’s eyes, and to communicate with others. There, it seems to me, the very act of “going to the trouble” of making something holds its own meaning and joy.\",\"whyIga\":\"Because I usually work in an environment surrounded by mountains, I felt a kinship with the atmosphere of Iga, which is likewise surrounded by mountains. And since I live and work in an old folk house, I could easily picture how it would feel to exhibit within the atmosphere of the venue. Just as people long ago traveled from one place to another by following the mountains, I hope to deliver my books to Iga as well, crossing over several mountains to get there.\"}}},{\"slug\":\"darf\",\"exhibitorName\":\"DARF\",\"country\":\"Tunisia\",\"originalLang\":\"en\",\"categories\":[\"artist\"],\"social\":\"https://instagram.com/Sarah.darf\",\"website\":\"https://www.behance.net/gallery/250459925/Portfolio-2026-DARF\",\"activityIntro\":\"$25\",\"presentWork\":\"I planned to share an artbook, a mix of all of my drawings in a kind of same universe, as an inspiration, a sharing of my vision.The format is gonna be A4 21x29,7cm\",\"whyBook\":\"In my opinion, the earliest forms of sharing knowledge or life perspectives were done through art or through many physical works. People shared books, discussed the relevance of certain statements, and underlined important or impactful pages for them. Showing something visually that we can touch, feel, observe, and scrutinize in detail is something unique when it exists physically. Presenting something physically like a book seems to me more concrete and more rewarding than something online, something I cannot touch, something I cannot proudly display. I want to give myself this opportunity to say that I am in someone’s library, and that whenever this person lacks inspiration or wishes to escape, they can do so through the smell of the book, the visuals, and the feeling of moving from one image to another with a simple brush of the fingers.\",\"whyIga\":\"Bringing my publication to a place like Iga, where books do not usually arrive, is a way of taking the book out of its usual circuits. For me, this gesture expresses the desire to create a meeting where none was planned, to make the book exist in a more unexpected space, perhaps a quieter one, but also a more authentic one. It is also a way of reminding us that ideas should not remain confined to places already used to receiving them. Moving them means giving them another life, another possible way of being heard.\",\"i18n\":{\"ja\":{\"activityIntro\":\"物心ついた頃から、アートは私の人生において常に重要な位置を占めていました。絵を描くことが大好きで、ずっと描き続けてきました。特に漫画には強い魅力を感じ、紙と鉛筆だけで一つの世界を創造できるという事実に心を奪われていました。イラストレーターになることが、私の長年の夢でした。\\n\\n高校生の時、将来の進路について決断を迫られました。周りの人たちからは、イラストレーターになるなんて無理だ、将来は不確実だ、と何度も言われました。しかし、いつも本を読み、絵やキャラクターを想像していたチュニジア出身の少女だった私は、そんな言葉を受け入れることができませんでした。同時に、大人の言うことを聞くべきだとも感じていたので、夢を一旦脇に置き、2Dと3Dアニメーションの道に進みました。\\
5n\\nそこで、自分の情熱の一部を見つけましたが、結局、何かが欠けていました。何よりも大切な何かが。それは、自由に描きたいものを描き、新しい形、色、解剖学、背景を探求し、学び、失敗し、そしてまた始める自由でした。\\n\\nこの夢は、決して私から離れることはありませんでした。長い間、自分の作品が決して十分なものにならないと思い込んでいたため、創作活動に踏み切る勇気がありませんでした。想像力の可能性を試す勇気もなく、自らを制限していたのです。\\n\\nしかし今日、私はもうその情熱を抑え込むのはやめようと決意しました。幼い頃の情熱、壁に絵を貼りまくっていたあの頃の情熱、父が「またかよ」と呆れた顔をするのを我慢できずにひたすら絵を描き続けていたあの頃の情熱を取り戻したいのです。\\n\\nそして何よりも大切なのは、それを共有したいということです。子どもからティーンエイジャー、そして大人まで、誰もが共感できるような作品を作り、私のスタイルと世界観を通して、私の心の片鱗を少しでも皆さんと分かち合いたいのです。\",\"presentWork\":\"私は、自分の描いた絵をすべて集めたアートブックを、ある種の共通の世界観の中で、インスピレーションの源泉として、また自分のビジョンを共有するために企画しました。フォーマットはA4(21×29.7cm)です。\",\"whyBook\":\"私の考えでは、知識や人生観を共有する最も初期の形態は、芸術や多くの物理的な作品を通して行われていました。人々は本を共有し、特定の記述の意義について議論し、重要または影響力のあるページに下線を引きました。触れ、感じ、観察し、詳細に吟味できるものを視覚的に示すことは、それが物理的に存在する場合に特別な意味を持ちます。本のように物理的に提示することは、触れることも誇らしげに飾ることもできないオンライン上のものよりも、より具体的で、よりやりがいがあるように思えます。私は、自分が誰かの書斎にいることを実感し、その人がインスピレーションを失ったり、現実から逃避したいと思ったりしたときにはいつでも、本の匂い、視覚的な要素、そして指先で軽く触れるだけで次々とイメージが移り変わる感覚を通して、そうすることができる、そんな機会を自分に与えたいのです。\",\"whyIga\":\"伊賀のような、普段は書籍が届かない場所に私の出版物を持ち込むことは、書籍をいつもの流通経路から外す一つの方法です。私にとって、この行為は、計画されていない出会いを生み出し、より予期せぬ空間、おそらくはより静かな空間、そしてより本質的な空間に書籍を存在させたいという願望を表しています。また、それは、アイデアは既に受け入れられている場所に閉じ込めておくべきではないということを私たちに思い出させる方法でもあります。アイデアを移動させることは、アイデアに新たな命を与え、新たな形で耳を傾けてもらうことを可能にするのです。\"}},\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/darf/03.jpg\",\"/images/exhibitors/darf/01.jpg\",\"/images/exhibitors/darf/02.jpg\"],\"submittedAt\":\"2026-06-21T23:27:35.000Z\",\"talkInterest\":\"Interested but unsure\",\"comments\":\"thanks a lot :)\"},{\"slug\":\"iceberg\",\"exhibitorName\":\"I.CEBERG\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"artist\"],\"social\":\"https://www.instagram.com/iiiii.ceberg/\",\"website\":\"https://i-ceberg.com/\",\"activityIntro\":\"I.CEBERGは、東京のビジュアルデザインスタジオ・WOWに所属する5人のアーティストにã
5‚ˆã‚‹ã‚¢ãƒ¼ãƒˆã‚³ãƒ¬ã‚¯ãƒ†ã‚£ãƒ–です。私たちは互いを「メゾン」と呼び、物理現象・造形・コラージュなど異なるテーマを持ちながら、デジタルとアナログ、人工と有機の境界を越える表現を探究しています。\\n\\n追いかけているのは、氷山(iceberg)の水面下のように、誰の心にも潜むがまだ言葉にならないもの。恐れや憧れ、醜さや愛しさが折り重なった、私たちが「怪物」と呼ぶ何かです。それを掘り起こし、表現として差し出すことが活動の核です。\\n\\nその実践の中心にあるのが、独立系アートブック『I.CEBERG MAGAZINE』。ISSUE 01(2025年・言葉を使わずビジュアルのみで構成した大判。小口を5段ずらして綴じる独自の装丁で、5人それぞれの世界を一冊の中に同居させました)、ISSUE 02(2026年・言葉を主体に、メゾンごとに縦読みと横読みが切り替わり、本を回転させながら読み進める構成)を刊行してきました。展示としても、TOKYO NODE「TOKYO PROTOTYPE」、渋谷ヒカリエ「新しい怪獣展」、ZINE FES、HOMEWORKS 2025(大阪)などに参加しています。\",\"presentWork\":\"■ I.CEBERG MAGAZINE ISSUE 01(既刊・2025)\\n250×300mmの大判。5メゾンのアートワークと制作プロセスを言葉なしビジュアルのみで構成。電話帳のように小口を5段ずらして綴じる独自装丁で、5人の世界を一冊に立ち上げた。シリアルナンバー入り初版完売、現在第二版。\\n\\n■ I.CEBERG MAGAZINE ISSUE 02(既刊・2026)\\n110×180mm。言葉を主体にコレクティブの輪郭を描いた号。メゾンごとに縦読みと横読みが切り替わり、本を物理的に回転させながら読み進める構成。初版完売。\\n\\n■ I.CEBERG MAGAZINE ISSUE 03(仮・未発表/刊行準備中)\\nこれまでの実践の集大成として準備しているアートブック。各メゾンのマスターピースに加え、制作を通じて出会い支えてくれた協働者やつながりのある方々との対話を収め、「つくることで広がっていく人との関係」そのものを一冊に編みます。本フェアでの初お披露目を目指しています(形式・サイズ・部数は調整中)。\\n\\nあわせて、思考のかけらを立体化した小品「Fragments of Iceberg」も頒布予定です。\",\"whyBook\":\"私たちの本業は、クライアントの依頼に応えるコミッションベースのデジタルコンテンツ制作です。膨大な労力を注いだ仕事も、世に出ればすぐに消費され、流れ去っていく。完成と引き換えに作品が手元から失われていく感覚は、いつもどこかで拭えませんでした。\\n\\nI.CEBERGは、その過程でこぼれ落ちていったものを拾い集める営みです。仕事の流れのなかで言葉にならず、置き去りにしてきた感情や逡巡。それらを一つひとつ掬い上げ、組み直していくと、やがて輪郭が立ち上がります。恐れと憧れ、醜さと愛しさが分かちがたく結びついた、まだ言葉になりきらない何か。私たちはそれを「怪物」と呼んでいます。その存在を信じ、容易には捉えられないと知りながら、それでも手を伸ばし続けること。その探究そのものに、私たちは意味を見出しています。\\n\\n『I.CEBERG MAGAZINE』は、その探究の記録です。怪物そのものは像を結びませんが、それを追った手つきや迷いの軌跡を一冊に刻むことが、私たちがここに在った証になります。\\n\\nその証を残すかたちとして、本は最もふさわしいと感じています。厚みと重さを持ち、手にした指が確かな存在を知る物質。手触りとともに残り続ける本は、散逸しがちな「つくる意味」を、私たちの手元に留めてくれます。ISSUE 01の小口を5段ずらした綴じも、ISSUE 02の本を回しながら読む構成も、効率の物差しでは「やらなくてよいこと」です。それでも選ぶのは、目に見えない怪物を、確かにこの世界に在ったものとして残したいからにほかなりません。だから私たちは、\\\"わざわざ\\\"つくります。\",\"whyIga\":\"私たちにとって本は、追いかけた怪物が確かにそこにいたという証です。けれど証は、刷り上がっただけでは完結ã
5—ません。誰かの手に渡り、受け取られたとき、はじめて怪物は他者に見届けられ、その存在を確かにする。私たちが本を手渡せる場を求めるのは、そのためです。\\n\\nこのフェアには、その手渡しにふさわしい時間が流れていると感じました。拡散の量や速さを競うのではなく、畳に座卓を据え、床に腰を下ろして、一冊ずつを差し出していく。私たちが日々身を置く、つくるそばから消費され流れ去っていく速度とは、対極にある営みです。怪物を追った手つきも、その途上の迷いも、目の前の一人へゆっくりと渡していける。わざわざこの場所まで足を運びたい。そう感じたのは、理屈というより、直感に近いものでした。\",\"booth\":\"Exhibition Room: 4畳 (10,000 JPY) ※限定3室\",\"images\":[\"/images/exhibitors/iceberg/03.jpg\",\"/images/exhibitors/iceberg/01.jpg\",\"/images/exhibitors/iceberg/02.jpg\",\"/images/exhibitors/iceberg/04.jpg\",\"/images/exhibitors/iceberg/05.jpg\"],\"submittedAt\":\"2026-06-22T13:54:37.000Z\",\"talkInterest\":\"Yes\",\"comments\":\"応募期限を過ぎてのご連絡となり、誠に申し訳ございません。もしまだご検討いただけるようでしたら、応募をお受け取りいただけますと幸いです。\",\"i18n\":{\"en\":{\"activityIntro\":\"$26\",\"presentWork\":\"$27\",\"whyBook\":\"$28\",\"whyIga\":\"For us, a book is proof that the monster we chased truly was there. But the proof is not complete simply by being printed. Only when it passes into someone's hands and is received is the monster at last witnessed by another, its existence made certain. That is why we seek a place where we can hand our books over in person.\\n\\nWe felt that this fair holds a kind of time fitting for that act of handing over. Rather than competing over the quantity or speed of dissemination, one sits at a low table set on tatami, lowers oneself to the floor, and offers up one book at a time. It is the very opposite of the speed we live in daily, where things are consumed and swept away the moment they are made. The movements of the hands that chased the monster, and the wavering along the way, can be passed slowly to the single person before us. We want to make the trip all the way to this place, the hard way. That feeling was less a matter of logic than something close to intuition.\"}}},{\"slug\":\"jaron-menzimer\",\"exhibitorName\":\"Jaron Menzimer\",\"country\":\"United States\",\"originalLang\":\"en\",\"categories\":[\"artist\"],\"social\":\"https://www.instagram.com/jaronmenzimer/\",\"website\":\"https://jaronmenzimer.com\",\"activityIntro\":\"I'm 24 years old and based in Los Angeles, California. I'm proud to share my debut photography book with you, \\\"Harmattan Sun\\\". This book explores the vibrant and tender encounters found in West Africa and the Sahara. It is the first of many books I hope to publish that explore intimate moments in travel.\",\"presentWork\":\"Harmattan Sun - softcover, first limited edition. 11.4 inches x 9 inches. Currently on pre-order, not yet presented. https://www.jaronmenzimer.com/harmattansun/p/harmattan-sun\",\"whyBook\":\"Books are the perfect medium of presentation for photography to me. It can set a narrative intended by the artist, while remaining open to interpretation to the viewer. It's a slow and demanding process, especially with designing and managing production yourself. But it is a beautiful, rewarding, and passionate process that immortalizes the work into an invaluable, tangible art piece. Making this book instilled a great respect for bookmaking and has further driven me towards more long term, project based work.\",\"whyIga\":\"My recent work values finding community in unlikely places. This monograph especially, explores that human connection can be found and shared everywhere. Having this project presented in a space foreign to its creation, among a community that shares appreciation for its values, would be an honor. I also visited Kyoto, Osaka, and Wakayama on my first trip alone when I was 18. I feel that it would be a beautiful full circle experience to present my work in a place that inspired photography as an art form to me!\",\"i18n\":{\"ja\":{\"activityIntro\":\"私は24歳で、カリフォルニア州ロサンゼルスを拠点にしています。デビュー写真集『Harmattan Sun』を皆さんにお見せできることを誇りに思います。この本は西アフリカとサハラで出会った、鮮やかで優しい邂逅を探求しています。旅における親密な瞬間を探る、これから出していきたい多くの本の最初の一冊です。\",\"presentWork\":\"『Harmattan Sun』── ソフトカバー、初版限定版。11.4×9インチ。現在は予約受付中で、まだ発表していません。https://www.jaronmenzimer.com/harmattansun/p/harmattan-sun\",\"whyBook\":\"私にとって本は、写真を提示するのに完璧なメディアです。本はアーティストが意図した物語を設定しつつ、見る人の解釈には開かれたままでいられます。特にデザインや製造の管理を自分で行うと、それは遅く、要求の多いプロセスです。けれどそれは美しく、報われ、情熱に満ちたプロセスで、作品をかけがえのã
5ªã„、手に触れられるアート作品として永遠のものにしてくれます。この本を作ったことで、本づくりへの大きな敬意が芽生え、より長期的でプロジェクトベースの仕事へと一層駆り立てられました。\",\"whyIga\":\"私の近作は、思いがけない場所でコミュニティを見つけることを大切にしています。とりわけこの作品集は、人と人とのつながりはどこにでも見いだし、分かち合えるということを探求しています。この作品が、生まれた場所とは異なる空間で、その価値観への共感を分かち合うコミュニティの中で発表されることは、私にとって名誉です。また私は18歳のとき、初めての一人旅で京都・大阪・和歌山を訪れました。私にとって写真という芸術を志すきっかけとなった場所で作品を発表できることは、美しい一巡りの体験になると感じています。\"}},\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/jaron-menzimer/03.jpg\",\"/images/exhibitors/jaron-menzimer/01.jpg\",\"/images/exhibitors/jaron-menzimer/02.jpg\",\"/images/exhibitors/jaron-menzimer/04.jpg\",\"/images/exhibitors/jaron-menzimer/05.jpg\"],\"submittedAt\":\"2026-04-10T09:10:35.000Z\",\"talkInterest\":\"Yes\",\"comments\":\"Thank you for taking the time to consider my project!\"},{\"slug\":\"kitai\",\"exhibitorName\":\"kitai\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"zine\"],\"social\":\"https://www.instagram.com/kitai_clothes?utm_source=qr\",\"website\":\"https://kitaiproject.wixsite.com/kitai/collection?utm_source=ig\u0026utm_medium=social\u0026utm_content=link_in_bio\",\"activityIntro\":\"大阪で10年フリーランスで洋服のブランドを立ち上げて、一人でデザインから制作までをしていました。2025年の8月から広島県福山市へ移住し、国内外のコレクションブランドなどを手がけるアパレル製造の会社へ入社し、個人の制作と並行して働いています。アパレルの量産現場から出る廃棄されるものに着目して、自分のクリエイションで意味のある物に変化させる活動とともに、それを伝える手段としてZINEを作っています。\\n一般的な製本されたものではなく、アパレルの生産現場にあるものだけで工夫しながらZINEという形にしています。\",\"presentWork\":\"タイトル「ワットイズカンキョウモンダイ」\\n形式/巻物(細長く裁断した紙を紙管に巻きつける)\\n部数/20部\\n裁断する前の大きな紙と紙管を連ねたものを同時に展示したいと考えています(添付写真を参照ください)\\n今年の5月、廃棄される生地で制作したハットとZINEの展示をしました。\\n現在のアパレルの職場やファッション業界で感じた事を、現場にあるモノだけを使ってZINEを制作しました。\",\"whyBook\":\"SNSでは本当に思っている事を伝えられないと思いZINEを作り始めました。\\n\\n自分の正義を不特定多数の人が見ているSNS上に発信することで誰かを否定する可能性があると思い、いつも気を使った文章しか書けないことにモヤモヤしていました。\\n\\nZINEを作って顔が見える相手に本音を届けられます。\\nZINEを通して対話をしながら自分自身の学びにもなっています。\\n\\nモノづくりは手段で、目的は自分の人生を豊かにする事です。一つのZINEから新しい出会いが生まれて学び、自分自身に向き合ってどう生きるかを考えられる事が、人生を豊かにしていく事だと思っています。\",\"whyIga\":\"その時だから出会える人と対話をしたい。だから自分がその人たちに会いに行きます。伊賀にわざわざ来る人ってどんな人だろうってワクワクしちゃいます!\\n学びの場として建てられた崇広堂で、沢山の人たちに言葉を持ち帰えってもらえるようにZINEを準備し、自身の成長になる貴重な経験を楽しみたいと思います。\",\"booth\":\"Exhibition Room: 4畳 (10,000 JPY) ※限定3室\",\"images\":[\"/images/exhibitors/kitai/01.jpg\",\"/images/exhibitors/kitai/02.jpg\",\"/images/exhibitors/kitai/03.jpg\",\"/images/exhibitors/kitai/04.jpg\",\"/images/exhibitors/kitai/05.jpg\"],\"submittedAt\":\"2026-06-20T23:09:40.000Z\",\"talkInterest\":\"Yes\",\"comments\":\"ZINEのコンセプトや内容に関わる出版物以外のものを展示する事は可能ですか?\",\"i18n\":{\"en\":{\"activityIntro\":\"For ten years I launched and ran a clothing brand as a freelancer in Osaka, handling everything from design to production on my own. In August 2025 I moved to Fukuyama City, Hiroshima Prefecture, and joined an apparel manufacturing company that produces collection brands both in Japan and abroad, working there while continuing my own personal practice in parallel. I focus on the things that get discarded from the apparel mass-production floor, and alongside an activity of transforming them into something meaningful through my own creation, I make zines as a means of conveying that.\\nRather than something conventionally bound, I shape them into the form of a zine by improvising with only the things found on the apparel production floor.\",\"presentWork\":\"Title: \\\"What Is Kankyo Mondai\\\" (What Is an Environmental Problem)\\nFormat: scroll (paper cut into long strips and wound around a paper tube)\\nCopies: 20\\nI would like to exhibit at the same time the large sheet of paper before it is cut and a series of joined paper tubes (please see the attached photograph).\\nThis May, I held an exhibition of hats and a zine made from discarded fabric.\\nI made the zine about the things I have felt in my current apparel workplace and in the fashion industry, using only the materials found on the production floor.\",\"whyBook\":\"I started making zines because I felt I couldn't convey what I truly think on social media.\\n\\nBy putting out my own sense of justice on social media, where an unspecified number of people can see it, I felt I might end up negating someone, and I was frustrated that I could only ever write carefully guarded 
5sentences.\\n\\nBy making a zine, I can deliver my true feelings to someone whose face I can see.\\nThrough a zine, I have dialogue, and it becomes a form of learning for myself as well.\\n\\nMaking things is a means; the goal is to enrich my own life. I believe that new encounters born from a single zine, the learning they bring, and being able to face myself and think about how to live, are what enrich a life.\",\"whyIga\":\"I want to have dialogue with the people I can only meet because of that particular time. So I go to meet those people myself. I get excited wondering what kind of people would come all the way to Iga!\\nAt Sukodo, which was built as a place of learning, I want to prepare zines so that many people can carry words home with them, and I look forward to enjoying this precious experience that will help me grow.\"}}},{\"slug\":\"naomi-murakami\",\"exhibitorName\":\"Naomi Murakami\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"artist\",\"zine\"],\"social\":\"https://www.instagram.com/mumumu_nanana/\",\"website\":\"https://www.instagram.com/mumumu_nanana/\",\"activityIntro\":\"愛知県を拠点に活動するアーティスト/インディペンデント・パブリッシャーです。アーティストブック、ZINE、写真、コラージュなどの印刷物を通して、世界を別の角度から観察する視点をテーマに制作しています。2023年以降、『2.3m』『HAZAMA』をはじめとする複数の自主出版物を制作してきました。これまで日本各地のアートブックフェアや自主出版イベントに参加しています。本という媒体を通じて、個人的な観察や見過ごされがちな風景を他者と共有する場をつくることを目指しています。\",\"presentWork\":\"現在、「手紙」をテーマにした未発表のアーティストブック・プロジェクトを進めています。\\nこのプロジェクトでは、本を完成された作品としてではなく、誰かとのやり取りや思考の往復を記録するための装置として捉えています。手紙、会話の断片、メモ、写真、収集した印刷物などを素材とし、人と人との距離や関係性、時間の積み重なりについて考察しています。\\nWaza Waza Art Book Fairでは、制作途中のモックアップや試作冊子、リサーチ資料などを含めた形で発表する予定です。本プロジェクトは現在も進行中で、これまで展示や出版は行っていません。\\nあわせて、既刊のアーティストブック『2.6m』『HAZAMA』なども持参予定です。いずれも少部数で制作しており、日常の観察や見過ごされがちな風景、人との関わりから生まれる視点をテーマにしています。\",\"whyBook\":\"はどちらかというと、スマートに発信することが得意な人間ではありません。SNSで瞬間的に言葉を届けるよりも、考えたり迷ったりしながら少しずつ形にしていくほうが性に合っています。\\nもともと雑誌制作に携わっていた経験があり、現在はグラフィックデザイナーとして働いています。そのため、編集し、レイアウトし、印刷物としてまとめることは、自分にとって最も身近で自然な表現方法です。\\n本をつくることは決して効率的ではありません。時間も手間もかかりますし、多くの人に届く手段とは言えないかもしれません。それでも、一枚の紙の質感やページをめくる速度、隣り合うページ同士の関係性など、デジタルでは置き換えられない体験があると感じています。\\n今回の手紙のプロジェクトも、情報を伝えるためではなく、人との距離や時間の流れをゆっくりと考えるために制作しています。だからこそ、手で編集し、紙に閉じ、本というかたちにすることを選んでいます。\",\"whyIga\":\"在、家業である工務店の仕事にも携わっていることから、建築ã
5‚„空間そのものに以前より強い関心を持つようになりました。今回の会場となる建物や、その場所から新しい文化や活動が生まれようとしていることに大きな魅力を感じています。\\nまた、長く続いているイベントではなく、新しく始まるBook Fairであることにも惹かれました。完成された場所に参加するというよりも、これからつくられていく場の一部になれることに意味を感じています。\\n本を届けることは、単に作品を販売することではなく、人や場所との新しい接点をつくることだと思っています。だからこそ、普段の活動圏から少し離れた伊賀という土地で、自分の本がどのように受け取られるのかを見てみたいと考えました。\\n新しい場所、新しい建物、新しい出会い。その始まりのタイミングに立ち会えること自体が、私にとってこのBook Fairへ参加したい理由です。\",\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/naomi-murakami/02.jpg\",\"/images/exhibitors/naomi-murakami/01.jpg\",\"/images/exhibitors/naomi-murakami/03.jpg\",\"/images/exhibitors/naomi-murakami/04.jpg\",\"/images/exhibitors/naomi-murakami/05.jpg\"],\"submittedAt\":\"2026-06-21T22:50:11.000Z\",\"talkInterest\":\"No\",\"i18n\":{\"en\":{\"activityIntro\":\"I am an artist and independent publisher based in Aichi Prefecture. Through printed matter such as artist's books, zines, photographs, and collages, I work on the theme of observing the world from a different angle. Since 2023 I have produced several self-published works, including \\\"2.3m\\\" and \\\"HAZAMA.\\\" I have taken part in art book fairs and self-publishing events across Japan. Through the medium of the book, my aim is to create a place where personal observations and easily overlooked scenes can be shared with others.\",\"presentWork\":\"I am currently working on an unpublished artist's book project on the theme of \\\"letters.\\\"\\nIn this project, I think of the book not as a finished work but as a device for recording an exchange with someone, a back-and-forth of thought. Using letters, fragments of conversation, notes, photographs, and collected printed matter as materials, I reflect on the distance and relationships between people, and on the layering of time.\\nAt Waza Waza—Iga Art Book Fair, I plan to present it in a form that includes works-in-progress such as mockups, trial booklets, and research materials. This project is still ongoing, and I have not exhibited or published it before.\\nI also plan to bring existing artist's books such as \\\"2.6m\\\" and \\\"HAZAMA.\\\" All of these were produced in small editions, on the themes of everyday observation, easily overlooked scenes, and perspectives that arise from connections with others.\",\"whyBook\":\"I am not really the type of person who is good at putt
5ing things out into the world in a slick way. Rather than delivering words instantly on social media, it suits me better to give things shape little by little, thinking and hesitating as I go.\\nI originally worked in magazine production, and I now work as a graphic designer. So editing, laying out, and assembling something into printed matter is the most familiar and natural mode of expression for me.\\nMaking a book is by no means efficient. It takes time and effort, and it may not be the best way to reach a lot of people. Even so, I feel there is an experience that cannot be replaced by anything digital — the texture of a single sheet of paper, the speed at which you turn the pages, the relationship between facing pages.\\nThis letter project, too, is made not to convey information but to slowly consider the distance between people and the passage of time. That is precisely why I choose to edit by hand, bind it onto paper, and give it the form of a book.\",\"whyIga\":\"Since I am currently also involved in the work of my family's construction business, I have come to have a stronger interest than before in architecture and space itself. I feel a great appeal in the building that will serve as this venue, and in the fact that a new culture and new activity are about to be born from that place.\\nI was also drawn to the fact that this is not a long-running event but a Book Fair that is just beginning. Rather than joining a place that is already complete, I find meaning in being able to become part of a place that is still to be made.\\nDelivering a book is not simply about selling a work; I think it is about creating new points of contact with people and places. That is exactly why I wanted to see how my own books would be received in Iga, a place a little removed from my usual sphere of activity.\\nA new place, a new building, new encounters. Being able to be present at the moment of that beginning is itself my reason for wanting to take part in this Book Fair.\"}}},{\"slug\":\"nekoba\",\"exhibitorName\":\"nekoba\",\"country\":\"China\",\"originalLang\":\"ja\",\"categories\":[\"artist\",\"zine\"],\"social\":\"https://www.instagram.com/nekoba_risograph/\",\"website\":\"https://www.nekobarisograph.com\",\"activityIntro\":\"nekobaは、Maomaomao と En によって結成されたアートクリエイティブユニットであり、東京を拠点に活動しています。\\n「面白さは、意味よりも意味がある」という信条のもと、ユーモアと軽やかな表現を通して日常を再解釈し、多面的な創作の可能性を探求し続けています。\\nまた、nekoba は東京にて Riso 印刷スタジオも運営しており、Riso 印刷ならではの魅力を、より多くの人へ紹介・共有・発信することを目指しています。\\nnekobaメンバー自身の作品の印刷・出版に加え、さまざまなアート愛好者やクリエイターに向けた、小規模出版・印刷サービスも提供しています。\",\"presentWork\":\"* 『Iron Triangle』\\n    Riso印刷|A4サイズ|28ページ|50部\\n    近日発表予定\\n* 『Shadow 2』\\n    Riso印刷|A4サイズ|32ページ|100部\\n    近日発表予定\\n* 『Spots of Light』\\n    Riso・インクジェット印刷|A4サイズ|48ページ|50部\\n    既発表\\n* 『Vikurvana-rddhi』\\n    Riso印刷|A4サイズ|28ページ|50部\\n    既発表\\n* 『Bad Orange』\\n    Riso印刷|10×10cm|60ページ|50部\\n    既発表\\n* 『Boss Logbook』\\n    Riso印刷|A5サイズ|48ページ|50部\\n    未発表\\n* 『Bug Bash』\\n    Riso印刷|A4サイズ|36ページ|50部\\n    未発表\",\"whyBook\":\"今は、どんなものでもすぐにアップロードされて、コピーされて、流れていってしまう時代だけど、だからこそ私は「痕跡を残すこと」を大事にしたいと思っています。\\nRiso印刷は効率的ではありません。\\nズレたり、色がぶれたり、不確かな部分もたくさんあります。\\nでも、その不完全さがあるからこそ、一冊一冊がただ複製さã
5‚ŒãŸãƒ‡ãƒ¼ã‚¿ã§ã¯ãªãã€ã€Œå®Ÿéš›ã«ä½œã‚‰ã‚ŒãŸã‚‚の」だと感じられます。\\n紙の質感やインクの匂い、ページをめくる感覚も好きです。\\n私にとって本を作ることは、ただ内容を届けるだけではなく、その時の感情や痕跡を残すことでもあります。\\nもっと早くて便利な方法はいくらでもあるけれど、だからこそ、あえて少しゆっくり作りたいと思っています。\\n私にとって「わざわざ」とは、何か小さくても本当の感覚のために、少し手間をかけることです。\",\"whyIga\":\"私にとって、伊賀のような場所にこの本を持っていくこと自体が、《Boss Logbook》の世界観の延長のように感じています。\\nこの本は、完璧なモンスター図鑑ではなく、生き残った者たちによって書き継がれた「生存記録」です。\\n矛盾した警告や消されたルート、途中で終わった文章も含まれています。\\nだからこそ、ただオンラインで消費されるより、どこか知らない場所で偶然誰かに発見されるほうが、この本には合っていると思っています。\\n伊賀に持っていくことは、展示というより、この本を“現実の中に残された遺物”として存在させる感覚に近いです。\",\"booth\":\"Exhibition Room: 4畳 (10,000 JPY) ※限定3室\",\"images\":[\"/images/exhibitors/nekoba/03.jpg\",\"/images/exhibitors/nekoba/01.jpg\",\"/images/exhibitors/nekoba/02.jpg\",\"/images/exhibitors/nekoba/04.jpg\",\"/images/exhibitors/nekoba/05.jpg\"],\"submittedAt\":\"2026-05-12T01:33:36.000Z\",\"talkInterest\":\"Yes\",\"i18n\":{\"en\":{\"activityIntro\":\"nekoba is an art-creative unit formed by Maomaomao and En, based in Tokyo.\\nUnder the credo that \\\"interestingness has more meaning than meaning,\\\" we reinterpret the everyday through humor and light-hearted expression, and continue to explore the possibilities of multifaceted creation.\\nnekoba also runs a Riso printing studio in Tokyo, aiming to introduce, share, and spread the charm unique to Riso printing to as many people as possible.\\nIn addition to printing and publishing the nekoba members' own works, we also offer small-scale publishing and printing services for all kinds of art lovers and creators.\",\"presentWork\":\"* \\\"Iron Triangle\\\"\\n    Riso print | A4 size | 28 pages | 50 copies\\n    To be released soon\\n* \\\"Shadow 2\\\"\\n    Riso print | A4 size | 32 pages | 100 copies\\n    To be released soon\\n* \\\"Spots of Light\\\"\\n    Riso and inkjet print | A4 size | 48 pages | 50 copies\\n    Already released\\n* \\\"Vikurvana-rddhi\\\"\\n    Riso print | A4 size | 28 pages | 50 copies\\n    Already released\\n* \\\"Bad Orange\\\"\\n    Riso print | 10×10cm | 60 pages | 50 copies\\n    Already released\\n* \\\"Boss Logbook\\\"\\n    Riso print | A5 size | 48 pages | 50 copies\\n    Unreleased\\n* \\\"Bug Bash\\\"\\n    Riso print | A4 size | 36 pages | 50 copies\\n    Unreleased\",\"whyBook\":\"These days, anything at all is instantly uploaded, copied, and swept away, and precisely because of that, I want to treasure the act of \\\"leaving a trace.\\\"\\nRiso printing is not efficient.\\nThings slip out of register, colors blur, and there are plenty of uncertain parts.\\nBut it is exactly that imperfection that lets each single copy feel like \\\"something actually made\\\" rather than merely duplicated data.\\nI love the texture of the paper, the smell of the ink, and the feel of turning the pages.\\nFor me, making a book is not only about delivering content, but also about leaving behind the emotions and traces of that moment.\\nThere are any number of faster, more convenient methods, and it is exactly because of that that I want to dare to make things a little more slowly.\\nFor me, \\\"waza waza\\\" — going out of my way — means taking a little extra trouble for the sake of some small but genuine feeling.\",\"whyIga\":\"For me, the very act of bringing this book to a place like Iga feels like an extension of the world of \\\"Boss Logbook.\\\"\\nThis book is not a perfect monster encyclopedia; it is a \\\"survival record\\\" written and passed down by those who survived.\\nIt includes contradictory warnings, deleted routes, and sentences that break off midway.\\nThat is exactly why I feel this book suits being discovered by chance by someone in some unknown place, rather than simply being consumed online.\\nBringing it to Iga feels less like an exhibition and more like letting this book exist as \\\"a relic left behind within reality.\\\"\"}}},{\"slug\":\"nessie\",\"exhibitorName\":\"NESSIE\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"artist\",\"photobook\"],\"social\":\"https://www.instagram.com/nessiedesu\",\"website\":\"https://nepinepineppi01.myportfolio.com/book-zin\",\"activityIntro\":\"1993年生まれ、千葉県育ち。あだ名はねっしー。2022年より制作を開始。江戸川での身体性と時間性を交錯させた作品を発表し、アートフォトブック『江戸川』(2025)を刊行。T3 PHOTOBOOK MARCHE 2025に初出展。江戸川にゆかり深い松戸のアーティスト・イン・レジデンス PARADISE AIRに参加。フォトアーキペラゴ写真学校での学びを経て、現在は 地勢 を新たな主題に据え、和歌山県紀の川沿いを往復ã
5™ã‚‹ã¨ã„う滞在制作を通じ、自身と土地や人の営みの多層的に捉えた作品制作を行っている。\",\"presentWork\":\"『江戸川』蛇腹折(アコーディオンブック)形式。表紙、本文、裏表紙が独立した構成で、ストレッチコードで一体に綴じられています。サイズは、約 295 × 125 × 25 mm。部数は、初版 限定45部。エディション有。本プロジェクトは、愛着ある江戸川を撮影した画像という記録媒体を、写真へと一度物理的なコラージュとして解体・再構築することで、時間の蓄積や心身の揺らぎを表現し、本じゃない本のようなかたちへ落とし込んでいます。特に、素材選定から佇まいなどの装丁デザインは、セルフパブリッシング・レーベル between in between の多大なサポートにより実現しました。\",\"whyBook\":\"私がこの本じゃない本を“わざわざ”つくる理由は、その制作プロセスが、自分にとって、自分自身を整え、対話する時間、だったからだと振り返れば思います。川を画像として解体し、写真や紙を貼り、折り、版を押す。こういった物理的にコラージュを再構築する作業の中で、私は時に泣き、時に笑い、そして時に無心になるといった、自分自身が抱える感情や記憶を、一つひとつ丁寧に整理し、受け入れていく儀式のようなものだったような気がしています。当時の自分は、効率を求める世界から少し距離を置き、あえて手間という非効率な時間を選んだのは、そうすることでしか定着できない私の時間を確保したかったからだと思っています。\",\"whyIga\":\"『江戸川』を少しずつ人にひらいていこうとしているところです。一度、出展経験がありますが、正直、自分から前に出て作品を知ってもらうことはあまり得意ではないことを再認識して以降は見せていませんでした。ですが、今回は、同じような悩みを抱える人の背中を少しでも押せたらいいな、という思いが出発点にあります。本(じゃない本)という物質的な媒体で残していること。売り場というより表現の場としての空間。そして寺院という場所——この感覚が、今回のブックフェアとの雰囲気に合うのではと感じました。『江戸川』をおのずからひらいていくことで、現在滞在している、紀の川シリーズにも何か新しい気づきが生まれたらとも思っています。\",\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/nessie/01.jpg\"],\"submittedAt\":\"2026-06-16T17:34:11.000Z\",\"talkInterest\":\"Yes\",\"comments\":\"初めてご連絡させていただきます。石田です。インスタグラムにて今回の応募を知りました。between in betweenさんへもご連絡いたしましたが、すでに道音舎との共同にてご応募されていること伺っております。彼らの申し込みとは別に、私個人としても本フェアに参加し、作品を展示したいという意欲を持っておりますので、何卒ご理解の上ご検討いただけますと幸いです。どうぞよろしくお願いいたします。\",\"i18n\":{\"en\":{\"activityIntro\":\"Born in 1993, raised in Chiba Prefecture. Nicknamed Nessie. Began making work in 2022. Presenting works that interweave physicality and temporality along the Edogawa River, published the art photobook 'Edogawa' (2025). Made a first appearance at T3 PHOTOBOOK MARCHE 2025. Took part in PARADISE AIR, an artist-in-residence in Matsudo, a town deeply connected to the Edogawa. After studying at the Photo Archipelago photography school, now takes topography as a new subject, and through residency work traveling back and forth along the Kinokawa River in Wakayama Prefecture, creates work that grasps, in multiple layers, the self and the workings of land and people.\",\"presentWork\":\"'Edogawa' takes an accordion-fold (accordion book) format. Its cover, body, and back cover are separate elements, bound together as one with a stretch cord. It measures approximately 295 × 125 × 25 mm. The edition is a first edition limited to 45 copies. Editioned. This project takes the recording medium of images photographing the beloved Edogawa and, by once physically dismantling and reconstructing them into a photographic collage, expresses the accumulation of time and the wavering of body and mind, distilling it into a form like a book that is not a book. In particular, the binding design — from the selection of materials to its overall presence — was realized through the immense support of the self-publishing label between in between.\",\"whyBook\":\"Looking back, I think the reason I \\\"go out of my way\\\" to make this book-that-is-not-a-book is that its making process was, for me, a time of composing myself and holding a dialogue with myself. Dismantling the river into images, pasting photographs and paper, folding, pressing plates. In the work of physically reconstructing collage in this way, I sometimes cried, sometimes laughed, and sometimes became empty of thought — it feels as though it was a kind of ritual for carefully sorting through and accepting, one by one, the emotions and memories I carried. I think that back then, the reason I put a little distance between myself and a world that demands efficie
5ncy, and deliberately chose the inefficient time of taking pains, was that I wanted to secure my own time — time that could only be fixed in place by doing so.\",\"whyIga\":\"I am in the midst of slowly opening 'Edogawa' up to people. I have exhibited once before, but after honestly recognizing again that I am not very good at stepping forward on my own to make my work known, I stopped showing it. This time, though, my starting point is the wish that I might, even a little, give a push to the backs of people who carry similar worries. That it is preserved in a physical medium — a book (that is not a book). A space that is less a sales floor than a place of expression. And the place being a temple — I felt this sense might suit the atmosphere of this book fair. By letting 'Edogawa' open of its own accord, I also hope some new realization might arise for the Kinokawa series I am currently working on during my residency.\"}}},{\"slug\":\"polly-fossey\",\"exhibitorName\":\"Polly Fossey\",\"country\":\"United States\",\"originalLang\":\"en\",\"categories\":[\"artist\"],\"social\":\"https://www.instagram.com/pollyfossey/\",\"website\":\"https://www.pollyfossey.com/shop\",\"activityIntro\":\"I am an artist based in Brooklyn, New York. I make art books and objects that investigate color theory through the medium of risograph printing. My book 7 Color Contrasts with Risography is collected at the Harvard Houghton Library and the Cooper Hewitt Museum. I volunteer at my local print studio and I draw weekly with the Urban Sketchers.\",\"presentWork\":\"I am particularly excited to debut an expanded second edition of 7 Color Contrasts with Risography in Asia. This book was produced in an edition of 250 copies, measures 9\\\" by 11\\\", and is spiral bound with a wrap around spine and 34 French folded interior pages. It includes a fold-out chart that maps the hue and saturation of 26 unique riso colors and a color bias wheel that translates the logic of a painter's palette to risography. It was made using 192 masters. Of the second edition of 250, 50 copies have been hand-selected for institutional and archival distribution based on registration quality.\\n\\nAdditionally, I will offer open editions of a 3D riso color wheel and a photo book called Color Layover (5\\\" x 6\\\") that reveals the print layers in a companion mini book (1.5\\\" x 5\\\").\",\"whyBook\":\"$29\",\"whyIga\":\"I have been studying Japanese for the last four years. There is no practical or economical reason for me to study Japanese, just as there is no practical or economical reason for me to have made such a labor intensive book. I undertake these kinds of pursuits for the joy of learning something new and with the hope that having done the work will open unexpected opportunities to connect with new people and new places.\",\"i18n\":{\"ja\":{\"activityIntro\":\"私はニューヨーク・ブルックリンを拠点に活動するアーティストです。リソグラフ印刷というメディアを通して色彩理論を探求するアートブックや作品を制作しています。著書『7 Color Contrasts with Risography』はハーバード大学ホートン図書館とクーパー・ヒューイット美術館に収蔵されています。地元のプリントスタジオでボランティアをし、Urban Sketchers と毎週ドローイングをしています。\",\"presentWork\":\"アジアで初めて『7 Color Contrasts with Risography』の増補第2版をお披露目できることを特に楽しみにしています。本書は250部限定で制作され、サイズは9×11インチ、背を巻き込んだスパイラル製本で、フレンチフォールドの本文34ページから成ります。26色のユニークなリソカラーの色相と彩度をマッピングした折り込みチャートと、画家のパレットの論理をリソグラフに翻訳したカラーバイアスホイールを含みます。192枚のマスターを使って制作しました。第2版250部のうち50部は、見当(レジストレーション)の精度に基づき、機関・アーカイブ向けに手作業で選び抜かれています。\\n\\nさらに、立体的なリソカラーホイールと、印刷のレイヤーを明らかにする写真集『Color Layover』(5×6インチ)を、付属のミニブック(1.5×5インチ)とともにオープンエディションで販売します。\",\"whyBook\":\"私が『7 Color Contrasts with Risography』第2版という途方もない労力のかかる仕事に取り組むことを選んだのは、それを新しい技術を学ぶ機会と捉えたからです。たとえば192枚のマスターを使うリソ本の複雑なデータを準備するには、まず新しいソフトの技術を学ぶ必要がありました。色彩理論という複雑な主題について、簡潔で明快に書くことは、自分自身の制作のための理論的な概念を固めることにも役立ちました。\\
5n\\n執筆・デザイン・データ準備を終えると、約200ポンド(約90kg)の紙を物理的にリソラボへ運び込み、4か月かけて2時間ずつ印刷しました。決まった時間にしかラボを使えなかったことで、いっそう速度を落とし、細部について考えることを強いられました。それでも手仕事ゆえに自然と生じる不完全さがあり、それが一部一部を貴重なものにしています。印刷が終わると、地下鉄で扱える分量ずつページを家へ運びました。そして4,500枚の紙を一枚ずつ折り目を付け、折り、穴を開け、製本していきました。こうした反復作業は目的意識を与えてくれる一方で、迷いの感情も呼び起こします。私はこの仕事の膨大さに、絶えず向き合い続けています。\\n\\n私はこの仕事に注ぎ込んだ精神的・肉体的な労力ゆえに、作品と深くつながっていると感じます。リソカラーについての本を CMYK インクで印刷したくはありませんでした。だからこそ、この本がこのやり方で作られることは、本のメッセージにとって重要でした。この本を作ったことには価値がありました。他のアーティストと出会い、ブックフェアで新しい場所へ旅する機会を開いてくれたからです。\",\"whyIga\":\"私はこの4年間、日本語を勉強してきました。日本語を学ぶことに実用的・経済的な理由はありません。これほど労力のかかる本を作ることに実用的・経済的な理由がないのと同じです。私がこうした営みに取り組むのは、新しい何かを学ぶ喜びのためであり、その仕事をやり遂げたことが、新しい人々や場所とつながる思いがけない機会を開いてくれるという希望のためです。\"}},\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/polly-fossey/04.jpg\",\"/images/exhibitors/polly-fossey/01.jpg\",\"/images/exhibitors/polly-fossey/02.jpg\",\"/images/exhibitors/polly-fossey/05.jpg\"],\"submittedAt\":\"2026-03-31T23:41:14.000Z\",\"talkInterest\":\"Interested but unsure\"},{\"slug\":\"ppp-site\",\"exhibitorName\":\"PPP site\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"self-publisher\",\"other\"],\"categoryOther\":\"writer; researcher; etc.)\",\"social\":\"https://www.instagram.com/ppp_site/\",\"website\":\"https://sites.google.com/view/p-p-p-site/top\",\"activityIntro\":\"PPP siteを主宰する大城咲和と申します。現在、京都市立芸術大学大学院に在籍し、普段はアーティストブックやそれらが受容される場としてのアートブックフェアに関する研究を行なっております。PPP siteは2026å¹´1月に立ち上げた出版レーベルです。デザイナーやアーティストと協働しあい、ともに一つの作品を作り上げること、そして私的な考えが公的な書籍というメディアに内包され広がることを考えなã
5Œã‚‰æ—¥ã€…制作を行なっております。\\n これまでの活動について、2025å¹´12月には、茨木アートブックフェア by THE COPY TRAVELERSに出展し、書籍を再読する様子を記録した本”Re-Reading (Practice)​​”を発表しました。2026å¹´1月には、PPP siteの立ち上げとともにアーティスト・遠山奈実子と永峰沢名義で制作したドローイングと詩の往復書簡集『異なる互いを互い違いに待ち侘びていたことを忘れてはいない/いけない』を「玉往聖、草加琉平、遠山奈実子グループ展 透明な玉ねぎ」(gallery gobangura|京都)にて発表・出品し、2026å¹´6月には、Pages Fukuoka Art Book Fair 2026 にて、遠山奈実子の作品解釈のためのアーティストブック『Skipping stones 矯めつ眇めつ/左見右見』を出展しました。\",\"presentWork\":\"今回出展を予定している出版物は、アーティスト・遠山奈実子のブック『Skipping stones 矯めつ眇めつ/左見右見』です。ノートブックに書き留めたドローイングや日常生活における断片的なメモを基点に、平面作品やインスタレーションを制作する遠山奈実子は、断片的な時間や記憶としての紙片をある一つの痕跡が残る地点と捉え直し、それらを水平に横滑りさせることで、異なる地点同士が並列する地図を立ち上げる作品を制作しています。本書は、一つのものを視点を変えながら観察する時と、目を細めて少し遠くのものを注意深く眺めている時のふたつのアプローチから構成されており、遠山の「見たいようにものを見ている目」が近景と遠景を行き来しながら繋がったり離れたりするようすを、目を凝らして観察するための装置として制作されています。書籍と地図を行き来しながら、スキップをするように軽やかに視点を切り替え、連続的な遊びへと読者を誘います。\",\"whyBook\":\"私が“わざわざ”本というメディアで表現している理由は、書籍を制作するその行為自体を一つの芸術表現と考えているということもありますが、とりわけ部数が限られている自主制作出版物において展覧会との親和性を感じており、作家の思想や作品のあり方を伝えうるに適したメディアと考えるためです。作家や自身の手業が残る状態で、書籍を小部数でも複製し、手の届く範囲内で鑑賞者に届けるというプロセスに、展覧会を作り上げる時と同等の価値を感じます。そこには、セス・ジーゲローブの紙上展覧会『The Xerox Book』からのインスピレーションがあり、誌面上の表現やページをめくることで現れるイメージの変化の面白さのみならず、持ち運ぶことのできる展覧会のような本が同時多発的にさまざまな場所で、鑑賞者の個人的な体験としてひらかれていくことに魅力を感じます。また、インターネットが廃れてしまった未来のことを考えた場合、書籍という形態の特徴上、50年後100年後にどこかで見つかる可能性があり、そこに、自身では把握することのできない場所へ書籍が運ばれていくことの期待できますし、個人的な思想をひらいていくメディアとしての書籍が他者に所有され、手に取っていただいた方にとって手に残る形での私的な財産になることもまた本を作る理由の一つとして考えています。\",\"whyIga\":\"出版を意味する「publish」には、「知識や思想などを公(public)にする」という意味があり、そこから転じて「出版する」ということを意味すると、出版活動を始めた頃に知りました。伊賀と崇広堂という場所の歴史が、講堂を中心に本を読み学ぶ場として約80年にわたり市民に親しまれてきたこと、そして、藩校から図書館、文化財施設として発展してきたことを思ã
5†ã¨ã€æ›¸ç±ã‚’通した思想の伝播の歴史に、私の活動である「PPP(Private Public Publishing)」とそれらを体現する場所を意味する「site」が重なりました。また、伊賀という土地は自然豊かな場所と伺っており、私が制作する出版物の中にはとりわけ自然をモチーフとしたアーティストブックがあるため、それらを伊賀の人々に見ていただきたいという気持ちが湧き上がりました。加えて、出展を通してさまざまな出展者やアートブック、訪れてくださった来場者と出会うことで文化や思想が交差し、書籍や表現活動を通してこれまで経験することのなかった交流が生まれ、そこにも新しい価値を見出すことができるのではないかと期待して出展応募させていただきました。\",\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/ppp-site/03.jpg\",\"/images/exhibitors/ppp-site/01.jpg\",\"/images/exhibitors/ppp-site/02.jpg\",\"/images/exhibitors/ppp-site/05.jpg\"],\"submittedAt\":\"2026-06-21T17:28:02.000Z\",\"talkInterest\":\"Interested but unsure\",\"i18n\":{\"en\":{\"activityIntro\":\"$2a\",\"presentWork\":\"The publication I plan to exhibit this time is the artist Namiko Toyama's book “Skipping Stones” (矯めつ眇めつ/左見右見). Working from drawings and fragmentary notes on daily life recorded in a notebook, Toyama makes flat works and installations that reconceive fragments of time and memory — paper scraps that each hold the trace of a single point — and, by letting them slide sideways, build maps in which different points sit side by side. The book is built from two ways of looking: observing one thing while shifting your point of view, and narrowing your eyes to study something a little further away. It is made as a device for watching, closely, how Toyama's own way of seeing things moves between near and far, connecting and pulling apart. Moving between book and map, it shifts viewpoints lightly, as if skipping stones, and draws the reader into a continuous kind of play.\",\"whyBook\":\"$2b\",\"whyIga\":\"$2c\"}}},{\"slug\":\"sohei-terui\",\"exhibitorName\":\"Sohei Terui\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"artist\",\"photobook\",\"self-publisher\",\"other\"],\"categoryOther\":\"writer; researcher; etc.)\",\"social\":\"https://www.instagram.com/sohei_terui?igsh=bnBxNXRuaXU3ZHZq\u0026utm_source=qr\",\"website\":\"https://photomaison.jp/\",\"activityIntro\":\"1993年より熊野と高野山と大峯奥駆道を撮影。1996年に渡米。アンセル・アダムスの暗室でゾーンシステムを修得。1998年大阪芸術大学にて写真学を学び終えて卒業。清里フォトアートミュージアムのYPFにて石元泰博、篠山紀信、細江英公の審査により紀伊半島の白黒写真10点がパーマネントコレクションされる。マグナムジャパンにてエリオット・アーウィットのアシスタントを努める。奈良市写真美術館、東京写真文化会館、ギャラリーアートグラフ銀座、などで個展。白黒ファインアート写真で紀伊半島の私的ランドスケープをまとめた写真集「狼煙」を出版。2024年にsold outとなり、同2024年に第二版を出版。昨年2025年はアジアを中心に香港、ソウル、シンガポール、台北、上海(来たる6月)のブックフェアに参加し、オリジナルプリントと写真集を展示販売。2026年も第二版出版ツアーと位置付けて各地をまわる予定。\",\"presentWork\":\"○写真集「狼煙」\\n作品69点\\n既発表\\n詳細\\n500部(売り切れ)\\n第二版\\n300部\\n6,400円(税別)\\n230 x 238mm\\n日本語+英語\\n\\n○新作オリジナルプリント\\n作品49点\\n未発表\\n詳細\\nA4サイズ・2Lサイズ(額装または平置き)\\nB\u0026Wバライタ調印画紙\",\"whyBook\":\"山川草木悉皆成仏。このテーマを胸にしっかりと撮影ししっかりとプリントした純写真を世界に発信しています。手にとり、部屋に飾り、音もなく、文字もなるべくなくし、色も想像にまかせる白黒写真の魅力をみていだだければ幸いです。\",\"whyIga\":\"紀伊半島であること。歴史ある和の空間で写真を飾ることに挑戦してみたく応募しました。これまでの展示とは違う世界観をつくりたいです。美術館やギャラリーではなく、和室でどのように飾ることができるかを考えます。\",\"booth\":\"Exhibition Room: 4畳 (10,000 JPY) ※限定3室\",\"images\":[\"/images/exhibitors/sohei-terui/01.jpg\",\"/images/exhibitors/sohei-terui/02.jpg\",\"/images/exhibitors/sohei-terui/03.jpg\",\"/images/exhibitors/sohei-terui/04.jpg\",\"/images/exhibitors/sohei-terui/05.jpg\"],\"submittedAt\":\"2026-05-14T00:12:07.000Z\",\"talkInterest\":\"Yes\",\"comments\":\"特になし\",\"
5i18n\":{\"en\":{\"activityIntro\":\"$2d\",\"presentWork\":\"○ Photobook \\\"Noroshi\\\" (Signal Fire)\\n69 works\\nAlready published\\nDetails\\n500 copies (sold out)\\nSecond edition\\n300 copies\\n6,400 yen (excluding tax)\\n230 x 238 mm\\nJapanese + English\\n\\n○ New original prints\\n49 works\\nUnpublished\\nDetails\\nA4 size / 2L size (framed or laid flat)\\nB\u0026W baryta-toned printing paper\",\"whyBook\":\"Mountains, rivers, grasses, and trees — all attain Buddhahood without exception. Holding this theme firmly in my heart, I firmly photograph and firmly print, sending pure photography out to the world. I would be glad if you would take them in your hands, hang them in your room, and appreciate the appeal of black-and-white photographs — soundless, with words removed as far as possible, and the colors left to the imagination.\",\"whyIga\":\"That it is the Kii Peninsula. I applied because I wanted to take on the challenge of hanging photographs in a historic Japanese space. I want to create a worldview different from my exhibitions so far. Not a museum or a gallery, but a Japanese-style room — I will think about how they can be hung there.\"}}},{\"slug\":\"stairs-press\",\"exhibitorName\":\"STAIRS PRESS\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"photobook\",\"bookstore\"],\"social\":\"https://www.instagram.com/stairspress/\",\"website\":\"http://stairspress.com/\",\"activityIntro\":\"STAIRS PRESSは、日本と中国の写真家やデザイナーによって2016年に始まったインディペンデント・パブリッシャーです。現在は東京を拠点に活動しています。\\n写真やアートを中心に、作家との対話から生まれる写真集やアーティストブックを少部数で制作しています。企画から編集、デザイン、制作までを作家とともに進め、それぞれの作品にふさわしい形を探りながら本づくりを続けています。\\nこれまでに、宛超凡『河はすべて知っている―荒川』『河はすべて知っている―黄浦江』、栗原あずさ『ETUDE』、水島貴大『Long Hug Town』、李政徳『INVISIBLE WORLD』、脇田あすか『HAPPENING』などを刊行してきました。\",\"presentWork\":\"これまでに刊行した上記の写真集や作品集に加え、作家手作りのZINEなどを展示・販売予定です。\\n新作については現在制作中のため詳細は未定ですが、少部数での発表を予定しています。\",\"whyBook\":\"私たちは、長く残る写真集や作品集をつくりたいと考えています。\\n作家が見つめてきた風景や人々、やがて失われていくかもしれない記憶や感覚。その中にある強い視線を、一冊の本として残したいと思っています。\\n写真を見るだけなら画面でも十分かもしれません。作品を発表するだけなら、もっと速く効率の良い方法もあります。\\nそれでも本をつくるのは、写真を並べる順番や紙の質感、ページをめくる速度、手に持ったときの重さまで含めて、一つの体験として届けたいからです。\",\"whyIga\":\"本はつくって終わりではなく、誰かの手に渡り、読まれ、話されることで新しい意味を持つものだと思っています。\\n私たちは普段は東京を拠点に活動していますが、本は都市の中だけで循環するものではないとも感じています。\\n伊賀という土地で、自分たちの本を手渡し、その場で読者や作り手同士が言葉を交わすこと。本を通して知らない人や土地と出会うこと。その時間に大きな魅力を感じています。\",\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/stairs-press/04.jpg\",\"/images/exhibitors/stairs-press/01.jpg\",\"/images/exhibitors/stairs-press/02.jpg\",\"/images/exhibitors/stairs-press/03.jpg\"],\"submittedAt\":\"2026-06-07T14:37:24.000Z\",\"talkInterest\":\"No\",\"i18n\":{\"en\":{\"activityIntro\":\"STAIRS PRESS is an independent publisher started in 2016 by photographers and designers from Japan and China. It is currently based in Tokyo.\\nCentering on photography and art, we produce photobooks and artist books in small editions, born out of dialogue with the artists. We carry each book through from planning, editing, and design to production together with the artist, continuing to make books while searching for the form best suited to each work.\\nTo date we have published, among others, Yuan Chaofan's 'The River Knows Everything — Arakawa' and 'The River Knows Everything — Huangpu River,' Azusa Kurihara's 'ETUDE,' Takahiro Mizushima's 'Long Hug Town,' Li Zhengde's 'INVISIBLE WORLD,' and Asuka Wakida's 'HAPPENING.'\",\"presentWork\":\"In addition to the photobooks and art books listed above that we have published so far, we plan to exhibit and sell artist-made zines and more. Details of new work are still undecided as it is currently in production, but we plan to present it in a small edition.\",\"whyBook\":\"We want to make photobooks and art books that last a long time.\\nThe landscapes and people an artist has gazed upon; memories and sensations that may eventually be lost. We want to preserve, as a single book, the intense gaze contained within them.\\nIf it were only a matter of looking at photographs, a screen might be enough. If it were only a matter of presenting work, there are faster and more efficient methods.\\nEven so, we make books because we want to deliver it as a single experience — including the order in which the photographs are arranged, the texture of the paper, the speed of turning the pages, and even the weight in one's hands.\",\"whyIga\":\"We believe a book does not end when it is made; it takes on new meaning by passing into someone's hands, being read, and being talked about.\\nWe usually work based in Tokyo, but we also feel that books are not something that circulate only within cities.\\nTo hand over our own books in a place like Iga, and to have readers and makers exchange words on the spot. To encounter unknown people and places through a book. We feel a great appeal in that time.\"}}},{\"slug\":\"twelvebooks\",\"exhibitorName\":\"twelvebooks\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"other\"],\"categoryOther\":\"Other (please specify)\",\"social\":\"https://www.instagram.com/twelvebooksdistribution/\",\"website\":\"https://twelve-books.com\",\"activityIntro\":\"https://twelve-books.com/pages/about\",\"presentWork\":\"twelvebooks での刊行物(https://twelve-books.com/collections/twelvebooks)を中心に参加出来ればと考えていますが、伊賀を拠点としているアーティストであり友人の安永正臣さんと今回のブックフェア参加に際した書籍刊行を計画しています。\\n\\n安永正臣\\nhttps://www.lissongallery.com/artists/masaomi-yasunaga\\nhttps://www.instagram.com/masaomi_yasunaga/\",\"whyBook\":\"残る(アーカイブ、継承)ものだから。\",\"
5whyIga\":\"故郷である三重県でアートブックに触れる機会創出に寄与出来る喜びから。\",\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/twelvebooks/02.jpg\",\"/images/exhibitors/twelvebooks/01.jpg\"],\"submittedAt\":\"2026-06-18T09:36:24.000Z\",\"talkInterest\":\"Interested but unsure\",\"i18n\":{\"en\":{\"activityIntro\":\"https://twelve-books.com/pages/about\",\"presentWork\":\"I hope to take part mainly with our publications at twelvebooks (https://twelve-books.com/collections/twelvebooks), but I am also planning to publish a book on the occasion of this book fair together with Masaomi Yasunaga, an artist based in Iga and a friend of mine.\\n\\nMasaomi Yasunaga\\nhttps://www.lissongallery.com/artists/masaomi-yasunaga\\nhttps://www.instagram.com/masaomi_yasunaga/\",\"whyBook\":\"Because it is something that remains — archived, passed on.\",\"whyIga\":\"Out of the joy of being able to contribute to creating opportunities to encounter art books in Mie Prefecture, my home.\"}}},{\"slug\":\"written-by-daniel\",\"exhibitorName\":\"Written by Daniel\",\"country\":\"United States\",\"originalLang\":\"en\",\"categories\":[\"artist\",\"self-publisher\",\"other\",\"zine\"],\"categoryOther\":\"writer; researcher; etc.)\",\"social\":\"https://instagram.com/writtenbydaniel\",\"website\":\"https://writtenbydaniel.com\",\"activityIntro\":\"I'm a writer and independent publisher based in the US. My work moves between hip hop music, illustrated poetry, and comics so that each project offers a different translation of the same story depending on the medium and the collaborators involved. I design my own books and work closely with musicians and visual artists from Japan, Serbia, Australia, Czechia, Latvia, the UK, and beyond. My most recent book, Fruitless..., is an illustrated fable accompanied by an album of music, illustrated by Japanese artist Tanate Asami. I've exhibited at art book fairs in the US, Australia, Czechia, Taiwan, and Japan, and I also offer English proofreading to independent artists and small publishers from around the world at low or no cost as a way of supporting artists.\",\"presentWork\":\"$2e\",\"whyBook\":\"$2f\",\"whyIga\":\"I’ve visited Japan for extended stays multiple times in the last few years, and when I visit I prioritize seeing smaller areas. Many of my travels also center around tea, so in 2025 I visited Mie, in part because it was a new area to explore, but also because my wife runs a farmer’s market stall in the US that sells homemade onigiri, moon cakes, and other Asian snacks, and I wanted to introduce people to quality Japanese tea. I was able to source tea from a local farm in Yokkaichi, and we are now showcasing kabusecha at our market! Exhibiting in Mie would be a nice full-circle moment.\\n\\nI have a broader interest in continuing to build connections in Japan, and exhibiting has always been one of the most genuine ways I know how to do that: by showing up somewhere with something you made, and seeing who it resonates with.\\n\\nI also sometimes exhibit books that I proofread for kuš! komiks, a Latvian publisher of indie comics anthologies that collect artists from around the world.\",\"booth\":\"Exhibition Room: 4畳 (10,000 JPY) ※限定3室\",\"images\":[\"/images/exhibitors/written-by-daniel/03.jpg\",\"/images/exhibitors/written-by-daniel/01.jpg\",\"/images/exhibitors/written-by-daniel/02.jpg\",\"/images/exhibitors/written-by-daniel/04.jpg\",\"/images/exhibitors/written-by-daniel/05.jpg\"],\"submittedAt\":\"2026-05-29T11:29:52.000Z\",\"talkInterest\":\"Interested but unsure\",\"comments\":\"Regardless of if I am accepted for this fair, I'm always open to offering English proofreading for any organizational materials if it's helpful. I also try to visit Japan as often as possible, so I'd love to stay in touch about other chances to exhibit at fairs.\",\"i18n\":{\"ja\":{\"activityIntro\":\"アメリカを拠点に活動する作家・インディペンデント出版者です。ヒップホップ音楽、イラスト付きの詩、コミックのあいだを行き来しながら、同じ物語を、メディアや協働する相手によって異なる形へ翻訳していく——そんな制作をしています。本は自分でデザインし、日本・セルビア・オーストラリア・チェコ・ラトビア・イギリスなどのミュージシャンやビジュアルアーティストと密に協働しています。最新作『Fruitless...』は、日本のアーティスト Tanate Asami が絵を手がけたイラスト付きの寓話で、音楽アルバムが付属します。アメリカ・オーストラリア・チェコ・台湾・日本のアートブックフェアで発表してきました。また、世界中のインディペンデントなアーティストや小規模出版社に向けて、英文校正を無償または低価格で提供し、作り手を支えています。\",\"presentWork\":\"3つの主要作品を、詩の ZINE やコミックとともに発表します。\\n\\n『Fruitless...』(日本語版・2025年)。2023年の寓話を40ページに凝縮した日本語訳で、日本のアーティスト Tanate Asami が挿絵を手がけ、大阪の Retro JAM でリソグラフ印刷しました。音楽アルバムが付属します。2025年には約1か月の来日中に、東京・静岡・岡山・広島の書店に置いていただきました。\\
5n\\n『Rzo #1』(日本語版・2026年・本フェアでデビュー)。日本のアーティスト Mori Yuu が絵を手がけたリソ印刷のコミックで、架空の栄養ブランド「SureVival」の“やる気マスコット”であるトカゲが、人生を捧げてきた会社に疑問を抱きはじめる物語です。SureVival の関連グッズやエフェメラもあり、物語をめぐる没入的な風刺の世界をテーブルで見せます。\\n\\n茶の ZINE(制作中・本フェアでのデビュー予定)。各国で訪ねた茶館での文章と写真、そしてそこから思いがけず生まれた縁を集めた、私にとって初めての自伝的な作品です。この地域と茶との関わりを思うと、伊賀はこれをお披露目するのに最もふさわしい場所に感じます。\\n\\n私の作品の多くには音楽の無料ダウンロードが付き、フェアごとに作った限定音源のダウンロードコードを配ることもよくあります。\",\"whyBook\":\"音楽がデジタルで存在するときでも、自分のアートに物理的な要素があることは、私にとってずっと大切でした。育った家では、コミックや本、新聞、CD といった物理メディアが強く心に残りました。長じてインディーコミックや ZINE のフェスに通うようになり、インディペンデントのコミック出版社で短期間働いたことが、自費出版の世界へと導いてくれました。世界を旅するなかで、その人や土地について独自の洞察を与えてくれる ZINE に出会ってきました(なかには友情に発展したものもあります!)。\\n\\nそうした経験すべてから、私は自分のアートの物理的な要素を、欠かせない“つながりの接点”だと感じています。私にとって、この「わざわざ」という概念は、作り手が仕事に注ぐ手間のかけ方を物語り、それがめぐって、いつか出会う読者への心づかいを伝えるものだと思います。私が刷ったものを誰かが手に取るとき、世界のどこかに自分の体験を気にかけてくれた人がいる——そんな個人的なつながりを感じてほしいのです。\\n\\n意図をもってデザインされた物理メディアは、立ち止まり、作り手が注いだ仕事を味わうための余白を生みます。とりわけ自費出版は、デザインを何度も練り直し、自分の作品を解釈し続けることを可能にしてくれます。そうして作品は、出会う人々とともに育っていく、生きた表現になるのです。\",\"whyIga\":\"ここ数年、私は何度も日本に長期滞在してきましたが、訪れるときは小さな地域を優先して見るようにしています。旅の多くは茶を中心に組み立てており、2025年には三重を訪ねました。新しく開拓する土地だったこともありますが、妻がアメリカのファーマーズマーケットで手作りのおにぎりや月餅などアジアの軽食を売る屋台をやっていて、質のよい日本茶を紹介したかったからでもあります。四日市の茶農家からお茶を仕入れることができ、今では私たちのマーケットでかぶせ茶を扱っています!三重で出展できれば、ひとつの円が閉じるような素敵な瞬間になります。\\n\\n私は日本でつながりを築き続けることに広く関心があり、出展は、私が知るなかで最も誠実なその手段のひとつでした——自分の作ったものを携えてどこかに現れ、それが誰に響くのかを確かめる、という方法です。\\n\\nまた、世界中のアーティストを集めるラトビアのインディーコミック・アンソロジー出版社 kuš! のために校正した本を、ときどき一緒に展示することもあります。\"}}},{\"slug\":\"arica_shop\",\"exhibitorName\":\"アリカ\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"bookstore\"],\"social\":\"https://www.instagram.com/arica_shop/\",\"
5website\":\"https://arica.shop/\",\"activityIntro\":\"奈良を拠点に紙をコンセプトにデザイン事務所が運営するお店です。デザイン書籍、絵本、写真集や紙の販売、紙雑貨、オリジナル商品も販売しています。\\n運営会社が制作した、写真集も販売しています。\",\"presentWork\":\"紙のお店ならではの紙雑貨、またオリジナルイラスト商品を出品します。\\nまた、これまでに制作した写真集も販売します。\",\"whyBook\":\"紙へのこだわりなど、実物をみることでしかわからないからです。\",\"whyIga\":\"オリジナル紙雑貨に関しては、geenoeというブランドを立ち上げています。これは80歳を超えた父のイラストをデザイナーである娘がデザインした商品です。\\nまだ、店内のみの販売がメインなので、対面で、みなさんの反応を体感できたらと考えています。\",\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/arica_shop/01.jpg\"],\"submittedAt\":\"2026-05-31T11:17:48.000Z\",\"talkInterest\":\"No\",\"i18n\":{\"en\":{\"activityIntro\":\"We are a shop, run by a design studio in Nara, with paper as our concept. We sell design books, picture books, and photobooks, as well as paper itself, paper goods, and original products.\\nWe also sell photobooks produced by our operating company.\",\"presentWork\":\"We will present paper goods unique to a paper shop, as well as original illustrated products.\\nWe will also sell the photobooks we have produced so far.\",\"whyBook\":\"Because things like our commitment to paper can only be understood by seeing the real thing.\",\"whyIga\":\"For our original paper goods, we have launched a brand called geenoe. These are products in which a daughter who is a designer designs the illustrations of her father, who is over 80 years old.\\nSince sales are still mainly in-store only, we hope to experience everyone's reactions in person, face to face.\"}}},{\"slug\":\"michiko_skylla\",\"exhibitorName\":\"うちだ みちこ\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"artist\",\"self-publisher\",\"other\"],\"categoryOther\":\"writer; researcher; etc.)\",\"social\":\"https://www.instagram.com/michiko_skylla\",\"website\":\"https://facebook.com/poem.UchidaMichiko\",\"activityIntro\":\"大阪梅田本店阪急百貨店宣伝部社員初コピーライターとして6年間勤務し退社後、フリーとして京都高島屋や関西の企業の宣伝企画を担当。\\n\\n結婚子育てで新居建て神戸から三重に移住後、伊賀情報タウン誌YOUの外部スタッフとしても3冊グルメ本編集に関わる。フリーライターとして旅取材や、個展やファッションショーなどのイベントの企画演出も手掛ける。\",\"presentWork\":\"今回出展希望は、fbで知り合ったイラストレーターはんまけいこさんの絵と共作で私が詩を担当して2017初出版し、2021年増刷したマザーグースみたいな詩画集『言の葉の巣箱』です。\\n\\nまた、2020年に私が主催で大阪南港で開催の絵本の「第2回 ODPこどもの森とえほん広場」にエントリーしてましたが、コロナで開催が急遽中止されました。その時のリベンジをいつか果たしたいと願っていた時、この企画を知り応募した次第です。\\n\\nタイトル『言の葉の巣箱』(このはのすばこ)\\n発行 DORADO BOOKS\\n既発表 2017年東京 2018年大阪\\n形式 A5版 横210/縦148サイズ  \\n発行部数450     残部数 46冊 5/28現在\",\"whyBook\":\"現代社会は、デジタル化ですが、紙媒体の本を捲る手触りと、見開きになると、絵と詩の世界観が広がるようにとの思いで、手に取りやすい横A5版サイズの詩画集を作りました。\\n\\nまた、日本版マザーグースのような詩画集は、他には出てないと感じたのã
5§ã€æµ·å¤–のイラストみたいな絵を描く絵本作家イラストレーターはんまけいこさんと組んで、私の詩で、ページ毎、フォント(文字)もイメージに合わせて変えている拘りあるデザイン構成もこの詩画集の魅力です。大人も子どもも、男女年齢問わず、楽しんでいただける詩画集になっています。\",\"whyIga\":\"伊賀は、松尾芭蕉の生誕の地であり、京都に似た祭り文化伝統もある城下町です。伊賀忍者だけでなく、ARTや伝統文化にふさわしい伊賀で、今回、この詩画集が伊賀皆さまのココロの扉を開ける鍵🔑を持っているはずだわと自信を持ってお届けします。\",\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/michiko_skylla/01.jpg\",\"/images/exhibitors/michiko_skylla/02.jpg\",\"/images/exhibitors/michiko_skylla/03.jpg\",\"/images/exhibitors/michiko_skylla/04.jpg\",\"/images/exhibitors/michiko_skylla/05.jpg\"],\"submittedAt\":\"2026-05-30T18:04:47.000Z\",\"talkInterest\":\"Yes\",\"comments\":\"エントリーしますので、宜しくお願いします。\",\"i18n\":{\"en\":{\"activityIntro\":\"After working for six years as a copywriter — the first hired into the advertising department of the Hankyu Department Store main store in Umeda, Osaka — I left the company and, as a freelancer, handled advertising planning for Kyoto Takashimaya and other companies in the Kansai region.\\n\\nAfter marrying, raising children, building a new home, and moving from Kobe to Mie, I was also involved as an outside staff member of the Iga information town magazine \\\"YOU,\\\" editing three gourmet books. As a freelance writer, I have also handled travel coverage and the planning and staging of events such as solo exhibitions and fashion shows.\",\"presentWork\":\"What I hope to exhibit this time is \\\"Konoha no Subako\\\" (The Nest Box of Words / Leaves), a collection of poems and pictures like Mother Goose. It was a collaboration with the illustrator Keiko Hanma, whom I met on Facebook — they did the pictures and I was in charge of the poems. It was first published in 2017 and reprinted in 2021.\\n\\nAlso, in 2020 I had entered the \\\"2nd ODP Children's Forest and Picture Book Plaza,\\\" an event for picture books that I was organizing at Osaka Nanko, but it was abruptly cancelled due to COVID. While I had been wishing to someday make up for that, I learned of this project and so I applied.\\n\\nTitle: \\\"Konoha no Subako\\\"\\nPublisher: DORADO BOOKS\\nAlready published: Tokyo 2017, Osaka 2018\\nFormat: A5 size, 210 wide / 148 tall\\nPrint run: 450 copies. Remaining stock: 46 copies (as of 5/28).\",\"whyBook\":\"Modern society is going digital, but with the wish that the touch of turning the pages of a paper book, and the way the world of pictures and poems opens out across a two-page spread, I made a collection of poems and pictures in an easy-to-hold, landscape A5 size.\\n\\nAlso, since I felt that a collection of poems and pictures like a Japanese version of Mother Goose did not exist elsewhere, I teamed up with the picture-book author and illustrator Keiko Hanma, who draws pictures like foreign illustrations, and with my poems. The meticulous design composition — even changing the font (the lettering) on each page to match the image — is also part of this book's appeal. It is a collection of poems and pictures that adults and children alike, regardless of gender or age, can enjoy.\",\"whyIga\":\"Iga is the birthplace of Matsuo Basho, and a castle town with a festival culture and traditions resembling those of Kyoto. In Iga — a place suited not only to the Iga ninja but to art and traditional culture as well — I deliver this collection of poems and pictures with confidence, sure that it holds the key 🔑 to open the doors of the hearts of everyone in Iga.\"}}},{\"slug\":\"okko_osa\",\"exhibitorName\":\"オッコ\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"artist\",\"photobook\",\"collective\"],\"social\":\"https://www.instagram.com/okko_osa\",\"website\":\"https://okko-jp.com\",\"activityIntro\":\"私たちは大阪とパリを拠点とする出版所です。表現者やそれを自称しない人が所に出入りしながら、本やプリント等、物理媒体を中心した出版プロジェクトを手掛けることで著者が持つ個性的で実験的なアイデアを市場に送り出しています。\",\"presentWork\":\"今夏に刊行が完了する写真集を中心としたいくつかのパブリケーションを出展予定です。\\nまた、過去作や書店や通販サイトで流通させていないZINEを当日販売する予定です。\",\"whyBook\":\"弊所は素材やDIY的なプロセスに特別な信条を持っているわけではありませんが、サイズや質量、質感等、物理的で微細な単位を身体を通して伝えることができるため本・印刷物という形態を採用することが多いです。現状、情報伝達の効率性や流通性の観点からも採用できるものが物理的なものしかないので、私たちはわざわざそれらを作り続けています。\",\"whyIga\":\"弊所の共催者が伊賀地域出身であり、自分たちが育った地域文化の醸成に対して微力でも協力したいという思いがありました。\\
5nまた、地元の方々が書店であまり見かけない弊所の出版物を手に取ることで、どのように反応されるのか興味があり応募しました。\",\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/okko_osa/01.jpg\",\"/images/exhibitors/okko_osa/02.jpg\",\"/images/exhibitors/okko_osa/03.jpg\"],\"submittedAt\":\"2026-05-09T11:39:45.000Z\",\"talkInterest\":\"No\",\"i18n\":{\"en\":{\"activityIntro\":\"We are a publishing house based in Osaka and Paris. As makers of expression and those who would not call themselves such come and go through our house, we undertake publishing projects centered on physical media such as books and prints, sending the distinctive and experimental ideas held by authors out into the market.\",\"presentWork\":\"We plan to exhibit several publications centered on a photobook whose production will be completed this summer.\\nWe also plan to sell, on the day, past works and zines that have not been distributed through bookshops or online stores.\",\"whyBook\":\"We do not hold any particular creed about materials or DIY-like processes, but because physical, minute units such as size, mass, and texture can be conveyed through the body, we often adopt the form of the book or of printed matter. As things stand, a physical medium is the only one we can adopt—even from the standpoint of the efficiency and circulability of conveying information—and so we go out of our way to keep making them.\",\"whyIga\":\"One of our co-organizers is from the Iga region, and we felt a wish to help, however modestly, in nurturing the local culture in which we grew up.\\nWe also applied out of curiosity about how local people might react on picking up our publications, which are not often seen in bookstores.\"}}},{\"slug\":\"tamayurayu\",\"exhibitorName\":\"たまゆら湯\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"zine\"],\"social\":\"https://www.instagram.com/tamayurayu?igsh=NmVwcmt3eHlsemJk\",\"website\":\"https://www.instagram.com/tamayurayu?igsh=NmVwcmt3eHlsemJk\",\"activityIntro\":\"三重県津市在住。2026å¹´2月活動開始。2026å¹´6月7日久居アルスプラザにて行われた文芸フェスにて初出店。自分の向き合い続けたこの5年間で撮りだめた写真たちと詩のZINE「光と影と湯気と君」、友人の故郷“志摩”を彼女の目線で1日巡った記録のZINE「しましま、しみじみ」\\n描きポストカードなどを作成。\",\"presentWork\":\"上記、「光と影と湯気と君」「しましま、しみじみ」に加え現在作成中の\\n飼い猫ほくろ(くろねこ)との出会いからこの4年の記録photo ZINE、好きな言葉がおかわり無料な私が作る「外食漂流日記」のphoto ZINE\\nを予定してます。\",\"whyBook\":\"元々、デジタルには弱い方で昔からアナログ人間ではあり、古道具、古本、廃墟、街の銭湯、大衆食堂、など人や時の歴史が積み重なってできたものが好きで、その好き、を伝える時に\\nなぜ自分はこれを人に届けたいのか、を伝えるには自分とじっくり向き合う時間があればあるほど、人の奥の方に届くのではないか、そしてそのことを考えなã
5Œã‚‰çµ„み立てていく工程も\\n私を作っていく一部になるような気がして、\\nスマートな時代でもあるからこそ、新しい多角的な発見や熟慮するきっかけになればいいなと思い、スタートしました。この半年間でもたくさんのZINEに触れる機会があり、人の無限の可能性やアイデア、面白い!に出会っていて私自身も楽しいです。\",\"whyIga\":\"初めての出店が誰でも参加ができるように、と\\n柔らかくしてくださっているアルスプラザさんのおかげで、スタートを切ることができましたが、ここでとまらず次どこにいこうか、すこし冒険したいとおもい、県外か三重のどこかでとおもっていたところ、アルスプラザさんの文芸フェスで出会った女性がこちらの企画を教えてくださり、これはご縁だと感じ、エントリーさせていただきました。\",\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/tamayurayu/01.jpg\",\"/images/exhibitors/tamayurayu/02.jpg\",\"/images/exhibitors/tamayurayu/03.jpg\"],\"submittedAt\":\"2026-06-21T21:49:31.000Z\",\"talkInterest\":\"Yes\",\"i18n\":{\"en\":{\"activityIntro\":\"Based in Tsu City, Mie Prefecture. Began activity in February 2026. Made my first appearance at a literary fair held on June 7, 2026 at Hisai Ars Plaza. I have created a zine of poems and photographs I accumulated over these five years of continually facing myself, \\\"Hikari to Kage to Yuge to Kimi\\\" (Light and Shadow and Steam and You); a zine, \\\"Shima Shima, Shimijimi,\\\" recording a day spent touring my friend's hometown of Shima through her eyes; hand-drawn postcards, and more.\",\"presentWork\":\"In addition to the above \\\"Hikari to Kage to Yuge to Kimi\\\" and \\\"Shima Shima, Shimijimi,\\\" I am planning a photo zine currently in the works recording these four years since meeting my pet cat Hokuro (a black cat), and a photo zine, \\\"Gaishoku Hyoryu Nikki\\\" (Dining-Out Drift Diary), made by me, someone whose favorite phrase is \\\"free refills.\\\"\",\"whyBook\":\"I have always been weak with digital things and an analog person from way back. I love old tools, secondhand books, ruins, town bathhouses, cheap eateries — things made from layers upon layers of the history of people and time. When I convey that love, I feel that the more time I spend carefully facing myself over why it is that I want to deliver this to people, the deeper into a person it can reach; and I feel that the process of assembling something while thinking about that becomes part of what forms me. Precisely because this is a smart, streamlined age, I hoped it might become an opportunity for new, multifaceted discoveries and for careful reflection, and so I started. Even in this past half year I have had many chances to encounter zines, meeting people's infinite possibilities and ideas and their \\\"how interesting!\\\", and I myself am having fun.\",\"whyIga\":\"I was able to make my start thanks to Ars Plaza, who softened my first appearance so that anyone could take part. But I wanted not to stop there and to venture a little further, wondering where to go next — thinking of somewhere outside the prefecture or somewhere in Mie. Just then, a woman I met at Ars Plaza's literary fair told me about this project, and feeling it was fate, I decided to enter.\"}}},{\"slug\":\"yutai_9\",\"exhibitorName\":\"ティックの日本\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"artist\"],\"social\":\"https://www.instagram.com/yutai_9/?hl=ja\",\"website\":\"https://yutayoshimori.com/\",\"activityIntro\":\"タイ人の妻と日本を題材に作品作りをしています。タイ人から見た日本、彼女の生活など関連した写真を撮り続けています。 大阪・ドキュメンタリー・過去出版なし(写真表現大学にて4年学び写真集を制作)\",\"presentWork\":\"タイトル「ティックの日本」本(写真表現大学で制作した本を出版予定)A4、25-30部予定。写真表現大学の修了作品展に展示にて発表したã
5®ã¿ã§ä»–では出展、販売等していない。\",\"whyBook\":\"妻はタイ人です。同じ場所に立っても、彼女が見ているものと、私が見ているものは、きっと違う。\\n\\n京都の神社で彼女が足を止めた瞬間、私には「見慣れた風景」でも、彼女には生まれて初めて出会う何かだった。その「ずれ」が、愛おしかった。\\n\\nSNSに上げれば、それで記録はできる。でも、スクロールされて消えていく画面の中に、あの「ずれ」は収まらない気がしました。\\n\\nだから、本にした。\\n二人分の視線を、一冊の中に閉じ込めたかった。ページをめくるという行為の中に、あの旅の間合いを残したかった。\\n\\nデータは劣化しない。でも、手でつくったものは、時間とともに変わっていく。そのほうが、私たちの旅に似ていると思いました。\\n\\n「わざわざ」つくることが、この本の内容そのものです。\",\"whyIga\":\"名張・伊賀は私が育った場所です。伊賀という土地も、私にとってはずっと「当たり前の風景」でした。でも今なら、妻と歩いたらどう見えるだろう、と思う。そういう眼差しを、この本は持っている気がしています。\\n\\n初めてのブックフェア。縁もありました。東京や大阪の大きなフェアではなく、ここに持ってきたかった理由は、自分のルーツに近い場所で、この本を開いてほしかったから。遠い観光地の写真集を、地元の空気の中で手に取ってもらうこと、その少しのねじれが、かえって何かを届けられる気がしています。\\n\\n「よそ者の目」と「地元の記憶」が交差する場所に、この本を置きたかった。\",\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/yutai_9/01.jpg\",\"/images/exhibitors/yutai_9/02.jpg\",\"/images/exhibitors/yutai_9/03.jpg\"],\"submittedAt\":\"2026-04-29T19:39:17.000Z\",\"talkInterest\":\"Interested but unsure\",\"i18n\":{\"en\":{\"activityIntro\":\"Together with my Thai wife, I make work on the theme of Japan. I keep photographing Japan as seen through Thai eyes, her daily life, and related subjects. Based in Osaka. Documentary. No prior publications (I studied for four years at the College of Photography and produced a photobook).\",\"presentWork\":\"Title: \\\"Tick's Japan.\\\" A book (I plan to publish the book I made at the College of Photography). A4, planned print run of 25–30 copies. It has only been shown at the College of Photography's graduation exhibition; it has not been exhibited or sold anywhere else.\",\"whyBook\":\"My wife is Thai. Even when we stand in the same place, what she sees and what I see are surely different.\\n\\nIn the moment she stopped walking at a shrine in Kyoto, what was for me a \\\"familiar scene\\\" was, for her, something she was encountering for the very first time. That \\\"gap\\\" was dear to me.\\n\\nIf I posted it to social media, that would record it. But within a screen that scrolls past and vanishes, that \\\"gap\\\" would not, I felt, be held.\\n\\nSo I made it into a book.\\nI wanted to seal two people's gazes inside a single volume. Within the act of turning pages, I wanted to preserve the rhythm and spacing of that journey.\\n\\nData does not degrade. But something made by hand changes with time. I thought that was more like our own journey.\\n\\nMaking it \\\"the hard way\\\" — wazawaza — is itself the very content of this book.\",\"whyIga\":\"Nabari and Iga are where I grew up. Iga, too, had long been, for me, an \\\"ordinary landscape.\\\" But now I find myself wondering how it would look if I walked it with my wife. This book, I feel, holds that kind of gaze.\\n\\nMy first book fair. There was a connection, too. The reason I wanted to bring it here rather than to the big fairs in Tokyo or Osaka is that I wanted this book to be opened in a place close to my own roots. To have a photobook of a distant tourist destination picked up within the air of one's home ground — that slight twist, I feel, may in fact allow something to come through.\\n\\nI wanted to place this book in a spot where \\\"the outsider's eye\\\" and \\\"local memory\\\" intersect.\"}}},{\"slug\":\"nekoze_shouten\",\"exhibitorName\":\"ネコゼ商店\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"bookstore\"],\"social\":\"https://www.instagram.com/nekoze_shouten\",\"website\":\"https://www.nekoze-shouten.jp/\",\"activityIntro\":\"愛知県豊橋市で「ネコゼ商店」という書店をしています。生活がちょっと動くような本や 雑貨や いろいろなものをお届けしています。\",\"presentWork\":\"ネコゼ商店の店舗ができるまでの日々を綴ったZINEや、香川藤花が書いたSF小説や戯曲をお持ちします。\",\"whyBook\":\"小説を本にする理由は、数億年後まで物語を残すためです。たとえば電子書籍は、電力から次のエネルギーに刷新されるタイミングで大部分が失われてしまうような気がしてなりません。数千年前に石板に刻まれたギルガメシュ叙事詩が現代に残っているように、数億年後まで残る物語は、現代では紙に記されたものだと考えます。\",\"whyIga\":\"今は愛知県にいますが、伊賀地方で高校生まで生活をしていました。「何もない」と嘆き外に出ましたが、本当に何もなかったã
5®ã ã‚ã†ã‹ã€‚\\n大人になって伊賀に帰ると不思議と心が落ち着き、元気をもらってまた旅に出る。何もなかったのではなく、何も見ていなかっただけではないだろうか。\\n伊賀から外に出た私が、外で見たものを綴じ、伊賀に持ち帰りお届けする。そのことで、私が見ていなかった伊賀をあらためて発見したいと思いました。\\n正直申し上げると、ただの自己満足かもしれません。\",\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/nekoze_shouten/02.jpg\",\"/images/exhibitors/nekoze_shouten/01.jpg\",\"/images/exhibitors/nekoze_shouten/03.jpg\",\"/images/exhibitors/nekoze_shouten/04.jpg\"],\"submittedAt\":\"2026-06-21T22:57:16.000Z\",\"talkInterest\":\"Interested but unsure\",\"comments\":\"締切間際のご連絡で申し訳ございません。\\nどうぞよろしくお願いいたします。\",\"i18n\":{\"en\":{\"activityIntro\":\"I run a bookshop called \\\"Nekoze Shoten\\\" in Toyohashi, Aichi Prefecture. I deliver books, sundries, and all kinds of things that can nudge daily life just a little.\",\"presentWork\":\"I will bring a zine chronicling the days leading up to the opening of Nekoze Shoten's storefront, as well as science fiction novels and plays written by Toka Kagawa.\",\"whyBook\":\"The reason I make novels into books is to preserve stories for hundreds of millions of years into the future. With e-books, for instance, I can't shake the feeling that most of them would be lost at the moment electricity is replaced by the next form of energy. Just as the Epic of Gilgamesh, carved into stone tablets thousands of years ago, still survives today, I believe that, in our age, the stories that will remain hundreds of millions of years from now are the ones written on paper.\",\"whyIga\":\"I am in Aichi Prefecture now, but I lived in the Iga region until I finished high school. I lamented that there was \\\"nothing here\\\" and left for the outside world — but was there really nothing?\\nWhen I return to Iga as an adult, my heart strangely settles; I draw new energy and set off traveling again. Perhaps it was not that there was nothing, but that I simply wasn't seeing anything.\\nHaving left Iga for the outside, I bind together the things I saw out there and bring them back to deliver to Iga. Through that, I wanted to rediscover the Iga I had failed to see.\\nTo be honest, it may be nothing more than self-satisfaction.\"}}},{\"slug\":\"nombrebunch\",\"exhibitorName\":\"のんぶる\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"zine\"],\"social\":\"https://www.instagram.com/nombrebunch\",\"website\":\"https://linktr.ee/nombrebunch\",\"activityIntro\":\"まちの余白で生まれたアートなまなざしをしっかりキャッチして残していくサークル。大阪の藤井寺にある土師ノ里(ハジノサト)では、クリエイターやアーティストのZINEづくりがまちを楽しむための新しい体験としてループし始めています。\",\"presentWork\":\"■人ZINEvol.1(2025):50部限定・800円。\\n■人ZINEvol.2(2025):100部限定・1,500円。\\n本・文字・印刷を学ぶコミュニティ「のんぶる」が主催する合同ZINEプロジェクト「人ZINE」です。\\nイラスト、エッセイ、写真、グラフィックなど、ジャンルも形式もさまざまな表現を持ち寄り、サイズ・仕様の異なるページを製本するスタイルで制作しています。「ZINEというより、人が集まるプロジェクト」をコンセプトに、のんぶるとつながりのあるクリエイターたちが参加。完成度よりも、過程の楽しさと人とのつながりを大切にしています。寄稿者それぞれの個性が詰まったZINEです。\\n\\n■バカンス『HAJINOSATO ZINE』(全4種/Vol.1〜4)各500円\\nイラストレーター遠山敦さんとこどもたちがワークショップを通して一緒に描いて作った土師ノ里のHAJINOSATO ZINE。それぞれの視点とチームワークが生み出した、まちの風景のイラストや文字の表現による結晶。\",\"whyBook\":\"「人ZINE」のアイデアは、ZINEをつくったことがない人がはじめの一歩を踏み出せる場所をつくりたいからです。\\n「自分には発信するほどのものがない」「どこから始めればいいかわからない」、そう思っている人は多い。でも、のんぶると一緒につくる合同ZINEなら、自分一冊分のハードルで済む。隣で誰かがつくっている、という環境で、楽しく作ることができる。\\nこのプロジェクトでのコラボレーションは、新しいきっかけを生み出すための機会となることを大事にしています。ジャンルも形式も自由なのは、間口を広げるためです。大変な製本作業をあえて一緒に体験してもらっています。その体験を通して、参加者がお互いのことも知るきっかけが生まれています。\\nZINEという形式を選んでいるのも、データと違って手元に残る。手に触れられる紙の媒体が、もっと作りたくなる意欲になればといいなと思います。\",\"whyIga\":\"土師ノ里(はじのさと)と伊賀のつながりを作りたいと思います。土師ノ里から伊賀まで、遠いようで、意外と近く、車のアクセスがとてもよいので、繰り返し尋ねたいと思っています。「土師ノ里」は古墳だらけのまちです。世界文化遺産「百舌鳥・古市古墳群」が広がる、歴史深い風土を「ハジウム - 創造の原野-」として、クリエイターやアーティストが活動しやすい場所を目指して、若い学生やクリエイターたちが共にまちのコミュニティ醸成に取り組んでいます。そのコミュニティと、ものづくりや芸術の風土が息づく伊賀と結ぶことができたらと思っています。\",\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/nombrebunch/01.jpg\",\"/images/exhibitors/nombrebunch/02.jpg\",\"/images/exhibitors/nombrebunch/03.jpg\",\"/images/exhibitors/nombrebunch/04.jpg\",\"/images/exhibitors/nombrebunch/05.jpg\"],\"submittedAt\":\"2026-05-31T23:13:52.000Z\",\"talkInterest\":\"Yes\",\"comments\":\"どうぞよろしくお願いいたします。\",\"i18n\":{\"en\":{\"activityIntro\":\"A circle that carefully catches and preserves the artistic gazes born in the margins of a town. In Hajinosato, in Fujiidera, Osaka, the zine-making of creators and artists has begun to loop as a new way of enjoying the town.\",\"presentWork\":\"$30\",\"whyBook\":\"The idea behind \\\"Hito Zine\\\" comes from wanting to create a place where people who have never made a zine can take that first step.\\n\\\"I don't have anything worth putting out there,\\\" \\\"I don't know 
5where to begin\\\" — many people feel this way. But with a collective zine made together with Nombre, the hurdle is only as high as your own single contribution. In an environment where someone is making something right beside you, you can create with enjoyment.\\nWith the collaboration in this project, we value the way it becomes an opportunity to generate new beginnings. The genre and format are free in order to widen the entrance. We deliberately have participants experience the demanding work of bookbinding together. Through that experience, opportunities arise for the participants to get to know one another as well.\\nWe choose the zine format precisely because, unlike data, it remains in your hands. I hope that a paper medium you can touch will become the motivation to want to make even more.\",\"whyIga\":\"I want to create a connection between Hajinosato and Iga. From Hajinosato to Iga may seem far, but it is surprisingly close, and access by car is very good, so I would like to visit again and again. \\\"Hajinosato\\\" is a town full of ancient burial mounds. Taking the deeply historic climate where the World Cultural Heritage \\\"Mozu-Furuichi Kofun Group\\\" spreads out as \\\"Hajium — A Wild Field of Creation,\\\" young students and creators are working together to foster the town's community, aiming to make it a place where creators and artists can readily be active. I hope we can connect that community with Iga, where a climate of making and of art lives and breathes.\"}}},{\"slug\":\"nakamura__kanon\",\"exhibitorName\":\"ビジテリアン大祭\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"artist\",\"zine\"],\"social\":\"https://www.instagram.com/nakamura__kanon?igsh=dXA2cDZ3eWIya2tn\u0026utm_source=qr\",\"website\":\"https://www.instagram.com/nakamura__kanon?igsh=dXA2cDZ3eWIya2tn\u0026utm_source=qr\",\"activityIntro\":\"関西を拠点に活動。映像や版画など幅広いジャンルの美術作品を制作している。\",\"presentWork\":\"夢日記A、15cm×15cm、既発表、5部\\n夢日記B、15cm×15cm、既発表、5部\\n旅行記、未発表\\n自作の和紙に刷ったポストカード、未発表\",\"whyBook\":\"紙の手触り、本によって違う質感には、電子の画面上では得られない魅力があります。古い活版印刷の本を見ると、愛おしく感じます。\\n\\n本は昔から東洋でも西洋でも宝物として扱われてきました。たとえば、写本はそれ自体が宝物ですが、私にとって同じように手間暇かけられたzineは宝物であると感じています。\\n\\nZineはある意味無駄なものではあると思います。それをわざわざ現実で手に取ってもらうのですから、素材感にこだわって宝物のような作品を目指しています。だからこそ、時間や手間がかかっても、紙に刷り、本という形にしたいのです。\",\"whyIga\":\"私は三重県や伊賀を訪れたことがありません。\\nだからこそ、自分が普段生活している場所とは異なる土地に本を持っていき、そこでどのような人と出会い、どのように受け取られるのかに興味があります。展示や販売を通して、自分の考えや表現が、自分の知らない場所へ広がっていくことに面白さを感じています。\",\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/nakamura__kanon/02.jpg\",\"/images/exhibitors/nakamura__kanon/01.jpg\",\"/images/exhibitors/nakamura__kanon/03.jpg\"],\"submittedAt\":\"2026-06-23T01:33:45.000Z\",\"talkInterest\":\"No\",\"comments\":\"締切を過ぎてしまいましたが、応募フォームが開いていたため応募させていただきました。\\nよろしくお願い致します。\",\"i18n\":{\"en\":{\"activityIntro\":\"Based in the Kansai region. I create art works across a wide range of genres, including video and printmaking.\",\"presentWork\":\"Dream Diary A, 15cm × 15cm, previously released, 5 copies\\nDream Diary B, 15cm × 15cm, previously released, 5 copies\\nTravelogue, unreleased\\nPostcards printed on washi paper I made myself, unreleased\",\"whyBook\":\"The feel of paper, and the textures that differ from book to book, have a charm you cannot get on an electronic screen. When I see an old letterpress-printed book, I feel a great fondness for it.\\n\\nSince ancient times, books have been treated as treasures in both East and West. A manuscript, for instance, is itself a treasure, and for me a zine made with the same care and labor feels just as much a treasure.\\n\\nIn a sense, a zine is a useless thing. And since I am asking people to go out of their way to hold it in reality, I aim, by paying attention to the sense of materials, to make works that are like treasures. That is exactly why, even if it takes time and trouble, I want to print on paper and g
5ive it the form of a book.\",\"whyIga\":\"I have never visited Mie Prefecture or Iga.\\nThat is exactly why I am interested in taking my books to a land different from where I usually live, and in what kind of people I will meet there and how the books will be received. Through exhibiting and selling, I find it fascinating that my thoughts and expression spread out to places I do not know.\"}}},{\"slug\":\"shoyagyu\",\"exhibitorName\":\"ヤギュウ ショウ\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"photobook\",\"zine\"],\"social\":\"https://www.instagram.com/sho.yagyu/\",\"website\":\"https://www.instagram.com/p/DSxBDJ1kUOq/?img_index=1\",\"activityIntro\":\"三重県伊勢市を拠点に、写真家・クリエイティブディレクターとして活動しています。家族や身近な人々、手に届く日常の風景の中で写真を撮り、展示やZINEとして発表しています。\\n\\nこれまでに、妻との関係を通して露呈した理想の自己と現実の自己の距離を見つめた写真作品『ごめんね』や、死を起点に生と存在の境界を探る、思想探究のZINE『BUBBLES vol.1』を制作しました。\",\"presentWork\":\"【写真集】ごめんね A4 28Pフルカラー 既発表\\n【ZINE】BUBBLES vol.1 A5変形 24Pモノクロ 既発表\\n2点に加えてこれから制作する未発表の写真集も出展予定です。\",\"whyBook\":\"僕はいつも未来のことばかり考えてしまって、気づくと心がここにないまま時間を過ごしている。そんな自分を、目の前の「いま」にそっと引き戻し、世界とのつながりを結び直してくれるのが、写真を撮るという行為なのだと思う。けれど写真は、シャッターを切った瞬間からすでに過去になっていく。そこに写り込むのは被写体だけではなく、自分がその時間、その場所に存在し、世界を見つめていたという、かすかな形跡でもある。\\n\\n一冊の本にまとめるのは、一枚の写真では捉えきれない思考や時間の流れを、写真と言葉の連なりとして残しておきたいからだ。ページをめくり、ふと立ち止まり、また前のページに戻る。本には、見る人がそれぞれの時間で作品と向き合える、余白がある。紙の質感や重み、印刷の色合い、綴じ方にいたるまで。そうしたものすべてを通して、自分の思考に身体を与えられること。それもまた、本という形式を選ぶ理由のひとつ。\\n\\n僕にとって本をつくるということは、完成した考えを効率よく伝えるための手段ではない。まだ言葉になりきらない感情や、自分自身でもうまく説明できない問いを、写真や詩、物語というかたちを借りて、手探りで確かめていく行為なのだと思う。\\n画面の中の情報は、更新されながら絶えず流れていく。それに対して本は、ひとつの物として誰かの手元に残り、僕の知らないどこかの時間の中でも、確かに存在し続けていく。自分がここに存在し、考え、世界を見つめていたという形跡を残すために、僕はわざわざ本というかたちをつくっているのだと思う。\",\"whyIga\":\"伊賀は高校時代の3年間を過ごした土地です。\\n\\nどちらかを見れば山があり、その反対側には海がある。そんな環境を当たり前として育った僕にとって、山々に囲まれ、海の見えない伊賀の風景には、当時どこか違和感がありました。同じ三重県にありながら、伊勢とは異なる時間や距離の感覚を持つ土地として、今も記憶に残っています。\\n\\n高校時代の僕は、まだ写真や本をつくっていませんでした。あの頃には持っていなかった言葉や視点を、いま制作している本として、かつて自分が過ごした土地へ持ち帰りたいと思いました。\\
5n\\nこれは作品を新しい場所へ届けることであると同時に、過去の自分がいた場所を、現在の自分でもう一度訪ねることでもあります。伊賀で本を手渡すことによって、当時感じていた違和感と、いまの自分のあいだに、ひとつのつながりをつくりたいと考えています\",\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/shoyagyu/01.jpg\",\"/images/exhibitors/shoyagyu/02.jpg\",\"/images/exhibitors/shoyagyu/03.jpg\",\"/images/exhibitors/shoyagyu/04.jpg\",\"/images/exhibitors/shoyagyu/05.jpg\"],\"submittedAt\":\"2026-06-21T17:09:30.000Z\",\"talkInterest\":\"Interested but unsure\",\"i18n\":{\"en\":{\"activityIntro\":\"Based in Ise, Mie Prefecture, I work as a photographer and creative director. I take photographs of my family, the people close to me, and the everyday scenery within arm's reach, presenting the work through exhibitions and zines.\\n\\nSo far I have made \\\"Gomen ne\\\" (I'm Sorry), a photographic work that examines the distance between the ideal self and the actual self as it surfaced through my relationship with my wife, and \\\"BUBBLES vol.1,\\\" a zine of philosophical inquiry that takes death as its starting point to explore the boundary between life and existence.\",\"presentWork\":\"[Photobook] Gomen ne / A4 / 28 pages, full color / previously released\\n[Zine] BUBBLES vol.1 / modified A5 / 24 pages, monochrome / previously released\\nIn addition to these two, I also plan to exhibit a new, as-yet-unreleased photobook that I am currently making.\",\"whyBook\":\"$31\",\"whyIga\":\"Iga is the place where I spent the three years of my high-school days.\\n\\nLook one way and there are mountains; look the other way and there is the sea. For me, who grew up taking such surroundings for granted, the scenery of Iga, ringed by mountains and with no sea in sight, felt at the time somehow out of joint. Though it lies within the same Mie Prefecture, it remains in my memory even now as a place with a sense of time and distance different from Ise.\\n\\nBack in my high-school days, I was not yet making photographs or books. I wanted to bring the words and perspectives I did not have then, in the form of the books I am now making, back to the land where I once lived.\\n\\nThis is at once delivering my work to a new place and revisiting, as the present self, the place where my past self once was. By handing over a book in Iga, I hope to create a single connection between the sense of unease I felt back then and who I am now.\"}}},{\"slug\":\"okude-masato\",\"exhibitorName\":\"奥出理人 / OKUDE MASATO\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"photobook\",\"zine\"],\"social\":\"https://www.instagram.com/fake_blue06/\",\"website\":\"https://okude.myportfolio.com/work\",\"activityIntro\":\"神奈川県および東京都を拠点に活動しています。日常風景のなかにある配置や状態に着目し、意味や用途から少し切り離された対象を撮影しています。これまでに写真ZINEを複数冊自主制作・発行してきました。\",\"presentWork\":\"1.誰か自身_無線綴じ冊子_A5_8部_既発表\\n2.Empty Bounce.2_無線綴じ冊子_A4_10部〜_未発表\\n3.shift | SHIFT_無線綴じ冊子_A4_10部〜_未発表\",\"whyBook\":\"最近、DVDの裏面を見たときに不思議な感覚がありました。懐かしさと同時に、新鮮さも感じたのです。\\nサブスクリプションで映画や音楽に触れることが当たり前になってから、作品はサムネイルとして現れることが多くなりました。タイトルやジャケット画像は目に入りますが、DVDの裏面にあった紹介文や場面写真のレイアウト、CDの歌詞カードや盤面のデザインに触れる機会はほとんどありません。\\nそこで気づいたのは、自分が作品そのものだけでなく、その周辺にも強く惹かれているということでã
5—た。\\n本には表紙と裏表紙があります。余白があり、順序があり、閉じることもできます。ページをめくらなければ次の写真は現れません。そうした写真以外の部分が、写真との距離や出会い方を形づくっています。\\n私は写真を発表するためだけに本を作りたいわけではありません。写真の周辺にあるものまで含めて形にしたいと考えています。\\n効率だけを考えれば、もっと手軽な方法はいくらでもあります。それでも本という形式を選ぶのは、写真を見る環境そのものを作りたいからです。作品へ到達するまでの距離や順序、境界までも含めて形にしたいです。\\n写真の周囲にある空間や時間を含めて一つのかたちにするために、私はわざわざ本をつくっています。\",\"whyIga\":\"伊賀という未知の土地で作品を届けたいという思いと同時に、会場となる旧崇広堂という空間そのものにも惹かれました。\\n私の写真は、何か特別な出来事を写すというよりも、日常の中にある静かな違和感や、物と物との関係のなかに生まれる余白に目を向けています。崇広堂の建築にも、そうした余白や静けさを感じました。空間を過度に埋めるのではなく、あらゆるものが静かに存在し、視線が留まるための余地を残しているように思えます。\\nその感覚は、私が写真を通して探しているものとどこか重なっています。\\nだからこそ、この場所に作品を置いてみたいと思いました。\\nまた、普段活動している神奈川から離れた土地で、新たな人との出会いが生まれることも楽しみにしています。\",\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/okude-masato/04.jpg\",\"/images/exhibitors/okude-masato/01.jpg\",\"/images/exhibitors/okude-masato/02.jpg\",\"/images/exhibitors/okude-masato/03.jpg\"],\"submittedAt\":\"2026-06-11T15:15:25.000Z\",\"talkInterest\":\"Yes\",\"i18n\":{\"en\":{\"activityIntro\":\"I am based in Kanagawa and Tokyo. I pay attention to the arrangements and states of things within everyday scenes, photographing subjects that have been set slightly apart from their meaning or use. I have self-produced and published several photo zines to date.\",\"presentWork\":\"1. Someone Themselves _ perfect-bound booklet _ A5 _ 8 copies _ previously presented\\n2. Empty Bounce.2 _ perfect-bound booklet _ A4 _ 10+ copies _ unpublished\\n3. shift | SHIFT _ perfect-bound booklet _ A4 _ 10+ copies _ unpublished\",\"whyBook\":\"$32\",\"whyIga\":\"Along with my wish to deliver my work to Iga, an unknown place, I was also drawn to the very space of the venue, the historic Sukodo. Rather than photographing some special event, my photographs turn their attention to the quiet sense of unease within everyday life and to the margins that arise within the relationships between one thing and another. In the architecture of Sukodo, too, I sensed such margins and stillness. Rather than filling the space excessively, it seems to leave room for all things to exist quietly and for the gaze to come to rest.\\nThat sensation overlaps somewhere with what I am searching for through photography.\\nThat is precisely why I wanted to place my work in this space.\\nI am also looking forward to the new encounters that may arise in a place far from Kanagawa, where I usually work.\"}}},{\"slug\":\"senseinokukai\",\"exhibitorName\":\"森永侑樹(せんせいの句会)\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"other\"],\"categoryOther\":\"Other (please specify)\",\"social\":\"https://www.instagram.com/senseinokukai?igsh=MWhxZ29pdnR5Nncxbg%3D%3D\u0026utm_source=qr\",\"website\":\"https://senseinokukai.amebaownd.com/\",\"activityIntro\":\"伊賀地域の学校の先生たちを中心とした俳句を楽しむグループ「せんせいの句会」の代表をしています。伊賀の文化である俳句の楽しさを子どもたちに伝えるためにカードゲームを開発しました。また、子どもたちに伝える前にまずは自分たちが楽しもうと、俳句作り、句会を楽しんでいます。先日、妻と作った俳句を句集にしました。\",\"presentWork\":\"俳句カードゲーム「THE kukai」:2年前に伊賀地域の小中学校に寄贈した非売品のカードゲームを15部。リメイク版を今年の晩秋にリリース予定。サイズはおおよそ縦15センチ、横10センチ、厚み3センチ。\\n句集「春の寝息」:早産で生まれた息子が退院するまでの成長の様子を詠んだ句集。(未発表)サイズはおおよそ縦21センチ、横15センチ、厚み5ミリ。\",\"whyBook\":\"カードゲームは、子どもたちが机を囲んでワイワイ楽しめる「場」を作りたいと考えたからです。顔を見合わせて、語り合ったり、言葉を交わし合ったりするなかで、一つの俳句を深めていく創造の体験をしてもらいたかったからです。\\n句集は、早産で生まれた息子への未来のプレゼント。家の本棚にそっと立てておくためです。\",\"whyIga\":\"伊賀のブックフェアで、僕たちの活動を知ってもらいたい、伊賀の方々や全国の方々に伊賀の文化俳句の面白さを知って欲しい。\\n俳句は読み手がいて初めて成立するので、ブックフェアの観覧者のみなさんにも是非、この俳句という体験に参加して欲しい。\",\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/senseinokukai/01.jpg\",\"/images/exhibitors/senseinokukai/02.jpg\",\"/images/exhibitors/senseinokukai/03.jpg\",\"/images/exhibitors/senseinokukai/04.jpg\"],\"submittedAt\":\"2026-06-01T21:44:28.000Z\",\"talkInterest\":\"Yes\",\"comments\":\"とても興味深いイベントです。是非参加させていただきたいです。\",\"i18n\":{\"en\":{\"activityIntro\":\"I lead \\\"Sensei no Kukai,\\\" a group for enjoying haiku made up mainly of schoolteachers in the Iga regi
5on. To convey to children the joy of haiku, a part of Iga's culture, we developed a card game. And before conveying it to children, we decided to enjoy it ourselves first, so we take pleasure in composing haiku and holding kukai (haiku gatherings). Recently, I made a haiku collection together with my wife.\",\"presentWork\":\"Haiku card game \\\"THE kukai\\\": 15 copies of the not-for-sale card game we donated to elementary and junior high schools in the Iga region two years ago. A remade version is scheduled for release in late autumn this year. The size is roughly 15 cm tall, 10 cm wide, and 3 cm thick.\\nHaiku collection \\\"Haru no Neiki\\\": a haiku collection composing the growth of my son, who was born prematurely, up until his discharge from the hospital. (Unpublished.) The size is roughly 21 cm tall, 15 cm wide, and 5 mm thick.\",\"whyBook\":\"As for the card game, it was because I wanted to create a \\\"place\\\" where children can gather around a table and enjoy themselves together. I wanted them to have the creative experience of deepening a single haiku while facing one another, talking, and exchanging words.\\nThe haiku collection is a gift for the future to my son, who was born prematurely. It is meant to stand quietly on the bookshelf at home.\",\"whyIga\":\"At an Iga book fair, I want people to learn about our activities, and I want the people of Iga and people across the country to know how fascinating haiku, a part of Iga's culture, is.\\nHaiku only comes into being once there is a reader, so I would truly love for the visitors to the book fair to take part in this experience of haiku as well.\"}}},{\"slug\":\"blue_lily_3331\",\"exhibitorName\":\"蒼草書院\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"zine\"],\"social\":\"https://www.instagram.com/blue_lily_3331?igsh=MTZhMHYxa2E4eHN2Yw==\",\"website\":\"https://sosousyoin.booth.pm/\",\"activityIntro\":\"現代詩を中心に、短歌や掌編小説を制作しています。日記のように日々の風景を記録し、書籍(ZINE)として販売しています。\",\"presentWork\":\"『陽だまりと蛇口(仮題)』短歌集、文庫サイズ(A6)、未発表(制作中)\\n『みぎわを泳ぐ魚(仮題)』詩集、A5サイズ、未発表(制作予定)\\n『いつか、うたかた』詩集、A5サイズ、234p、既発表\\n『ふるえる羊水』詩集、A5サイズ、20p、糸綴じ手製本、既発表\",\"whyBook\":\"紙にふれる感覚、本のもつ温度、匂い、重さ。最初のページをひらくときの、どこか厳粛で、期待とおそれとが混じる高揚感。それらはデジタルな作品から最も遠く、わたしにとっては、ずっと手元に残しておきたい感覚です。「この言葉はたしかにここに存在するのだ」とたしかめるために、本を制作しています。\",\"whyIga\":\"新しい場所へ行くことは、新しい出会いを求めることだと思っています。出展を通して、すれ違うこともなかった人々と言葉を交わし、それぞれの暮らしが重なる瞬間に立ち会いたい。そんな気持ちで、本を届けたいと思っています。\",\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/blue_lily_3331/02.jpg\",\"/images/exhibitors/blue_lily_3331/01.jpg\",\"/images/exhibitors/blue_lily_3331/03.jpg\"],\"submittedAt\":\"2026-05-22T23:44:56.000Z\",\"talkInterest\":\"Yes\",\"i18n\":{\"en\":{\"activityIntro\":\"I create mainly contemporary poetry, along with tanka and short-short stories. Like a diary, I record the scenery of each day and sell it as books (zines).\",\"presentWork\":\"「A Sunlit Spot and a Faucet (working title)」 tanka collection, bunko size (A6), unpublished (in production)\\n「Fish Swimming the Water’s Edge (working title)」 poetry collection, A5 size, unpublished (planned)\\n「Someday, Ephemera」 poetry collection, A5 size, 234pp, previously published\\n「Trembling Amniotic Fluid」 poetry collection, A5 size, 20pp, thread-bound, handmade binding, previously published\",\"whyBook\":\"The sensation of touching paper; the warmth, the smell, the weight a book holds. The somehow solemn thrill, mingling anticipation and fear, of opening that first page. These are the furthest things from a digital work, and for me they are sensations I want to keep close at hand forever. I make books in order to confirm to myself: “these words truly exist here.”\",\"whyIga\":\"I believe that going to a new place means seeking new encounters. Through exhibiting, I want to exchange words with people I would otherwise never have crossed paths with, and to be present at the moment when each of our lives overlaps. It is with such feelings that I want to deliver my books.\"}}},{\"slug\":\"ayamasumoto\",\"exhibitorName\":\"増本 ç¶¾\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"artist\"],\"social\":\"https://www.instagram.com/aya.masumoto/\",\"website\":\"https://ayamasumoto.stores.jp/\",\"activityIntro\":\"東京、台北、大阪の活版印刷所で働いた後、ドイツのブラウンシュヴァイク美術大学で欧文組版を学び、京都市立芸術大学の大学院で活版印刷の研究を続けています。 活版印刷を使ったアートブック制作を行なっており、2023年に発行した活版印刷写真集「心臓音」は、アメリカPyramid Atlantic Art Center で行われていた活版印刷の展示“PRESS ON“にてJuror Awardを受賞させて頂きました。\",\"presentWork\":\"活版印刷での写真集を5種類ほど出展する予定です。この夏出版予定の新作、「1932.04.18」は、1932年に書かれたラブレターをソウルで見つけ、それをテーマに写真集を作りました。ぜひWaza Waza Art Book Fair で発表したいと思っています。\",\"whyBook\":\"活版印刷の手触りは、デジタル的な他の手法にå
5¤‰ãˆã‚‹ã“とはできません。活版印刷で写真表現をすることによって凹凸が生まれ、視覚のみながず触覚も楽しめるものとなっています。\",\"whyIga\":\"新しい作品を作り始めるとき、まず行ったことのない場所に旅行することにしています。この機会に伊賀を訪れることは、新たなインスピレーションに繋がると考えています。\",\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/ayamasumoto/02.jpg\",\"/images/exhibitors/ayamasumoto/03.jpg\",\"/images/exhibitors/ayamasumoto/04.jpg\"],\"submittedAt\":\"2026-06-04T14:04:17.000Z\",\"talkInterest\":\"Interested but unsure\",\"i18n\":{\"en\":{\"activityIntro\":\"After working at letterpress printing shops in Tokyo, Taipei, and Osaka, I studied Latin-script typesetting at the Braunschweig University of Art in Germany, and I continue my research into letterpress printing at the graduate school of Kyoto City University of Arts. I make art books using letterpress printing, and the letterpress photobook 'Heartbeat' I published in 2023 received a Juror Award at \\\"PRESS ON,\\\" a letterpress exhibition held at the Pyramid Atlantic Art Center in the United States.\",\"presentWork\":\"I plan to exhibit about five kinds of letterpress-printed photobooks. My new work scheduled for publication this summer, '1932.04.18,' is a photobook I made themed around a love letter written in 1932 that I found in Seoul. I would very much like to present it at the Waza Waza—Iga Art Book Fair.\",\"whyBook\":\"The tactile feel of letterpress printing cannot be swapped out for other, digital methods. By expressing photography through letterpress printing, unevenness is born, making it something to be enjoyed not only by sight but also by touch.\",\"whyIga\":\"When I begin making a new work, I first make it a rule to travel to a place I have never been. I think that visiting Iga on this occasion will lead to new inspiration.\"}}},{\"slug\":\"kgbjj_\",\"exhibitorName\":\"庭の拝見\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"zine\"],\"social\":\"https://www.instagram.com/kgbjj_?igsh=c2I0aXE1djA3YXcz\u0026utm_source=qr\",\"website\":\"https://indigo714396.studio.site/\",\"activityIntro\":\"武蔵野美術大学 視覚伝達デザイン学科の学生として、タイポグラフィや組版、映像制作を学んでいます。\\n日本庭園をテーマにした組版による書籍作品の制作では、東京都内の庭園を巡り、茶室の主人やお客様、庭師の方々へ取材を行い、一年かけて制作しました。\",\"presentWork\":\"タイトル/\\n「庭の拝見」\\n\\n\\nプロジェクトについて/\\n日本庭園をテーマにした組版による書籍作品の制作です。東京都内の庭園を巡り、茶室の主人やお客様、庭師の方々へ取材を行い、一年かけて制作しました。\\n\\n\\n発表/\\n2026 日本タイポグラフィ年鑑 入選\\n\\n\\n形式/\\n「庭の拝見Ⅰ」・「庭の拝見Ⅱ」の2種\\n⚫︎A4   \\n⚫︎フルカラー 40p・41p\\n⚫︎糸綴じ製本\\n⚫︎紙/ビオトープ GA-FS\\n   \\n\\n目次抜粋/\\n*  茶室の亭主の方、茶道をしている方々にとっての庭の話\\n*  茶の湯と庭の関係\\n*  庭の自然との距離感について\\n*  作庭家 平井孝幸さんの取材\",\"whyBook\":\"見る人の身体感覚に訴えながら伝えたいからです。庭を鑑賞する体験そのものを紙面へ落とし込むことにこだわりました。装丁は右、左、中央と、三面で交互に開く装丁を採用し、実際に庭を歩きながら視点が移り変わる感覚を反映しました。紙が開く際に生まれるたわみも含め、情報だけでなく身体感覚まで伝えられる表現を意識しました。\\n\\n庭は自然がお手本で、作庭家の方が元からそこに生えているように植物を演出します。けれど違和感なく自然すぎて、緑の心地いい感じを浴びたまま、気付かず通り過ぎてしまう。本を通して庭自体が持つ空気感を丁寧に汲み取りたいという意味を込めました。\",\"whyIga\":\"本イベントのコンセプトにある「本は、読むためだけでなく、見る・触れる・感じるという体験の中にある」と言う部分に共鳴しました。その上で伊賀という場所について調べたところ、歴史的な建造物が多く残っていることを知りました。特に会場となる旧崇広堂は\\nお堂が図書館や文化財施設として維持され、長く愛されていることに驚きました。\\
5n\\n気持ちの良いまま庭の空気感を受け取った体験を本にして記録する行為は、無意識だった五感の体験が紙やレイアウト、インク、糸に翻訳されて、より理解が深まるものでした。それは作法を知ってる人かどうかは関係なく、むしろ知らない視点であることで新鮮な受け取り方ができるかもしれません。\\n\\n伊賀に足を運んで、余裕を持って読む感性が身近な方に読んでいただきたいです。それは、本を読むように 庭園や露路の魅力をゆっくり汲み取っていただくきっかけになると考えます。庭を作った方や、毎朝手入れをしている方々の思想を伝えることでもあります。わざわざそこに読みにくる方や出店する方々との交流にもとても興味があります。\",\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/kgbjj_/02.jpg\",\"/images/exhibitors/kgbjj_/01.jpg\",\"/images/exhibitors/kgbjj_/03.jpg\"],\"submittedAt\":\"2026-06-21T23:59:27.000Z\",\"talkInterest\":\"No\",\"i18n\":{\"en\":{\"activityIntro\":\"As a student in the Department of Visual Communication Design at Musashino Art University, I am studying typography, typesetting, and video production.\\nFor a book work built through typesetting on the theme of Japanese gardens, I visited gardens around Tokyo and, over the course of a year, interviewed tea-house hosts and their guests as well as gardeners.\",\"presentWork\":\"Title /\\n\\\"Niwa no Haiken\\\" (Viewing the Garden)\\n\\n\\nAbout the project /\\nA book work built through typesetting on the theme of Japanese gardens. I visited gardens around Tokyo and, over the course of a year, interviewed tea-house hosts and their guests as well as gardeners.\\n\\n\\nRecognition /\\nSelected for the 2026 Japan Typography Annual\\n\\n\\nFormat /\\nTwo volumes, \\\"Niwa no Haiken I\\\" and \\\"Niwa no Haiken II\\\"\\n⚫︎A4\\n⚫︎Full color, 40p / 41p\\n⚫︎Thread-sewn binding\\n⚫︎Paper / Biotope GA-FS\\n\\n\\nTable of contents (excerpt) /\\n*  Talk about the garden from the perspective of tea-house hosts and practitioners of the tea ceremony\\n*  The relationship between the tea ceremony and the garden\\n*  On the sense of distance from the garden's nature\\n*  An interview with garden designer Takayuki Hirai\",\"whyBook\":\"Because I want to convey it while appealing to the viewer's bodily senses. I was committed to translating the very experience of appreciating a garden onto the page. For the binding, I adopted a structure that opens alternately on three faces — right, left, and center — reflecting the sensation of one's viewpoint shifting as you actually walk through a garden. Including the gentle sag that arises as the paper opens, I was mindful of an expression that conveys not only information but bodily sensation as well.\\n\\nA garden takes nature as its model, and the garden designer arranges the plants so that they seem to have grown there from the start. And yet it is so seamless, so natural, that one bathes in the pleasant feeling of green and passes right through without noticing. Into this work I put the intention of carefully drawing out the very atmosphere the garden itself holds, through the medium of a book.\",\"whyIga\":\"$33\"}}},{\"slug\":\"michioto-publishing\",\"exhibitorName\":\"道音舎 / Michioto Publishing\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"bookstore\"],\"social\":\"https://www.instagram.com/michioto_pub/\",\"website\":\"https://pub.michioto.com/\",\"activityIntro\":\"道音舎は紀伊半島の和歌山県を拠点にする出版レーベルです。写真、版画、彫刻作品など、ジャンルを問わず多様なアートブックの制作を手がけます。過去には和歌山在住の写真家松原時夫、照井壮平、同じく和歌山在住の版画家番留京子、津軽を拠点にする写真家柴田祥らの作品集などを出版してきました。特に土着的に活動する作家に注目し、出版活動を行っています。\",\"presentWork\":\"既刊リストを紹介するほか、写真集『狼煙』の著者である照井壮平も同行し直接コミュニケーションを取る予定です。出品予定の既刊本のリストは以下の通りです。\\n\\n『建物彫刻』 緒方敏明|177 x 257mm、64P + 蛇腹折カバー18P|500部\\n『水辺の人』松原時夫|217 x 276mm、116ページ|600部(初版、第2版合計)\\n『砂のキャンバス』| 松原時夫|197 x 279mm、64ページ|300部\\n『VENDOME』番留京子|210 x 284mm、 72ページ|300部\\n『別冊 津軽再考 』柴田祥|170 x 224 mm、32ページ|800部\\n『狼煙』照井壮平|230 x 238、112ページ|800部(初版、第2版合計)\",\"whyBook\":\"道音舎は、本を単なる情報やアート作品の複製物ではなく、作家による第一次表現としての媒体として捉えています。写真や言葉などのコンテンツと、紙、綴じ、重さ、手触りなどを通して、作家の表現と読ã
5‚€äººã®ä½“験をつなげていければと思っています。それはわざわざ物質的な本を作ることで実現することと考えています。\",\"whyIga\":\"私たちはよく「本が旅をする」という表現を使います。これまで伊賀と特別なつながりがあるわけではありませんが、たまたま募集を発見し「旅してみたい」と感じました。スタッフのひとりに参加を相談したところ「伊賀、好きなんですよ。お気に入りの銭湯もあります。」と返事があり応募することを決めました。\",\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/michioto-publishing/01.jpg\",\"/images/exhibitors/michioto-publishing/02.jpg\",\"/images/exhibitors/michioto-publishing/03.jpg\",\"/images/exhibitors/michioto-publishing/04.jpg\",\"/images/exhibitors/michioto-publishing/05.jpg\"],\"submittedAt\":\"2026-05-14T08:55:54.000Z\",\"talkInterest\":\"Interested but unsure\",\"comments\":\"よろしくお願いいたします。\",\"i18n\":{\"en\":{\"activityIntro\":\"Michioto Publishing is a publishing label based in Wakayama Prefecture on the Kii Peninsula. We produce a wide variety of art books across every genre—photography, printmaking, sculpture, and more. In the past we have published collections by the Wakayama-based photographers Tokio Matsubara and Sohei Terui, the Wakayama-based printmaker Kyoko Bandome, and the Tsugaru-based photographer Sho Shibata, among others. We pay particular attention to artists who work in a rooted, locally grounded way, and it is with them that we carry out our publishing.\",\"presentWork\":\"In addition to introducing our list of existing titles, Sohei Terui, the author of the photobook “Noroshi,” will accompany us so that they can communicate with people directly. The list of existing titles we plan to exhibit is as follows.\\n\\n「Building Sculpture」 Toshiaki Ogata|177 x 257mm, 64pp + 18pp accordion-fold cover|500 copies\\n「People by the Water」 Tokio Matsubara|217 x 276mm, 116 pages|600 copies (first and second editions combined)\\n「Canvas of Sand」 | Tokio Matsubara|197 x 279mm, 64 pages|300 copies\\n「VENDOME」 Kyoko Bandome|210 x 284mm, 72 pages|300 copies\\n「Supplement: Tsugaru Reconsidered」 Sho Shibata|170 x 224mm, 32 pages|800 copies\\n「Noroshi」 Sohei Terui|230 x 238, 112 pages|800 copies (first and second editions combined)\",\"whyBook\":\"Michioto Publishing regards a book not as a mere reproduction of information or of an artwork, but as a medium that is itself the artist’s primary expression. Through content such as photographs and words, together with paper, binding, weight, and touch, we hope to connect the artist’s expression with the reader’s experience. We believe this is something realized precisely by going to the trouble of making a physical book.\",\"whyIga\":\"We often use the phrase “books travel.” We have had no particular connection with Iga until now, but we happened to come across the open call and felt we wanted to travel there. When we consulted one of our staff about taking part, the reply came back: “I love Iga. I even have a favorite public bathhouse there.” And so we decided to apply.\"}}},{\"slug\":\"naoko-kusunoki\",\"exhibitorName\":\"楠尚子 / Naoko Kusunoki\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"artist\"],\"social\":\"https://www.instagram.com/naoko_perfumer\",\"website\":\"https://www.yourexclusive.jp/\",\"activityIntro\":\"東京と京都を拠点に、嗅覚を中心とした現代美術・フレグランス・言語表現の交差領域で制作を行っています。匂いを単なる表現媒体としてではなく、関係性の中で意味が生成される「不安定な言語」として扱い、インスタレーション、パフォーマンス、ワークショップなどの形式へ展開しています。近年はシドニーの アーティストNadia Vitlin と共同で、香りを関係的な言語として捉えるプロジェクト、《Olfactophone》を軸に、香り・記憶・誤読・翻訳不可能性をテーマとした作品群を発表しています。本プロジェクトは、私にとって初めてのアーティストブックとして展開する試みでもあり、これまで展示やプロジェクトベースで扱ってきた要素を、紙という形式に再構成しようとするものです。\",\"presentWork\":\"出展予定の本は、「Olfactophone / One Side of a Conversation」を起点としたアーティストブックです。本作品は作品記録集ではなく、制作過程の断片、試香紙、封筒、折り構造、差し込みカード、香りのサãƒ
5³ãƒ—ルなどによって構成されています。ページそのものが情報を記録する媒体であると同時に、物理的な構造体として立ち上がる「Portable Exhibition」として設計されています。本は固定された順序や単一の読みを持たず、メモが飛び出し、香りが隠れ、断片が差し込まれることで成立します。この構造自体が、「Olfactophone」における部分的理解による関係性を物質として実装する試みです。限定少部数の手製本作品として制作予定です。\",\"whyBook\":\"香りの作品は展示が終わると消えてしまいます。ワークショップで交わされた会話も、香りを嗅いだ体験も、その場限りのものです。《Olfactophone》もまた、完成した作品というよりも交換のプロセスそのものに価値を置くプロジェクトです。そのため、写真やテキストだけでは残しきれないものが多くあります。\\n私は今回、本を情報を伝える媒体としてではなく、香りや素材、手触りを伴う物体として捉えています。試香紙や差し込み式ã
5®ãƒ‘ーツを用いるのも、本を読むためではなく、開き、触れ、取り出し、嗅ぐためです。デジタルな記録が容易な時代だからこそ、香りのように複製しきれないものを、手作業による限定的な形で残したいと思いました。不完全で、非効率で、誰も同じ体験を共有できない。その状態は、《Olfactophone》が探求している「部分的な理解を通したコミュニケーション」と重なっています。この本は作品の記録ではなく、作品そのものの延長として存在します。\",\"whyIga\":\"この作品は、当初から一般的なアートブックやZINEの延長線上にある形式には適合しない構造として考えていました。ページを持つことはできても、それを軽やかに流通させたり、均質な読書体験として共有することを前提としたものではなく、むしろ「本」という形式そのものを再定義する必要があると感じていました。\\nそのような中で本フェアの存在を知り、「本」という形式そのものを拡張しようとする姿勢や、制作と流通の枠組みを更新しようとする試みに強い関心を持ちました。従来のアートブックの枠組みとは異なる前提があり、その点においてむしろ本プロジェクトと接続する可能性を感じています。\\n伊賀という場所に届けることは、都市的なスピードや既存の文脈の中心から離れることではなく、むしろ異なる条件の中で作品がどのように再構成されるかを試す行為です。アートブックフェアという形式そのものが、流通ではなく「遭遇」を生む装置であり、その中で本がどのように誤読され、意味を更新されていくのかを実験したいと考えています。\",\"booth\":\"Exhibition Room: 4.5畳 (12,000 JPY) ※限定1室\",\"images\":[\"/images/exhibitors/naoko-kusunoki/04.jpg\",\"/images/exhibitors/naoko-kusunoki/01.jpg\",\"/images/exhibitors/naoko-kusunoki/02.jpg\",\"/images/exhibitors/naoko-kusunoki/03.jpg\"],\"submittedAt\":\"2026-06-17T19:07:23.000Z\",\"talkInterest\":\"Yes\",\"i18n\":{\"en\":{\"activityIntro\":\"Based between Tokyo and Kyoto, I work at the intersection of contemporary art, fragrance, and language centered on the sense of smell. Rather than treating scent merely as an expressive medium, I approach it as an \\\"unstable language\\\" whose meaning is generated 
5within relationships, developing this into forms such as installation, performance, and workshops. In recent years, in collaboration with the Sydney-based artist Nadia Vitlin, I have been presenting a body of work themed around scent, memory, misreading, and untranslatability, centered on the project «Olfactophone», which regards fragrance as a relational language. This project is also my first attempt at developing an artist book — an effort to reconstruct, into the form of paper, elements I have so far handled on an exhibition and project basis.\",\"presentWork\":\"The book I plan to exhibit is an artist book that takes \\\"Olfactophone / One Side of a Conversation\\\" as its point of departure. This work is not a record of a work but is composed of fragments of the making process, scent-testing strips, envelopes, folded structures, insert cards, scent samples, and more. The pages themselves are a medium that records information while also standing up as a physical structure — designed as a \\\"Portable Exhibition.\\\" The book has no fixed order or single reading; it comes into being as notes spring out, scents hide away, and fragments are inserted. This structure itself is an attempt to materially implement the relationships-through-partial-understanding found in \\\"Olfactophone.\\\" It is planned as a hand-bound work in a limited, small edition.\",\"whyBook\":\"$34\",\"whyIga\":\"$35\"}}},{\"slug\":\"nekoyahoujyudou\",\"exhibitorName\":\"猫屋芳樹堂\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"zine\",\"other\"],\"categoryOther\":\"Other (please specify)\",\"social\":\"https://www.instagram.com/nekoyahoujyudou/\",\"website\":\"\",\"activityIntro\":\"三重県名張市在住/猫のきりえ作家/東京と大阪の毎年同じお店で個展や企画展参加での、地方のイベントにも出店しますが大阪で活動する事が多いです/自身の作品集としてZINEを制作/同じく作品集という感覚でタロットカードやオラクルカードなどもボードゲームの会社から出版していただいています\",\"presentWork\":\"⚫︎A5/40p/ZINE「猫詠み草紙〜猫俳句と切り絵の合奏〜」10〜20部(既発表)\\n⚫︎A5/44p/ZINE「The cat’s meow.〜西洋の猫のことわざ\u0026きりえの作品集〜」10〜20部(〃)\\n⚫︎A5/28p/ZINE「ネコとフクロウのタロット」10〜20部(〃)\\n\\n※もし可能でしたら原画であるきりえ作品の展示もしたいです\\n\\n↓  もしオリジナルカードの出品も可能の場合は下記の2点追加です\\n⚪︎110×165mm/オラクルカード36枚+取説本セット「Meow Oracle DX」10〜20部(既発表)\\n⚪︎70×120mm/タロットカード22枚+解説書セット「CAT \u0026 OWL TAROT」10〜20部(〃)\",\"whyBook\":\"自身のきりえ作品を見せるための表現形態(媒体)としてZINEを作っております(オリジナルカードの出版も同じ理由です)\",\"whyIga\":\"ZINEのイベントに出店経験がないのですが隣の伊賀市の史跡で開催されるという点に魅力を感じました\",\"booth\":\"Exhibition Room: 4畳 (10,000 JPY) ※限定3室\",\"images\":[\"/images/exhibitors/nekoyahoujyudou/05.jpg\",\"/images/exhibitors/nekoyahoujyudou/01.jpg\",\"/images/exhibitors/nekoyahoujyudou/02.jpg\",\"/images/exhibitors/nekoyahoujyudou/03.jpg\",\"/images/exhibitors/nekoyahoujyudou/04.jpg\"],\"submittedAt\":\"2026-06-03T17:43:25.000Z\",\"talkInterest\":\"Interested but unsure\",\"comments\":\"ZINEイベントは初めてで、当方は場違いかもしれませんがご検討いただけたら幸いです。\\n当方の原画作品(きりえ)は印刷ではお見せできない煌めく素材を使用していますので、ぜひ対面販売のこの機会にZINEとあわせて展示できたらと思います。\\nどうぞよろしくお願いいたします。\",\"i18n\":{\"en\":{\"activityIntro\":\"Based in Nabari, Mie Prefecture / a cat kirie (paper cut-out) artist / I take part in solo and group exhibitions every year at the same shops in Tokyo and Osaka, and I also set up at regional events, but I am most often active in Osaka / I make zines as collections of my own work / in the same sense of a collection of works, I also have tarot cards and oracle cards published by a board game company.\",\"presentWork\":\"● A5 / 40p / ZINE \\\"Neko Yomi Zoushi — A Duet of Cat Haiku and Paper Cut-outs\\\" 10–20 copies (already published)\\n● A5 / 44p / ZINE \\\"The cat's meow. — A Collection of Western Cat Proverbs \u0026 Paper Cut-outs\\\" 10–20 copies (ditto)\\n● A5 / 28p / ZINE \\\"The Cat and Owl Tarot\\\" 10–20 copies (ditto)\\n\\n* If possible, I would also like to exhibit the original kirie cut-out works.\\n\\n↓ If exhibiting original cards is also possible, the following two items are added:\\n○ 110×165mm / oracle cards, set of 36 cards + instruction booklet \\\"Meow Oracle DX\\\" 10–20 copies (already published)\\n○ 70×120mm / tarot cards, set of 22 cards + explanatory booklet \\\"CAT \u0026 OWL TAROT\\\" 10–20 copies (ditto)\",\"whyBook\":\"I make zines as a form of expression (a medium) for showing my own kirie cut-out work (the same reason applies to publishing the original cards).\",\"whyIga\":\"I have no experience setting up at a zine event, but I felt drawn by the point that it is held at a historic site in neighboring Iga City.\"}}},{\"slug\":\"houkashobo\",\"exhibitorName\":\"烽火書房\",\"country\":\"Japan\",\"originalLang\":\"ja\",\"categories\":[\"bookstore\",\"zine\"],\"social\":\"https://www.instagram.com/houkashobo/\",\"website\":\"https://houkashobo.com\",\"activityIntro\":\"烽火書房は京都生ã
5¾ã‚Œåœ¨ä½ã®ç·¨é›†è€…・嶋田翔伍が2019年に立ち上げた出版社です。烽火はのろしを意味しており、「必要な時に、必要な人に必ず届くのろしのような本づくりを」と掲げています。例えば遅くて小さなメッセージでも、必ず伝わると信じて活動しています。現在はエッセイ・随筆、サブカルといったジャンルの書籍を中心に刊行中です。著者と二人三脚で本をつくることを大切にし、本づくりの面白さと奥深さをともに体験しながら、一冊の本にまとめて読者のみなさんの手元に届くように日々書籍を編集しています。全国流通の一般書だけでなく、一冊一冊手作業で仕上げるリトルプレス・ZINEも発行しています。\",\"presentWork\":\"<リトルプレス>\\n・アンソロジー『たやさない』シリーズ(A6・80ページ)vol.01-05(もしかしたらvol.06が間に合うかもしれません)。\\n・エッセイ集『住まなくても都』(A6・160ページ)\\n・アンソロジー『大喜びした日』(新書判・80ページ)\\n\\n<一般書>\\n・『普及版 世界の紙を巡る旅」』(A6・176ページ)\\n・『休み時間の過ごし方』(四六判・324ページ)\\n・『おうちさよなら日記』(四六判・192ページ)\\nほか\",\"whyBook\":\"この世にあるすべてのものは本の題材になります。本をつくるという行為を意識し、編集しはじめた時点で、すべての物事と自分にかかわりしろが生まれ、すべての物事は自分と関係しはじめます。本という、強いフォーマットをもち、かつ、シンプルな表現は、外側に広がる広大な宇宙を心的な宇宙に結び付ける行為でもあります。\",\"whyIga\":\"知らない土地に行くこと、いつもと違う方法で本を届けること、そうしたことに魅力を感じています。参加を希望する直接的な要因はお誘いをいただいたからではありますが、自分の髪を揺らす風が、どこから来たのか、その根っこをたどりたいと思いました。\",\"booth\":\"Standard Low Table (白又は黒天板 W180xD50-60, H40-50) — JPY 5,000\",\"images\":[\"/images/exhibitors/houkashobo/04.jpg\",\"/images/exhibitors/houkashobo/01.jpg\",\"/images/exhibitors/houkashobo/02.jpg\",\"/images/exhibitors/houkashobo/03.jpg\",\"/images/exhibitors/houkashobo/05.jpg\"],\"submittedAt\":\"2026-04-14T11:14:55.000Z\",\"talkInterest\":\"Yes\",\"i18n\":{\"en\":{\"activityIntro\":\"Houka Shobo is a publishing house founded in 2019 by Shogo Shimada, an editor born and living in Kyoto. \\\"Houka\\\" means a signal fire, and our motto is: \\\"To make books like a signal fire that reach the people who need them, without fail, when they are needed.\\\" We work in the belief that even a slow, small message will surely get through. At present we mainly publish books in genres such as essays and personal writing, and subculture. We value making books hand in hand with our authors, experiencing together the fascination and depth of bookmaking as we shape it all into a single volume and deliver it into the hands of our readers, editing books day by day. Alongside general trade books distributed nationwide, we also produce little-press editions and zines that we finish one by one entirely by hand.\",\"presentWork\":\"\u003cLittle press\u003e\\n- The anthology series \\\"Tayasanai,\\\" vol.01-05 (A6, 80 pages). (vol.06 might just make it in time.)\\n- The essay collection \\\"Sumanakutemo Miyako\\\" (A6, 160 pages)\\n- The anthology \\\"Oyorokobi shita Hi\\\" (shinsho format, 80 pages)\\n\\n\u003cGeneral trade books\u003e\\n- \\\"Fukyuban: Sekai no Kami o Meguru Tabi\\\" (A6, 176 pages)\\n- \\\"Yasumi-jikan no Sugoshikata\\\" (shiroku format, 324 pages)\\n- \\\"Ouchi Sayonara Nikki\\\" (shiroku format, 192 pages)\\nand others\",\"whyBook\":\"Everything that exists in this world can become the subject of a book. The moment you become conscious of the act of making a book and begin editing, a point of connection opens up between you and all things, and everything begins to relate to you. The book — a simple form of expression that carries such a strong format — is also an act of tying the vast universe spreading outward to the universe of the mind.\",\"whyIga\":\"Going to an unfamiliar place, delivering books in a way different from usual — I find those things appealing. The immediate reason I wish to take part is that I was invited, but I also wanted to trace the roots of it: where the wind that stirs my own hair comes from.\"}}}]}],[\"$L36\",\"$L37\"],\"$L38\"]}]\n"])</script>
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