{"title":"\u003ctc\u003eBooks for reading\u003c\/tc\u003e","description":"\u003ctc\u003eThese are books that you want to read as if you were sucking, chewing, moistening, bathing, and drowning.\u003c\/tc\u003e","products":[{"product_id":"die-forelle","title":"Die Forelle","description":"\u003ch1 data-mce-fragment=\"1\"\u003e  \u003cstrong\u003eWhat if books were water?\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u0026quot;The Forelle\u0026quot;\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e2014\u003c\/strong\u003e  \u003c\/h1\u003e  \u003cp\u003eThis masterpiece by Yasutomo Ota was born from the concept of \u0026quot;water.\u0026quot; It is based on the lyrics of the popular song \u0026quot;Die Forelle\u0026quot; (1817) by Franz Peter Schubert (January 31, 1797 - November 19, 1828).\u003cbr\u003e\u003cbr\u003eIf you hold the bound spine and shake it from side to side, the whole book sways supplely like rippling waves, as if a trout might jump out with the water at any moment. On the white pages, which are modeled after bamboo strips, vivid trout are depicted in linoleum prints that sparkle with each turn of the page, and the lyrics written by Schubart (Christian Friedrich Daniel Schubart, March 24, 1739 - October 10, 1791) are scattered throughout the work in German.\u003cbr\u003e\u003cbr\u003eThe artist chose structure as a method of expression for \u0026quot;Water.\u0026quot; Using both the bamboo strips used in ancient China and Coptic binding, reminiscent of the traditional Western book shape, he has succeeded in creating a unique structure that has never been seen before. By gluing three sheets of paper together, he has achieved a finish that is as strong as bamboo, yet lighter and more flexible than bamboo, and by deliberately binding the bamboo strips, which are normally stored in a scroll shape, he has created a completely new form of book. By binding one end, an axis is created, allowing the book to stand stably on its own, so the angle of each page can be freely changed, allowing you to enjoy the beauty of its shape.\u003cbr\u003e\u003cbr\u003eThe most distinctive feature of the production process of \u0026quot;Die Forelle\u0026quot; is the structure of a single bamboo strip. To guarantee the strength of a single page and to solve problems in the printing process, it was necessary to glue three pieces of paper together. In the printing process, even a deviation of just 1mm from the center of an 8mm-wide strip can have a major impact. In particular, for pages with text, the small letters must be aligned with the center of the strip, and there is no other way to do this than to print each side and then glue them together with one another by hand and eye.\u003cbr\u003e\u003cbr\u003eTraditionally, bamboo strips are written in a vertical direction, as is typical of China and Japan. In this work, we go against this norm and use the lyrics of Schubart's \u0026quot;The Trout,\u0026quot; written in German, in a horizontal format. As a result, the mutual progression of structure and content literally plays and intersects, opening up possibilities for new approaches to books and typography.\u003cbr\u003e\u003cbr\u003eThe intersection of structure and content in this work makes us think about the direction of text progression, and by placing horizontal German text on a vertical format, we are strongly conscious of the direction of text progression. The lyrics of \u0026quot;Trout\u0026quot; basically progress from bottom to top on the bamboo strip, and the inner pages progress from left to right. This directionality is due to the fact that when titles are printed vertically on the spine of a German book, they are generally arranged to be read from bottom to top.\u003cbr\u003e\u003cbr\u003eThis work is one of the most outstanding examples of the artist's distinctive way of capturing the physicality of the book, and it gives a glimpse of the delicate sensibilities and precise technical skills of Japan.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/knEiVGVWyPY\" width=\"560\" height=\"315\" allowfullscreen=\"\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":42113826881704,"sku":"","price":300000.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/ota_yasutomo_DieForelle_02.jpg?v=1648605453"},{"product_id":"茶室ー趣味-空-数寄の場所","title":"Tea room","description":"\u003ch2\u003e  \u003cstrong\u003eOkakura Tenshin's \u0026quot;Chanoyu\u0026quot;\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eCollapsed\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003etea bag.\u003c\/strong\u003e  \u003c\/h2\u003e  \u003cp\u003eThis work, which has a tea room theme, is in the shape of a large tea bag. When you open the tea bag, two bundles of washi paper appear on either side. The overall soft impression is unique to washi paper. The fact that the string of the tea bag unfolds from Japanese binding thread also gives a sense of Japanese sensibility. The artist does not produce many so-called Japanese-style works, but the identity that exudes from these details is unmistakably based on Japan.\u003cbr\u003e\u003cbr\u003eThe text is an excerpt from the fourth chapter, \u0026quot;Tea Room,\u0026quot; of Okakura Tenshin's \u0026quot;The Book of Tea\u0026quot; (Iwanami Bunko). The right-hand page shows a floor plan of the tatami room, drawn in the color of tea leaves instead of ink, and the left-hand page shows a typographical expression in three languages, Japanese, English, and German, that matches the diagram. The left and right bundles are paired, so you can read both pages at the same time.\u003cbr\u003e\u003cbr\u003eThe author, who continues to create while moving back and forth between architecture and books, chose the \u0026quot;tea room.\u0026quot; The structure of the tea room can be said to be the polar opposite of the splendor of Western architecture and the profoundness of temple architecture. The architecture of the tea room is called \u0026quot;sukiya architecture,\u0026quot; and Okakura Tenshin gave the following interpretation of the meaning of \u0026quot;sukiya.\u0026quot; The first is \u0026quot;empty house,\u0026quot; written as \u0026quot;sukiya.\u0026quot; Even in a small space such as a four-and-a-half-tatami room, if you line up or pack various things in it, there will be no room. However, if you leave it empty, anything can fit in there. If it is empty, anything can fit in there. Or, the space inside becomes free. The second is \u0026quot;sukiya.\u0026quot; It is a room that you like. For a tea ceremony, the space changes depending on the flower arrangement, according to your own and your guests' preferences each day. It incorporates preferences that change with each occasion. The third is \u0026quot;sukiya.\u0026quot; We will unravel the meaning of \u0026quot;sukiya\u0026quot; in the sense of \u0026quot;even numbers\u0026quot; versus \u0026quot;odd numbers.\u0026quot; Specifically, Okakura Tenshin gives the example of the \u0026quot;staggered shelves,\u0026quot; saying that in oriental teahouse architecture, the irregular, unbalanced, unstable scenery of the staggered shelves creates fluidity, or movement. In symmetry, movement is fixed. In contrast, the staggered shelves can evoke movement in the mind.\u003cbr\u003e\u003cbr\u003eThe artist, who acquired the techniques and mindset in Germany, where the history of books as works of art is passed down through the ages, combined the Japanese architectural style and philosophy of the tea ceremony, which are his cultural background, and fermented it. This work is a masterpiece that gives a sense of the great possibilities for the future of book art.\u003cbr\u003e\u003c\/p\u003e  \u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":42113839857832,"sku":"","price":1.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/teabag_01.jpg?v=1649424289"},{"product_id":"pferdebeine","title":"PFERDEBEINE","description":"\u003ch1 data-mce-fragment=\"1\"\u003e  \u003cstrong\u003eThe original work is a horror story by Ryunosuke Akutagawa.\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003e«PREFERDEBEINE» \u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e2015\u003c\/strong\u003e\u003cbr\u003e  \u003c\/h1\u003e  \u003cp\u003eThe work is based on Ryunosuke Akutagawa's \u0026quot;Horse's Leg.\u0026quot;\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe length of this book is 66cm. It is a little short for a thoroughbred, but it is exactly the average length for native horses in Japan. There is no bookshelf that can fit a horse's legs, and this book is unlikely to fit on the bookshelf either.\u003cbr\u003e\u003cbr\u003eI will give a very brief explanation of Akutagawa's \u0026quot;Horse's Leg.\u0026quot; \u0026quot;Horse's Leg\u0026quot; is a tale that first appeared in 1925 (Taisho 14), and begins with the line, \u0026quot;A fairy tale to read to adults.\u0026quot; In the Taisho era, Hanzaburo Oshino, a trading company employee living in Beijing, was accidentally killed and ended up in the underworld. He was revived, but his leg had already rotted by then, so he was sent back to the world with a horse's leg instead. The transplanted horse's leg instinctively galloped around, regardless of the protagonist's will, and eventually his wife saw his hairy horse's leg peeking out from under his white pants, and he eventually disappeared. It is a fantastic story reminiscent of Franz Kafka's \u0026quot;Metamorphosis.\u0026quot;\u003cbr\u003e\u003cbr\u003eEven though the cover is pure white, you can feel the texture of a living thing, like an expression or body heat. Opening the pages inside, you are surprised by the layout of the text. The Japanese and German text flows along the outline of a trouser pattern, creating a truly mysterious sight. And beneath the text run the traces of a stumble. This visual image makes the viewer think of the sound of horse hoofs and the dust kicked up by the horses. Because it is a large, narrative-rich book, you are seized by the illusion of being sucked into it with each turn of the pages.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe white paper used for the cover and horseshoe graphics was chosen based on the white pants worn by the main character, Hanzaburo Oshino. At first glance it looks like ordinary paper, but when you touch it, it has a special texture that feels like fur, animal skin, or human skin. The Japanese and German titles are strongly embossed on the cover to emphasize the texture of the paper.\u003cbr\u003e\u003cbr\u003eThe text is arranged in the shape of a trouser pattern. In the story, the horse's leg, which was transplanted when the protagonist was sent back to earth from heaven, is connected below the protagonist's thigh, so the text is arranged so that the Japanese text above the pattern connects with the German text below. Also, inside the double-folded printed washi paper, graphics made by applying ink to a horseshoe and pressing it directly into the paper are inserted, so no two books are the same. By combining washi paper with the motif of stencil paper, the book explores the possibilities of washi paper, a material that is actually used as a stencil paper.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAbout \u0026quot;Horse's Leg\u0026quot;:\u003c\/strong\u003e\u003c\/p\u003e  \u003cblockquote\u003e  \u003cp\u003eIt was published in 1925, just two years before Akutagawa Ryunosuke took his own life. \u0026quot;The Horse's Leg\u0026quot; is a fantastic story about a middle-aged man who has a horse's leg transplanted into his thigh. Events such as resuscitation and transplantation symbolize \u0026quot;rebirth,\u0026quot; while the horse's leg, galloping instinctively regardless of the man's will, symbolizes \u0026quot;madness.\u0026quot; At this time, Akutagawa Ryunosuke was already suffering from mental illness. The main character, Oshino Hanzaburo, may have been Akutagawa Ryunosuke himself.\u003c\/p\u003e  \u003c\/blockquote\u003e  \u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":42113861419176,"sku":"","price":180000.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/ota_yasutomo_PFERDEBEINE_02.jpg?v=1648608123"},{"product_id":"frucht-i","title":"Frucht I","description":"\u003ch1 data-mce-fragment=\"1\"\u003e  \u003cspan style=\"color: #000000;\"\u003e  \u003cstrong\u003e The size of one whole lemon.\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cstrong\u003e\u0026quot;Fruit I\u0026quot;\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan style=\"color: #808080;\"\u003e\u003cspan style=\"color: #000000;\"\u003e2017\u003c\/span\u003e  \u003c\/span\u003e  \u003c\/strong\u003e  \u003c\/h1\u003e The lemon-colored cube contains a whole lemon, and just looking at it makes you feel like you've taken in a dose of Vitamin C. The outline of the lemon that appears on three edges is a reflection of the actual lemon, which the artist purchased himself and sliced into 2mm pieces. Upon closer inspection, the outline is highlighted by German characters written just 2mm wide. Each side is inscribed with information about the lemon, an overview of the lemon, and recipes using the lemon. When you open the page, a cross-section of the lemon, sliced to the same thickness as the paper (2mm), appears, and the diameter changes slightly as you turn the page.\u003cbr data-mce-fragment=\"1\"\u003e  \u003cp\u003e\u003cbr\u003eThe yellow surface is actually white paper printed in yellow. The texture and other aspects are carefully designed to look like a lemon. Over time, the yellow on the edge of the fore-edge has peeled off and some parts have faded to a whitish color, just like a lemon with some peeled off.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u0026quot;Frucht I\u0026quot; is a work that brings to fruition the duality of the intuitive action of transferring something other than a book into a book, and the visual effect of the piled-up thin layers evoking the image of a book as an object.\u003cbr\u003e\u003cbr\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRegarding the Frucht series, the artist explains:\u003c\/strong\u003e\u003c\/p\u003e  \u003cblockquote\u003e  \u003cp\u003e\u0026quot;\u003cem\u003eWhen an object is cut into thin layers, many slices are produced. When these slices are stacked again, the shape of the original object emerges. The relationship between slices and objects seems to me like the relationship between a signature and a book. Moreover, CT, which is a method for observing the details of an object, achieves its purpose by looking at the cross section of the object. In order to observe the details of an object, I tried slicing it to the same thickness as a signature.\u003c\/em\u003e\u0026quot;\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u0026quot;\u003cem\u003e2mm is a unit that I use frequently when making books. When using flimsy paper, or more specifically, when printing on paper, we often think of it as flat, but in reality, paper has \u0026quot;thickness.\u0026quot; In this project, the quire, which is usually made by stacking and folding multiple sheets of paper, is constructed from a single sheet of cardboard, which makes one strongly aware of \u0026quot;thickness.\u0026quot; I feel the expanse of the universe within a thickness of 2mm. Many interesting things happen within the 2mm of a slice of fruit, and in the process of making a book, there is truly a lot of drama within 2mm. I wanted to get closer to 2mm, and learn more about the possibilities of 2mm, so in this project I included written information within the thickness of a single quire.\u003c\/em\u003e” says the author.\u003c\/p\u003e  \u003c\/blockquote\u003e  \u003cbr data-mce-fragment=\"1\"\u003eThis work was the last one he produced during his time in Germany, and he moved to Japan in 2017 to embark on new creative endeavors. Through this work, he became more conscious of \u0026quot;getting closer to the subject,\u0026quot; \u0026quot;turning familiar things into books,\u0026quot; and \u0026quot;making books parasitize familiar things,\u0026quot; and these thoughts remain major themes in his creative endeavors to this day.\u003cbr\u003e\u003cbr\u003e  \u003cp\u003eText by Ema Otobe\u003cbr\u003e\u003cbr\u003e\u003ciframe src=\"https:\/\/www.youtube.com\/embed\/sCIlDKJnobU\" title=\"YouTube video player\" width=\"560\" height=\"315\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":42113900544168,"sku":"","price":215600.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/ota2201_041.jpg?v=1647498477"},{"product_id":"frucht-iii","title":"Frucht III","description":"\u003ch1 data-mce-fragment=\"1\"\u003e  \u003cspan style=\"color: #000000;\"\u003e One whole tomato.\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: #000000;\"\u003e\u0026quot;Fruit III\u0026quot;\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: #000000;\"\u003e2017 \u003c\/span\u003e  \u003c\/h1\u003e  \u003cp\u003eThe tomato-coloured cube contains a whole tomato. The outline of the tomato that appears on three edges is a projection of the actual tomato, which the artist purchased himself and sliced into 2mm pieces. Upon closer inspection, the outline is highlighted by German characters written just 2mm wide. Each side contains information about the tomato, an overview of the tomato, and a recipe that uses the tomato. When you open the pages, the cross-section of a tomato sliced to the same thickness as the paper (2mm) appears, and the diameter changes slightly as you turn the page.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAt first glance, the surface appears to be a single red color, but it is actually a pearlescent white paper with a red print. This is an approach that is particular about the tomato-like feel, including the texture.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u0026quot;Frucht Ⅲ\u0026quot; is a work that brings to fruition the duality of the intuitive action of transferring something other than a book into a book, and the visual effect of the piled-up thin layers evoking the image of a book as an object.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cstrong\u003eRegarding the Frucht series, the artist explains:\u003c\/strong\u003e\u003c\/p\u003e  \u003cblockquote\u003e  \u003cp\u003e\u0026quot;\u003cem\u003eWhen an object is cut into thin layers, many slices are produced. When these slices are stacked again, the shape of the original object emerges. The relationship between slices and objects seems to me like the relationship between a signature and a book. Moreover, CT, which is a method for observing the details of an object, achieves its purpose by looking at the cross section of the object. In order to observe the details of an object, I tried slicing it to the same thickness as a signature.\u003c\/em\u003e\u0026quot; As the artist says, he has accomplished an amazing feat. Not only is the method of expression impressive, but slicing a real tomato evenly from end to end into 2mm slices is an incredibly difficult feat. If you think you can do it, we encourage you to give it a try.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u0026quot;\u003cem\u003e2mm is a unit that I use frequently when making books. When using flimsy paper, or more specifically, when printing on paper, we often think of it as flat, but in reality, paper has a certain thickness. In this project, the quire, which is usually made by stacking and folding multiple sheets of paper, is constructed from a single sheet of cardboard, which makes one strongly aware of \u0026quot;thickness.\u0026quot; I feel the expanse of the universe within a thickness of 2mm. Many interesting things happen within the 2mm of a slice of fruit, and in the process of making a book, there is truly a lot of drama within 2mm. I wanted to get closer to 2mm, and learn more about the possibilities of 2mm, so in this project I included written information within the thickness of a single quire.\u003c\/em\u003e” says the author.\u003c\/p\u003e  \u003c\/blockquote\u003e  \u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis work was the last one he produced during his time in Germany, and he moved to Japan in 2017 to embark on new creative endeavors. Through this work, he became more conscious of \u0026quot;getting closer to the subject,\u0026quot; \u0026quot;turning familiar things into books,\u0026quot; and \u0026quot;making books parasitize familiar things,\u0026quot; and these thoughts remain major themes that are essential to his creative work to this day.\u003cbr\u003e\u003c\/p\u003e  \u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":42114335146152,"sku":"","price":215600.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/ota_yasutomo_Frucht3_02.jpg?v=1648606807"},{"product_id":"frucht-ii","title":"Frucht II","description":"\u003ch1 data-mce-fragment=\"1\"\u003e  \u003cstrong\u003e\u003cspan style=\"color: #000000;\"\u003e One whole kiwi fruit.\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan style=\"color: #000000;\"\u003e\u0026quot;Fruit II\u0026quot;\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan style=\"color: #000000;\"\u003e2017\u003c\/span\u003e\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e  \u003c\/h1\u003e  \u003cp\u003eThe dull, light green cube contains a whole kiwi fruit. The outline of the kiwi fruit that appears on three edges is a reflection of the outline of the kiwi fruit itself, which the artist purchased himself and sliced into 2mm pieces. Upon closer inspection, the outline is highlighted by German text written just 2mm wide. Each side is inscribed with information about the fruit, an overview of the kiwi fruit, and recipes using kiwi fruit. When you open the page, a cross section of a kiwi fruit sliced to the same thickness as the paper (2mm) appears, and the diameter changes slightly as you turn the page.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe light green surface layer is a ready-made Western paper selected to resemble the color of the kiwi fruit. After much searching, including the texture, I found a paper whose name included \u0026quot;kiwi\u0026quot;. The thread used for the binding is a light brown waxed string, as the skin of the fruit is brown and covered with hairy fibers.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u0026quot;Frucht II\u0026quot; is a work that brings to fruition the duality of the intuitive action of transferring something other than a book into a book, and the visual effect of the piled-up thin layers evoking the image of a book as an object.\u003c\/p\u003e  \u003cp\u003e\u003cstrong data-mce-fragment=\"1\"\u003eRegarding the Frucht series, the artist explains:\u003c\/strong\u003e\u003c\/p\u003e  \u003cblockquote\u003e  \u003cp\u003e\u0026quot;\u003cem\u003eWhen an object is cut into thin layers, many slices are produced. When these slices are stacked again, the shape of the original object emerges. The relationship between slices and objects seems to me like the relationship between a signature and a book. Moreover, CT, which is a method for observing the details of an object, achieves its purpose by looking at the cross section of the object. In order to observe the details of an object, I tried slicing it to the same thickness as a signature.\u003c\/em\u003e\u0026quot;\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u0026quot;\u003cem\u003e2mm is a unit that I use frequently when making books. When using flimsy paper, or more specifically, when printing on paper, we often think of it as flat, but in reality, paper has a certain thickness. In this project, the quire, which is usually made by stacking and folding multiple sheets of paper, is constructed from a single sheet of cardboard, which makes one strongly aware of \u0026quot;thickness.\u0026quot; I feel the expanse of the universe within a thickness of 2mm. Many interesting things happen within the 2mm of a slice of fruit, and in the process of making a book, there is truly a lot of drama within 2mm. I wanted to get closer to 2mm, and learn more about the possibilities of 2mm, so in this project I included written information within the thickness of a single quire.\u003c\/em\u003e” says the author.\u003c\/p\u003e  \u003c\/blockquote\u003e  \u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis work was the last one he produced during his time in Germany, and he moved to Japan in 2017 to embark on new creative endeavors. Through this work, he became more conscious of \u0026quot;getting closer to the subject,\u0026quot; \u0026quot;turning familiar things into books,\u0026quot; and \u0026quot;making books parasitize familiar things,\u0026quot; and these thoughts remain important themes in his creative endeavors to this day.\u003cbr\u003e\u003c\/p\u003e  \u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":42114353561768,"sku":"","price":215600.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/ota_yasutomo_Frucht1_08.jpg?v=1649316756"},{"product_id":"abc-symbole","title":"ABC SYMBOLE","description":"\u003ch1\u003e  \u003cspan style=\"color: #000000;\"\u003e  \u003cstrong\u003eThe type sings\u003cbr\u003eAlphabet on paper.\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cstrong\u003e«ABC SYMBOL» \u003c\/strong\u003e\u003c\/span\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cstrong\u003e2014\u003c\/strong\u003e  \u003c\/span\u003e  \u003c\/h1\u003e  \u003cp\u003eThis piece is based on the symbolism of alphabet letters.\u003cbr\u003eThe size fits comfortably in the palm of your hand, the texture of the cloth, and the soft ABC shape of the title make it feel familiar. When you open it, you'll be excited by the light, flip-flap movements of the book, like a child's pop-up book. The soft impression of the wood type and the tasteful symbols of the prints create a worldview reminiscent of an adult picture book.\u003cbr\u003e\u003cbr\u003eThe book contains four elements for each alphabet from A to Z: a print that matches its symbolism, its function as a symbol, the alphabet letter, and the word that the alphabet represents.\u003cbr\u003e\u003cbr\u003eFlip the cover and you will first see the \u0026quot;print\u0026quot; on the left side of the spread, and then the \u0026quot;function as a symbol\u0026quot; on the page immediately to the right. Next, turn the folded page toward the center of the spread to reveal the bold \u0026quot;alphabet\u0026quot; printed in wood type and the \u0026quot;word that the alphabet represents.\u0026quot; For example, on the first spread of the \u0026quot;C\u0026quot; page, the words \u0026quot;print\u0026quot; and \u0026quot;to feel warmth\u0026quot; are arranged, and when you open the folded page again, the alphabet \u0026quot;C\u0026quot; and the word \u0026quot;degrees Celsius\u0026quot; appear. The short texts describing the function of each symbol are not descriptive like a dictionary with a clear definition, but use poetic expressions with implications that can evoke different scenes for each person, as in the example of \u0026quot;C.\u0026quot; This structure makes it a work that naturally and smoothly induces the reader to enjoy the intellectual pleasure of turning the pages one by one while guessing what will happen next.\u003cbr\u003e\u003cbr\u003eThe large alphabetic characters are printed in wood type, the rest of the text in lead type, and the prints in linoleum.\u003cbr\u003e\u003cbr\u003eThe binding method that plays an important role in this work is butterfly binding (also known as deccho-sou; the main text paper is folded inwards, layered in a valley fold, and glued together along the creases), which the artist himself adapted from a structure that resembles a butterfly with its wings spread when opened one by one. It is probably no coincidence that you feel a certain lightness, like that of a butterfly, every time you flip open the pages.\u003cbr\u003e\u003cbr\u003eThe thickness and size of a book are the most important elements that shape the exterior of the book. This book is thick due to its structure and the size of the wooden type that has played a part in its history, making it one size smaller than a paperback at 100mm x 100mm. It can be said that this book comes as close as possible to the phrase \u0026quot;functional beauty.\u0026quot;\u003cbr\u003e\u003c\/p\u003e  \u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":42114460287144,"sku":"","price":154880.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/ota_yasutomo_abc_02.jpg?v=1648605050"},{"product_id":"いろは引紋帳","title":"Iroha Hidden Moncho","description":"\u003cbr\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":42115948871848,"sku":"","price":40000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/DSC_6267_2.jpg?v=1648616662"},{"product_id":"土木工要録","title":"Civil Engineering Workers' Record","description":"\u003ch1 style=\"text-align: left;\" data-mce-fragment=\"1\" data-mce-style=\"text-align: left;\"\u003e  \u003cstrong\u003e A nameless person from 150 years ago\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eDesigned to protect against flooding\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eA three-dimensional book. \u003c\/strong\u003e  \u003c\/h1\u003e  \u003cp\u003eThe cover is very simple. Moreover, the theme is \u0026quot;civil engineering.\u0026quot; The outside and inside are extremely plain. I can't remember why I picked it up in the market again, but when I opened it, I was surprised at my first encounter with this book.\u003cbr\u003e\u003cbr\u003eWhat surprised me so much was the structure of the explanatory diagrams. In essence, it was a bold book that explored how to convey the structure that is hidden in the completed stage. Flip over the completed diagram pasted on top to see the previous stage, and flip over that diagram to reveal the stage before that, like a see-through drawing. Today, we would use computer software to create diagrams in separate layers, but about 150 years ago, someone used their ingenuity to somehow complete a work using the minimum tools (the maximum available at the time) of paper and brush.\u003cbr data-mce-fragment=\"1\"\u003e          \u003cbr data-mce-fragment=\"1\"\u003e\u0026quot;This is a civil engineering construction manual that incorporates Western-style construction methods learned from foreigners employed by the Edo Shogunate Construction Department. It is highly regarded as a handmade work of labor in which numerous drawings are piled up and pasted together in a perspective style, from the foundations to the finish of the work.\u0026quot;\u003ca href=\"https:\/\/www.lib.muroran-it.ac.jp\/kityou\/dosen\/syomei\/dobokukouyouroku.html\" title=\"https:\/\/www.lib.muroran-it.ac.jp\/kityou\/dosen\/syomei\/dobokukouyouroku.html\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eMuroran Institute of Technology Library website\u003c\/a\u003etwist)\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u0026quot;Civil Engineering Yoroku\u0026quot; is a civil engineering technical book related to flood control. It consists of five volumes in total, including the main text on Heaven, Earth, and Man, and two appendices consisting of full-page explanatory diagrams. The book introduced here is one of the appendices.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eHow to convey three-dimensional objects using two-dimensional tools? Before the rapid development of IT, this issue had long plagued the theme of visual culture.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThere is a three-dimensional picture book from the Edo period called \u0026quot;Chashitsu Okoshie.\u0026quot; Although it is amazing that \u0026quot;Okoshie\u0026quot; can be unfolded and folded again, it is still a model. This \u0026quot;Civil Engineering Record,\u0026quot; which aims to convey accurate information while remaining on a two-dimensional plane, seems somehow more noble.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eEven today in the 21st century, not a year goes by without seeing disasters caused by rivers. Flood control is an eternal issue that could be called Japan's destiny. The gimmicks contained in this book are also the crystallization of the wisdom of nameless people who have seriously confronted the people, things, and events that are taken away by water.\u003cbr\u003e\u003cbr\u003e\u0026quot;Civil Engineering Summary\u0026quot; was also selected as one of the \u0026quot;100 Great Works on Civil Engineering from Before the War\u0026quot; by the Civil Engineering Library of the Japan Society of Civil Engineers.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e  \u003cp\u003e*As follows:\u003ca href=\"http:\/\/library.jsce.or.jp\/Image_DB\/s_book\/jsce100\/pdf\/24084\/24084_01.pdf\" title=\"大聖牛之圖- 中聖牛右淮木品重蛇籠寸間見 - 土木学会\" target=\"_blank\" rel=\"noopener noreferrer\"\u003eDigital Archives of the Civil Engineering Library of the Japan Society of Civil Engineers\u003c\/a\u003eThere are some differences.\u003cbr data-mce-fragment=\"1\"\u003eFrame projection diagram = 1 pasted in missing, belly cage diagram = 2 pasted in (archive has no pasted in), ground stake driving barrel diagram = 3 missing \u003cbr\u003e\u003cbr\u003e\u003cbr\u003eText by Masago Sato\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":42147732848808,"sku":"","price":55000.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/dobokukoyouroku_00.jpg?v=1649219966"},{"product_id":"水貼りシール","title":"Department store water sticker","description":"\u003ch1 data-mce-fragment=\"1\"\u003e  \u003cstrong\u003eA tiny piece of paper that is now extinct,\u003cbr\u003eWater-based stickers from a department store.\u003cbr\u003ePrewar to 1960\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e\u003c\/strong\u003e  \u003c\/h1\u003e  \u003cp\u003eThese small, eye-catching pieces of paper, in shapes such as circles, squares, and diamonds, are stickers that were used to secure the edges of wrapping paper in storefronts from before the war until around 1960. This time, we will be introducing a collection that has been carefully stored in files and is in excellent condition.\u003cbr\u003e\u003cbr\u003eThey are one of the most popular paper items, with many designs that are ingenious for small pieces of paper, such as embossing and die-cutting. People around the age of 60 are probably the last generation to remember them being used. Water-based stickers were used not only by department stores and chain stores but also by individual shops, but they have been replaced by convenient printed cellophane tape, and unfortunately, they are no longer seen at all today, making them a truly endangered species.\u003cbr\u003e\u003cbr\u003eSurprisingly, secondhand bookstores have a deep connection with this, and there are some stories of stores that still have stocks of water-based stickers for price tags. There are also people who buy old books in order to see the water-based stickers on the back covers of books sold at secondhand bookstores.\u003cbr\u003e\u003cbr\u003eLike stamps, water-based stickers have glue on the back and are used by applying water. Nowadays, it seems that every store uses cellophane tape generously to wrap products, but in the old days, just as a stamp that suits an important letter would be gently sewn on, many different types of water-based stickers were used depending on the purpose, event, and store. Sticking one on at the end of the package would convey the feelings of the gift giver. Proof of this is that even a single store, such as the long-established department store Takashimaya, had 34 types of water-based stickers, Mitsukoshi had 24 types, and Daimaru had 25 types, with many different types of water-based stickers on hand.\u003cbr\u003e\u003cbr\u003eAmong the many water-applied stickers available, those from department stores are worthy of the status of a national brand, and many of them are highly accurate in every detail, such as the fineness of the illustrations and the height of the embossing. Since they are destined to be damaged and thrown away when unwrapping, there are almost no old ones left, but the ones being offered this time are all rare and unused.\u003cbr\u003e\u003cbr\u003eAbout the names of water-based stickers:\u003cbr\u003e\u003cbr\u003eIt's a paper item that you see relatively often, but the official name is unclear. Some customers have asked if it's not a \u0026quot;shitadashi label,\u0026quot; but I think that would be called by the manufacturer's name, like \u0026quot;Kamenoko Tawashi.\u0026quot; It could be called a trademark label, but this is mainly used for match labels, or for things that are directly attached to bottles, cans, boxes, etc., or attached to products. At Nichigetsudo, we call it a water-applied sticker, since it's used for these other types of labels.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e  \u003cp\u003eText by Masago Sato\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":42148154278056,"sku":"","price":66000.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/DSC_6351.jpg?v=1648553746"},{"product_id":"nederlandse-postzegels-1987-88","title":"Nederlandse postzegels 1987+88","description":"\u003ch1\u003e  \u003cstrong\u003e The genius Irma Bohm\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eA rare occurrence in the history of books\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eA beautiful failure. \u003c\/strong\u003e  \u003c\/h1\u003e  \u003cp\u003eThis is a book that Irma worked on while she was working at the Dutch national printing and publishing department (Staatsdrukkerij en). The client was the Dutch national postal company (PTT), which was working on the historic stamp yearbook that had been produced almost every year since 1920 by pioneers of Dutch design such as Karel Martens. Irma, who was still unknown at the time, was tasked with producing the two yearbooks for 1987 and 1988.\u003cbr\u003e\u003cbr\u003eIrma's design philosophy was to include all of the stamp designs issued and postmarks used that year, while also associatively arranging other images that can be related to the stamp designs and motifs, in an attempt to make the stamp designs stand out above a host of other images.\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe mechanism that makes the stamp design appear multi-layered is clearly reflected in the printing and binding methods. The biggest feature is the sewn-in binding. It is different from uncut or sewn binding because it is not intended to be cut. When I first held it in my hands, I was truly surprised by this mechanism. When you hold it up to the light, the image printed on the inside appears like a watermark. Like a ghost of the image.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIrma printed a different image on the inside of the sewn-in booklet, which is never opened, than on the front. The pages visible on the front are printed in four colors using offset lithography, while the inside of the booklet is printed in one color black. When you look through the colored pages, it creates the effect of making ghosts of the past appear. This was before the collapse of the Showa bubble in Japan. This was before computer design, so Irma cut and pasted together the vast amount of image material he had collected, and used a Xerox printer.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003eThe two yearbooks that were completed in this way were panned as \u0026quot;Brilliant Failures\u0026quot; and stamp collectors returned many copies and complaints. It may have been disappointing for those who were hoping for a catalogue with stamps arranged in an easy-to-read format. This was more like an exhibition on paper than a catalogue. However, it is interesting that Irma Bohm's first commercial publication was a failure.\u003cbr\u003e\u003cbr\u003eAnyway, this was the first book design published by Irma Bohm when she was just 27 years old, before she became the most famous book designer in the world, and it was also her first award-winning book design. Even now, when Irma Bohm has produced many masterpieces and is praised as the \u0026quot;Queen of Books,\u0026quot; this fragrant \u0026quot;failure\u0026quot; still shines brightly.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFinally, we will end with an excerpt from an interview that gives a good insight into Irma Bohm's approach to book design.\u003cbr\u003e\u003c\/p\u003e  \u003ch3\u003e  \u003cspan style=\"color: #000666;\" data-mce-style=\"color: #000666;\"\u003e\u0026quot;If I compare my work to architecture, I don't build villas, I build social housing. Books are made industrially, so they have to be made very well. I'm in a sense for industrial production. That's why I don't like single books. With a single book, you can do anything. But to print in large numbers, you always have to be challenged. It's never art. Never, never, never.\u0026quot;\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #000666;\" data-mce-style=\"color: #000666;\"\u003e“I compare my work to architecture. I don't build villas, I build social housing. The books are industrially made and they need to be made very well. I am all for industrial production. I hate one-offs. On one book you can do anything, but if you do a print run, that is a challenge. It's never art. Never, never, never.”\u003c\/span\u003e  \u003c\/h3\u003e  \u003cp\u003esource:\u003ca href=\"https:\/\/www.printmag.com\/design-books\/8-snippets-of-design-wisdom-from-book-designer-irma-boom\/\" target=\"_blank\" rel=\"noopener noreferrer\"\u003e\u0026quot;PRINT\u0026quot; from July 31, 2018\u003c\/a\u003e\u003cbr\u003e\u003c\/p\u003e  \u003cp\u003e\u003cbr\u003eText by Osamu Kushida\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":42180762992808,"sku":"","price":55000.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/postzegels_01.jpg?v=1649434101"},{"product_id":"golf-flicker-book","title":"Golf Flicker Book","description":"\u003ch1 data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eIssued by Harrods\u003cbr data-mce-fragment=\"1\"\u003eTo teach golf\u003cbr data-mce-fragment=\"1\"\u003eFlip book.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/strong\u003e\u003c\/h1\u003e  \u003cp class=\"p1\" data-mce-fragment=\"1\"\u003e\u003cspan class=\"s1\" data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cspan class=\"s1\" data-mce-fragment=\"1\"\u003eThis is a rare Flickr book published by the luxury department store Harrods.\u003cbr\u003eFlip books were created in England about 100 years ago, in the early days of sports, department stores, and movies, as educational materials that moved in the palm of your hand.\u003cbr\u003e\u003cbr\u003eThe book is about the then British amateur golf champion, Cyril Torrey (C.J.H.Tolley) demonstrates how to swing a driver and an iron, just as if you were watching a video tutorial.\u003cbr\u003e\u003cbr\u003eThis was an idea in an era when there were no free online videos like today, no DVDs or VHS tapes, and it was difficult to copy footage and share it with others.\u003cbr\u003e\u003cbr\u003eIt is a few-second sequence of Cyril Torrey himself, wearing a long-sleeved white shirt and tie, probably because that was the custom at the time, swinging a driver and an iron. Dozens of photos taken at a fixed point are printed stop-motion, and because it is double-sided, you can enjoy either the driver or the iron depending on which way you flip through the pages.\u003cbr\u003e\u003cbr\u003eThe company that produced this book is a London company called \u0026quot;Flicker Productions\u0026quot;. In the 1920s, they started making Flickerbooks under the slogan \u0026quot;FLICKERS Teach the Game\u0026quot;. Their aim was clear. They thought that if they could freely play back every move of top players representing each field in frame-by-frame, it would be something that all sports enthusiasts would want, regardless of nationality. So, they got Harrods involved and made it into a publishing business, so even though it's small in size, it's a big-scale book.\u003cbr\u003e\u003cbr\u003eThe series began with cricket, then tennis, then golf (this is the 12th Flickerbook), and continues with other popular British sports of the time, including lacrosse, football, swimming, hockey, billiards and greyhound racing.\u003cbr\u003e\u003cbr\u003eLooking at the lineup, we can see that they are all sports where \u0026quot;form\u0026quot; is important. If you can move your body in the same way as top-of-the-line professionals, you will definitely improve. Moreover, the planning ability to focus only on \u0026quot;ideal form\u0026quot; makes sense.\u003cbr\u003e\u003cbr\u003eIt is a pleasant coincidence that the man behind this series was a major figure in the British film industry. The cameraman behind the Flickerbook series was Scottish businessman Norman Loudon. He experimented with high-speed photography, which was rare at the time, and made Flickerbook a reality. Then, whether it was because the book series was such a big hit or not, he bought a vast plot of land from an aristocrat in Shepperton, Surrey, in 1931, and established a film studio called Shepperton Studios. Many of the most famous films of the 20th century, from \u0026quot;A Clockwork Orange\u0026quot; to \u0026quot;Alien\u0026quot;, would later be shot here.\u003cbr\u003e\u003cbr\u003eIt's a small stapled book, and it was a \u0026quot;used book,\u0026quot; so it's rare to find one in good condition. Still, it's an interesting book as a rare book that made a big splash in early 20th century Britain.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e※※List of titles in the \u0026quot;Flickers teach the game\u0026quot; series\u003cbr\u003e\u003cbr\u003eCricket\u003cbr\u003eBy Don Bradman\u003cbr\u003e  No.1 Drives\u003cbr\u003e  No.2 Cuts\u003cbr\u003e  No.3 Pull\u003cbr\u003e\u003cbr\u003e└By C.VGrimmett\u003cbr\u003e  No.4 Leg Break\u003cbr\u003e  No.5 Googley\u003cbr\u003e  No.6 Overspin\u003cbr\u003e\u003cbr\u003eTennis\u003cbr\u003e By Miss Betty Nuthall\u003cbr\u003e  No.7 Drives\u003cbr\u003e  No.8 Service and Volley\u003cbr\u003e\u003cbr\u003e By H.WAustin\u003cbr\u003e  No.9 Drives\u003cbr\u003e  No.10 Service and Smash\u003cbr\u003e\u003cbr\u003eGolf\u003cbr\u003e By Bobby Jones\u003cbr\u003e  No.11a Drive and Mashie\u003cbr\u003e  No.11b Brassie and Iron\u003cbr\u003e  No.11c Out the Rough and Putt\u003cbr\u003e\u003cbr\u003e By C.J.H. Tolley\u003cbr\u003e  No.12 Drive and Iron Shots\u003cbr\u003e\u003cbr\u003eFootball\u003cbr\u003e By Gallacher and Cheyne\u003cbr\u003e  No.14 Goal and Header\u003cbr\u003e\u003cbr\u003eSwimming\u003cbr\u003e By AMERICAN GIRL CHAMPIONS\u003cbr\u003e  No.15 High Dives\u003cbr\u003e\u003cbr\u003eHockey\u003cbr\u003e By Miss K. Doman\u003cbr\u003e  No.16 Fielding, etc.\u003cbr\u003e\u003cbr\u003eGreyhound Racing\u003cbr\u003e  No.20 Hurdling\u003cbr\u003e\u003cbr\u003eBadminton\u003cbr\u003e By Mr. J.F.Devlin\u003cbr\u003e  No.21 Smash and Drop Shot\u003cbr\u003e\u003cbr\u003eSkating\u003cbr\u003e By Miss Sonja Henie\u003cbr\u003e  No.22 Spreadeagle Jump\u003cbr\u003e  No.23 One Foot Spin\u003cbr\u003e  No.24 Spin and Jump\u003cbr\u003e\u003cbr\u003eShooting\u003cbr\u003eMr. R. Churchill\u003cbr\u003e  No.25 Shooting\u003cbr\u003e\u003cbr\u003eJUNIOR SERIES\u003cbr\u003e  No.31 Monkeys\u003cbr\u003e  No.32 Pelicans\u003cbr\u003e  No.33 Polar Bears\u003cbr\u003e  No.34 Eagles\u003cbr\u003e  No.35 Flip the Frog\u003cbr\u003e  No.36 Mickey Mouse - Cheese-Trap\u003cbr\u003e  No.37 Mickey Mouse - Cat-Catcher\u003cbr\u003e  No.38 Greyhounds\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eText by Osamu Kushida\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":42180768268456,"sku":"","price":24000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/golf_01.jpg?v=1649434325"},{"product_id":"only-box-lonely-scombroid","title":"only-box «Lonely Scombroid»","description":"\u003ch1\u003ePost it empty,\u003cbr\u003eDue to scratches, marks, and postmarks\u003cbr\u003eArt completed in mid-air.\u003cbr\u003e  \u003c\/h1\u003e  \u003cp\u003eThe only-box series is a \u0026quot;book box\u0026quot; created by poet Takashi Hiraide by arranging various stamps, stickers, and sometimes stamps. The box is mailed empty, and is completed by scratches, scuffs, and postmarks. No two are alike.\u003cbr\u003e\u003cbr\u003eThis \u0026quot;Lonely Scombroid\u0026quot; is a bookcase with old stamps of Japanese fish and finished with postmarks. The typeface is Jean-Luc. It was mailed to the Japan Foundation, Toronto for the \u0026quot;Takashi Hiraide Exhibition\u0026quot; held in Toronto in 2016.\u003cbr\u003e\u003cbr\u003eTakashi Hiraide is a poet, author, and book designer. Although he published many books of poetry, including \u0026quot;For the Fighting Spirit of Walnuts,\u0026quot; he soon gave up on the poetry and publishing world, and began exploring other possibilities, such as publishing himself, by presiding over the \u0026quot;via wwalnuts\u0026quot; series, in which he sends out books with a postage stamp attached.\u003cbr\u003e\u003cbr\u003eJust as the works undergo unexpected changes in the kiln, this only-box series is completed by accidental scratches and postmarks by the postal worker after being posted in a red post. You won't know until you actually receive it. That's what's interesting about it. The front of the box is already engraved with text, which may be a reflection of the repeated printing of the postal service as a publication.\u003cbr\u003e\u003cbr\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/files\/only-box-01a-h-624x416_480x480.jpg?v=1649683493\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/files\/only-box-01a-h-624x416_480x480.jpg?v=1649683493\"\u003e\u003cbr\u003e\u003cbr\u003eonly-box «Lonely Scombroid» \u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003ebox for 9 brochures of via wwalnuts.\u003cbr data-mce-fragment=\"1\"\u003elimited to 1.\u003cbr data-mce-fragment=\"1\"\u003eType: Jean-Luc\u003cbr data-mce-fragment=\"1\"\u003especially designed with semi-old Japanese stamps of fishes \u0026amp; the postal cancellation mark.\u003cbr data-mce-fragment=\"1\"\u003efirst sent to Japan Foundation Toronto for TH's exhibition in Autumn of 2016.\u003cbr data-mce-fragment=\"1\"\u003ethen to you as a book post in crystal parcel after the exhibition.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eText by Osamu Kushida\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":42180776689832,"sku":"","price":44440.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/onlybox_01.jpg?v=1649434695"},{"product_id":"sent-a-letter","title":"SENT A LETTER\/Dayanita Singh","description":"","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":42180781244584,"sku":"","price":165000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/sentaletter_01.jpg?v=1649435010"},{"product_id":"isegoyomi-shimacho","title":"Stripe book pasted in the Ise calendar","description":"","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":42180811227304,"sku":"","price":200000.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/isegoyomi_06.jpg?v=1661249990"},{"product_id":"le-corbeau","title":"LE CORBEAU","description":"","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":42180814766248,"sku":"","price":160000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/oogarasu_poe_01.jpg?v=1649435998"},{"product_id":"剪花娘子-庫淑蘭","title":"Sweet Flower Girls Koshuran","description":"\u003ch1\u003e\u003cstrong\u003eI've never seen paper cuttings like this.\u003cbr\u003ePaper flowers blooming on the Loess Plateau.\u003cbr\u003e«Sharuka Musumeko Kushuran» 1997\u003cbr\u003e\u003c\/strong\u003e\u003c\/h1\u003e  \u003cp\u003eChina has built up a culture of agriculture and handicrafts for thousands of years since ancient times. Agriculture built the material foundation, while handicrafts nurtured people's high spirituality and diverse aesthetic sense, and these traditions have been passed down to the present day. Today, as we are being baptized by modern science, we are losing opportunities to experience excellent handicraft work and the people who make them.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e  \u003cp\u003e\u0026quot;Flower-Cutting Girl Ku Shulan\u0026quot; traces the paper-cutting creative process of Ku Shulan (1920-2007), a woman who lived in a kiln on the Loess Plateau in northern Shaanxi Province, People's Republic of China, and explores the unique charm of the paper-cutting craft created by a single folk artist. The publisher is Huang Yongsong of Hansheng, known as the godfather of Taiwanese publishing. This is a miraculous book born from the meeting of a paper-cutting genius and an editing god.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe front and back of the sturdy outer box are printed with two works: \u0026quot;Flower-Cutting Girl,\u0026quot; the god of paper-cutting that Ku Shulan created as her own incarnation, and the Tree of Life. Countless people are overwhelmed by the colorful and rich image, which can be said to be Ku Shulan's masterpiece. Inside the sleeve-style box are two softcover books. The first book explains Ku Shulan's unique paper-cutting creation process. First, motifs and patterns are extracted and classified from the work. The content shows the creative process captured in close-up interviews, and presents examples of the various expression methods and techniques that can be used for a single motif. The first half of the second book tells Ku Shulan's own story and the cultural customs of the Loess Plateau in text, and the second half introduces works created in her later years and song lyrics related to each work.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003ePaper-cutting is an ancient Chinese art of cutting pictures, and in the Loess Plateau where Ku Shulan lived, there is a tradition of women cutting paper in between farming. From annual events to turning points in life, such as paper-cutting for celebrations, funerals, and healing, paper-cutting was an essential part of the lives of the people of the Loess Plateau. Throughout its long history, paper-cutting has developed in different ways in different regions across China, but the main concepts are the same in every region, such as \u0026quot;cutting an image from a single sheet of paper,\u0026quot; \u0026quot;using only single-colored paper,\u0026quot; \u0026quot;coloring with a brush after cutting out white paper,\u0026quot; and \u0026quot;using limited motifs of animals or symbols that are considered to be auspicious.\u0026quot; However, Ku Shulan was an exception.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn terms of her work, she used a variety of colored paper, cutting each part into pieces, layering them, and pasting them together with homemade glue, creating her own unique world of paper cutting that no one had ever seen before. The motifs she took up were not based on good or bad luck or tradition, but instead included everyday tableware and furniture, garden trees and fruit, her own dreams and religious paintings, and she simply continued to cut out whatever she wanted to cut out.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAnother thing worth mentioning is that she always sang while cutting paper. In this book, lyrics are introduced, ranging from folk songs from the Loess Plateau to playful songs that she arranged herself. The act of cutting paper continuously may have been a way for her to offer prayers, as if to escape from the reality of her impoverished life, as if to make her fantasy become reality.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe first edition was published in Taiwan in 1997 in traditional Chinese. This book is the second edition in traditional Chinese published in 2019. A simplified Chinese version was published in mainland China in 2009.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e  \u003cstrong\u003eAbout Hansei:\u003c\/strong\u003e  \u003cbr data-mce-fragment=\"1\"\u003eBorn in Taiwan, Han Sheng magazine is a publication unlike any other in the world. With tenacious editorial skills and imaginative book design, it focuses on the folk culture that is supported by the energy of the Chinese people. Han Sheng's endeavors go beyond the boundaries of Chinese culture and have a strong impact on thoughtful people throughout Asia.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":42182056083624,"sku":"","price":12000.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/Hangsheng_a_01.jpg?v=1649478359"},{"product_id":"漢聲雑誌116-117-曹雪芹風箏圖譜","title":"Cao Xue Ziang Ligation Yan Feng Koto Picture","description":"\u003ch1\u003e  \u003cstrong\u003eFor the Weak\u003cbr\u003eReported by Cao Xueqin of \u0026quot;Dream of the Red Chamber\u0026quot;\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eThe legendary kite instruction manual.\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e  \u003c\/h1\u003e  \u003cp\u003eThe box is cut out with the outline of a swallow kite, and the cover shows a swallow-shaped kite swimming in a rainbow-colored sky. The sight of 73 different kinds of colorful swallow-shaped kites appearing as you turn the pages is very impressive. The book has been highly praised overseas for its uniquely Chinese exotic charm and bold national character, and in 2007 it won the World's Most Beautiful Book Competition (\u003ca href=\"https:\/\/www.stiftung-buchkunst.de\/en\/best-book-design-from-all-over-the-world\/the-competition\/\" title=\"https:\/\/www.stiftung-buchkunst.de\/en\/best-book-design-from-all-over-the-world\/the-competition\/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eBEST BOOK DESIGN FROM ALL OVER THE WORLD\u003c\/a\u003e) won the grand prize.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eCao Xueqin's Yanfeng Zheng Tufu is a book that stands out for its visual beauty, but it also has a profound spiritual beauty.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe first book in the two-volume set is \u0026quot;Cao Xueqin Zhao Yan Feng Zheng Tupu.\u0026quot; As the name suggests, the book is centered around illustrations and introduces all 73 Swallow Kites in color. It is packed with content that is unparalleled, including not only the structure and tips on how to make them, but also the genealogy of kites (like a family tree). The fact that Cao Xueqin anthropomorphized the kite, which was originally a toy, and created a genealogy based on age, gender, body type, and interrelationships shows that Cao Xueqin himself treasured the Swallow Kites. The second book is \u0026quot;Cao Xueqin Zhao Yan Feng Zheng Kaogongzhi.\u0026quot; Kaogongzhi is the name of the oldest technical book in China, and is still used today in specialized books on structure, standards, and manufacturing techniques, such as the manufacture of musical instruments and urban planning. This book mainly introduces the \u0026quot;songs,\u0026quot; or \u0026quot;songs,\u0026quot; that are essential to making Swallow Kites. If the first book is its visual beauty, the second book is the source of the book's spiritual beauty.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn the first place, Cao Xueqin published the original work \u0026quot;Nanyubei Kigongji\u0026quot; (The year of publication is unknown, and it may not have been published at all) as one of the eight volumes in the \u0026quot;Collected Drafts of Disused Arts\u0026quot; series. The concept common to all the series is vocational guidance for the disadvantaged. It was a practical book written with the aim of improving the living environment of people in socially disadvantaged positions such as people with disabilities, poor young people who cannot receive an education, and the elderly, by entrusting them with skills and cultivating their self-sufficiency rather than sympathizing with them. The series also covers a wide range of themes such as cooking, landscaping, seal carving, and dyeing and weaving.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe reason Cao Xueqin chose kite-making as one of her themes was that a friend of hers developed a leg injury, was unable to make ends meet, and asked Cao Xueqin for advice. Cao Xueqin believed that having a skill would be a fundamental improvement, so she taught her friend, who was already skilled with her hands, how to make kites and instructed him to take them to sell to wealthy people. The plan was a great success, and the friend visited Cao Xueqin the following year, bringing many gifts of appreciation, to express her gratitude. This incident prompted Cao Xueqin to compile the basics and tips of kite-making, which she was also good at, into pictures and songs, and bind them into a book. The publisher of this book, Huang Yongsong, enthusiastically explains that it was this particular incident that inspired him to decide to publish the book.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOne thing worth mentioning throughout the series is the \u0026quot;Songs (Song Techniques).\u0026quot; All explanations and commentaries in the series are written as songs. This was Cao Xueqin's kindness and consideration, so that even those who cannot read, have poor eyesight, or are children can naturally learn the techniques by humming the songs. These songs, like Japanese tanka and waka, do not have a scale like do-re-mi, but are like poetry with a rhythm and rhyme unique to Chinese.\u003c\/p\u003e  \u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAbout the original text \u0026quot;Nanbukoku Tobikou-ki\u0026quot; and the \u0026quot;Haigeisaishuukou\u0026quot; series:\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe original text is a mysterious and phantom book, and until just a few years ago it was not even certain that the author was Cao Xueqin. There is no record of its official publication, and the only people who have seen the original are Takami Kaju, a Japanese teacher who taught at the National Academy of Arts and the National College of Arts, the predecessors of the current China Academy of Fine Arts, during the war, several of his students, and a Japanese man named Kaneda, who is said to be the owner of the original text. At Takami Kaju's request, he applied to Kaneda for permission to lend him the original text on making swallow kites and to copy it, and the part he copied in the limited time of one month is the original text of \u0026quot;Cao Xueqin Yanfengzheng Tufu.\u0026quot; Unfortunately, there is not even a slight record left of the other seven books in the series. Even more regrettably, Kaneda returned to Japan with the original text at the end of the war in 1945, and its whereabouts remain unknown, making it a phantom book.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":42182064636072,"sku":"","price":12000.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/Hangsheng_b_01.jpg?v=1649478606"},{"product_id":"漢聲雑誌87-88-美哉漢字","title":"Miya Kanji","description":"\u003ch1\u003e  \u003cstrong\u003e Beautiful characters are not just characters,\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eHe is a person who transmits culture.\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eChinese character folk art.\u003c\/strong\u003e\u003cbr\u003e  \u003c\/h1\u003e  \u003cp\u003eThis book is a collection of \u0026quot;art characters\u0026quot; that remain in the Chinese character culture, mainly in China, including Japan and Korea. This is a must-have book for people who are interested in design, calligraphy as a hobby, folk art lovers, and above all, the younger generation and children.\u003cbr\u003e\u003cbr\u003eKanji characters are familiar to Japanese people. The term \u0026quot;artistic characters\u0026quot; may not ring a bell, but mojie (letter paintings), such as Henohenomoheji, were a pastime in the Edo period in which characters were combined to create pictures. Keisuke Serizawa (1895-1984), a dyeing and weaving artist and one of the central figures of the Mingei movement, also developed mojie in his own way, elevating them into graphical works.\u003cbr\u003e\u003cbr\u003eOpening the lid of the outer box, which is black-based and seems a little plain for a Hansei publication, reveals a die-cut cloud pattern, an auspicious motif. When you take the book out of the box, you will see the character for \u0026quot;dragon\u0026quot; with a dragon's head on a yellow background, and the character for \u0026quot;phoenix\u0026quot; that pairs with the dragon on the back cover, both of which fill the entire screen. As you turn the pages, you will find a variety of Chinese character art, from optical illusions where what appears to be a single picture actually has Chinese characters hidden inside, to works that use Chinese characters to draw the outline of a motif like calligraphy, to floral characters in which the Chinese characters themselves are depicted as auspicious flowers. The book, which has a total of 230 pages, is heavy and difficult to carry around casually.\u003cbr\u003e\u003cbr\u003eAccording to Huang Yongsong, editor-in-chief of Hanseon, art characters are \u0026quot;peasant characters\u0026quot; and are symbols that any Chinese person can understand, from children who cannot go to school and cannot read to intellectuals. This book follows the story of \u0026quot;art characters derived from characters and pictures\u0026quot; centered around Professor Zhang Yidao, a leading researcher in art characters, and conveys the beauty of art characters based on a vast amount of literature and illustrations.\u003cbr\u003e\u003cbr\u003eDifferent ethnicities and regions reflect different tastes in artistic characters, and the unique classification in \u0026quot;Beautiful Characters\u0026quot; is valued as a valuable resource for the cultural history of Chinese characters. In modern China, swept up in the waves of efficiency and digitalization, where only controlled, inorganic characters are flying around, the personal beauty of artistic characters is a thing of the past. Artistic characters are being lost even within China, and the publication of this book has prompted local governments to begin efforts to train successors.\u003cbr\u003e\u003cbr\u003eI imagine that rather than dismissing moji art as something from the past in Japan, it would be interesting to have students with an interest in design, teachers well versed in calligraphy, and children who are in the process of learning the concept of characters try to draw modern moji art from a variety of perspectives.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":42182070436008,"sku":"","price":12000.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/Hangsheng_c_01.jpg?v=1649478905"},{"product_id":"阿修羅帖","title":"Ashuracho\/Ito Chuta","description":"\u003ch1\u003e\u003cstrong\u003eThe fantastic architect\u003cbr\u003eDrawn by Chuta Ito\u003cbr\u003eCaricatures of demons and monsters.\u003c\/strong\u003e\u003c\/h1\u003e  \u003cp\u003eThis time we would like to introduce \u0026quot;Asuracho,\u0026quot; a collection of caricatures by Ito Chuta, one of Japan's leading architects and architectural historians.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eChuta Ito, famous as the architect of Tsukiji Honganji Temple, one of the most fantastical buildings in Tokyo, has created a very personal \u0026quot;manga\u0026quot; that satirizes the situation around World War I with his charming characters.\u003c\/p\u003e  \u003cp\u003e  \u003c\/p\u003e  \u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eChuta's personal\u003c\/span\u003eThis book can be considered a \u0026quot;picture diary.\u0026quot; In the preface to the first volume, he said that he had no intention of publishing it in the first place.\u003c\/p\u003e  \u003cp\u003e  \u003c\/p\u003e  \u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eChuta\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eHimself\u003c\/span\u003eIt is written.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e  \u003cp\u003e  \u003c\/p\u003e  \u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Ashura Chronicles\u003c\/span\u003eThe prototype was a large number of postcards drawn by Chuta. Based on the ever-changing war situation during World War I,\u003cspan data-mce-fragment=\"1\"\u003eThe postcards depict the turbulent society of the time.\u003c\/span\u003e\u003c\/p\u003e  \u003cp\u003e  \u003c\/p\u003e  \u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eTaking on the appearance of demons and monsters\u003c\/span\u003eThe letters were written in five volumes, with the addresses recording events and statistical data that were the subject of satire.\u003cspan data-mce-fragment=\"1\"\u003e\u0026quot;Asuracho\u0026quot;\u003c\/span\u003eOnly the design side is used, and the address side is not published. (If you are interested,\u003ca title=\"http:\/\/news-sv.aij.or.jp\/da2\/hagakie\/gallery_3_hagakie2.htm\" href=\"http:\/\/news-sv.aij.or.jp\/da2\/hagakie\/gallery_3_hagakie2.htm\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eArchitectural Institute of Japan Architecture Museum Website\u003c\/a\u003e(Please see here.) Incidentally, Ito Chuta continued to draw postcards up until 1950 (Showa 25), totalling an astounding 3,717. You can view the full collection on the aforementioned website.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis enormous collection of caricatures was highly praised by a publisher specializing in woodblock prints called Kokusui Publishing, who proposed to publish it. Although Kokusui is a slightly provocative name, the publisher published its own print magazine called \u0026quot;Kokusui,\u0026quot; and the first issue of \u0026quot;Kokusui\u0026quot; was published in 1920, featuring such distinguished artists as Izumi Kyoka, Uno Koji, Yoshida Genjiro, Oizumi Kokuseki, and Mikami Otokichi, with the cover by Takehisa Yumeji and illustrations within the text by a distinguished group of artists including Oda Kazumaro, Ito Chuta, and Matsuda Kosuke. The publisher also attempted to transcribe the ukiyo-e prints of Kitagawa Utamaro.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe contents of this book are based on 500 woodblock drawings that Ito Chuta created as postcards between 1914 and 1919, and the editor, Sugimura Sojinkan (real name: Sugimura Kotaro), added words and sentences selected from a wide range of articles, documents, and materials. In other words, it is a work written in a \u0026quot;one praise, one picture\u0026quot; format, and can be considered a joint work by the two. Sugimura Sojinkan was a journalist who worked as an interpreter at the American Embassy in Japan before joining the Tokyo Asahi Shimbun, where he translated overseas news and was posted to Europe and the United States as a correspondent. He made use of his extensive knowledge of overseas affairs to establish the research department at the Tokyo Asahi Shimbun, publish abridged editions, and launch Asahi Graph, making him a remarkable man who made a considerable contribution to the modernization of newspaper media. This book is based on the work of Sugimura, who was well versed in world affairs.\u003c\/p\u003e  \u003cp\u003e  \u003c\/p\u003e  \u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eChu Ren Crown\u003c\/span\u003eHis editing skills are on full display.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe book specifications for all five volumes are the same, with the words \u0026quot;Ito Chuta\u0026quot; or \u0026quot;\u003c\/p\u003e  \u003cp\u003e  \u003c\/p\u003e  \u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eSugimura\u003c\/span\u003eThere is a preface by Sojinkan, and the main text features a pair of words (=praise) selected by Sojinkan and a satirical illustration (=picture) of Chuta arranged on top of each other on each page. All illustrations are\u003c\/p\u003e  \u003cp\u003e  \u003c\/p\u003e  \u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eNational Publishing House\u003c\/span\u003eEach volume contains 100 paintings in his specialty, multicolor woodblock prints. At the end of each volume, there is a\u003c\/p\u003e  \u003cp\u003e  \u003c\/p\u003e  \u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eNumber of pages\u003c\/span\u003eThe book also includes an index of the names of the authors of the tributes, which also serves as an index. The prefaces, which differ from volume to volume, are well worth reading in themselves, and in contrast to the colored main text, the woodblock prints are straightforward and monochromatic. The powerful handwritten Japanese characters are as moving as the content itself.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWhat is depicted in this book? \u003cbr\u003e\u003cbr\u003eFor example, the first page of the first volume has the title \u0026quot;The Sarajevo Incident,\u0026quot; which is the trigger for the First World War. The inscription is juxtaposed with a calligraphy by Hirata Tosuke, who was a politician in the Taisho period. Chuta's painting depicts seven men wearing loincloths. Each man has the Chinese characters \u0026quot;France, Russia, UK, Serbia, Austria, Italy, and Germany\u0026quot; in a circle around it, indicating the countries involved. A delicate, ruddy-skinned demon-like Serbia is grappling with an old, plump Austria. Behind Serbia are Britain, France, and Russia. Behind Austria is Germany, and a little distance away stands Italy, looking depressed. The book, which is written in this manner on every page, provides easy-to-understand illustrations of the complex international situation at the time, and just like a manga version of world history, it seems like it will be fun to learn about the world situation at the time of the outbreak of World War I, which may not be very meaningful to Japanese people living far away.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIncidentally, Ito Chuta is the person who changed the word \u0026quot;architect\u0026quot; to \u0026quot;architecture,\u0026quot; and is the founder of Japanese architectural history. As an architectural historian, he made many overseas trips, discussed Horyuji Temple in comparison with Greece, and as an architect he undertook a wide range of designs from shrines and temples to modern architecture, sometimes creating architectural designs of bizarre animals such as gargoyles, and even displayed his talent as a satirical cartoonist. He was a truly multifaceted man. Ito Chuta, who spent his life establishing architecture as a science, designed over 100 buildings, including Heian Shrine, Meiji Shrine, Okura Museum of Art, and Tsukiji Honganji Temple. Some of Ito Chuta's buildings that can still be seen today are:\u003ca href=\"https:\/\/www.biz-lixil.com\/column\/pic-archive\/inaxreport\/IR168\/no168_p04p14.pdf\" title=\"https:\/\/www.biz-lixil.com\/column\/pic-archive\/inaxreport\/IR168\/no168_p04p14.pdf\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eINAX REPORT No.168 Living Architecture 2 Chuta Ito\u003c\/a\u003e\u0026quot; is a detailed introduction.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFor Masago Sato, the book hunter who offered this book, it is an unforgettable encounter as it was the first woodblock print book he ever purchased. (This book is a restock.) When he was still a novice who was purchasing academic secondhand books on humanities and academia, he came across this stray book with only one volume at a secondhand book market. He was attracted by the gorgeous packaging and interesting contents of the book, thinking, \u0026quot;Oh, this is the author of Tsukiji Honganji Temple,\u0026quot; from the author's name, and without doing any extensive research or estimating how much it would sell, he fell in love at first sight and bought it. After winning the bid, a senior colleague told him, \u0026quot;Nichigetsu-san, there are actually five volumes of that. Did you know?\u0026quot; He regretted it and said, \u0026quot;Oh no!\u0026quot;, but at the same time, he was amazed that Ito Chuta had made five volumes of such woodblock print books. He said that he was able to fully convey that the drawings were skillful and skillfully drawn.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAlthough he had expected that this book would remain in stock for a while, it found a buyer in a shorter time than he had expected, and it was this book that made him realize the trust placed in publications by well-known people, and the appeal and value of woodblock prints. If you hold the book in your hands, you will understand why Sato-san couldn't help but buy it on impulse.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis book, named after the combat-loving demon \u0026quot;Asura,\u0026quot; was originally meant to become a \u0026quot;product of history\u0026quot; with the end of World War I. Now, about 100 years after the book's publication, if Chuta Ito were alive, what kind of cartoons would he have drawn?\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eI found an interesting expression in the preface by Chujinguan at the beginning of the first volume. When asked to edit this book, Chujinguan did not immediately agree, but instead negotiated with the publisher three times before finally agreeing. He goes on to say that the number \u0026quot;three\u0026quot; seems to be crucial to the world, citing several examples and concluding with the statement, \u0026quot;Three is a troublesome number in life.\u0026quot;\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eToday, when some intellectuals are beginning to speak of the possibility of the outbreak of World War III (a catastrophe!) as a result of Russia's invasion of Ukraine, I would like to borrow the words of Chu Renguan and shout them out louder than the roar of a fighter jet engine.\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u0026quot;Three is a troublesome number in a body. Realize the folly of your actions before you destroy the Earth!\u0026quot;\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":42357552578728,"sku":"","price":77000.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/ashuracho_top2.jpg?v=1654298595"},{"product_id":"suna_secchin","title":"\u003ctc\u003eSuna_secchin (Restroom for tea ceremony)\u003c\/tc\u003e","description":"\u003ctc\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003e\n\u003ch1 data-editor-transcy=\"true\"\u003e\u003cstrong\u003eSukiya-okoshi-ezu\u003c\/strong\u003e\u003c\/h1\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003eOkoshi-ezu were “pop-up” drawings which folded up.\u003cbr\u003eto create a fully three-dimensional miniature.\u0026nbsp;\u003cbr\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003eHere are some of the most creative \"okoshi ezu\" paintings from the tea ceremony rooms of Rikyu, Oribe, and Korin that existed during the first 400 years of the tea ceremony, as well as from the surrounding tea ceremony rooms such as \"Setchin\", \"Mizuya\", and \"Nakakuguri\". The folded paper is raised and a paper nail is inserted to make it stand on its own without using glue. \"Suki\" means \"I like\". The dimensions and materials were drawn in detail, which greatly helped \"sukiya\" artists without architectural knowledge or skills to express their \"taste\" outside of the norm. This small model of a tea house was handed from the tea master to a master builder (\"sukiya\" carpenter), who deciphered it and constructed it. This is a limited edition of \"sukiya okoshi ezu\" (published in 1931) by Zanmaisha, which was published 90 years ago as a limited edition of \"sukiya-okoshi-ezu\" a collection of \"okoshi ezu\" passed down in the tea ceremony house.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/tc\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":42463099781288,"sku":"","price":11000.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/SO_220628_50.jpg?v=1656917150"},{"product_id":"homo-faber","title":"Homo Farbell\/Philip Weisbecker","description":"\u003ch1\u003e  \u003cstrong\u003eLiving is work, work is living.\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003ePhilip Weisbecker's\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eAesthetics of life.\u003c\/strong\u003e\u003cbr\u003e  \u003c\/h1\u003e  \u003cp\u003eThis book is a close-up record of a day in the life of Paris-based Philippe Weisbecker.\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eHe is known as an artist who draws everyday objects and objects, and his unique style is popular in Japan. Recently, his work was featured on the wrapping paper of Isetan, which was renewed in 2019, and on the official poster for the 2020 Tokyo Olympics. In recent years, the exhibition \u0026quot;Japan as seen by Philippe Weisbecker - Carpentry tools, buildings, and everyday objects\u0026quot; was held at Takenaka Corporation's gallery \u0026quot;A-Quad\u0026quot; in 2020.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt's still fresh in my memory.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e  \u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eSuch\u003cmeta charset=\"utf-8\"\u003eThis book explores the source of Philippe Weisbecker's creativity, visiting his home and studio in Paris.\u003c\/span\u003eObjects collected at flea markets and on trips\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAntiques\u003c\/span\u003eThe exhibition also features art supplies, tools, and sketchbooks for the works.\u003cspan data-mce-fragment=\"1\"\u003e\u0026quot;Gray\u003c\/span\u003e\u0026quot;Furniture\u0026quot; is the underlying theme of this book. I was in charge of planning and editing.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eThe main part of the book is composed of seven chapters plus a short essay at the end.\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr\u003e 06:00 - \u003cmeta charset=\"utf-8\"\u003e07:00 Wake up\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e 07:00 - \u003cmeta charset=\"utf-8\"\u003e07:30 To the atelier\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e 07:30 - \u003cmeta charset=\"utf-8\"\u003e08:30 Breakfast\u003cbr\u003e 08:30 - 10:30 Daily chores\u003cbr\u003e 10:30 - 13:00 Production\u003cbr\u003e 13:00 - 14:00 Lunch\u003cbr\u003e 14:00 - 19:00 Production\u003cbr\u003e Afterword: \u0026quot;Assembling Your Daily Life\u0026quot;\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eHe lives with his wife in a house overlooking the Seine, and wakes up at about 6am every morning. He works in his studio, about a 30-minute walk away, and returns home at 7pm. He spends his days in a very regular way. He prepares his own breakfast and lunch. As you can see, his house and studio are surrounded by simple gray furniture that he made himself, such as stools, storage shelves, tables, and wall-hanging furniture. He modestly says that he paints the furniture gray because imperfections in the paint are less noticeable, but just looking at the furniture makes me feel relaxed, and above all, in terms of the relationship between \u0026quot;ground\u0026quot; and \u0026quot;figure,\u0026quot; if you make the artworks, food, and antiques he has collected stand out against the gray background, everyday life becomes artwork, and artwork becomes everyday life. The spirit of \u0026quot;living is work, work is living,\u0026quot; which Kanjiro Kawai literally lived by, is alive in the faraway land of Paris.\u003cbr\u003e\u003cbr\u003eThe stool he made himself is uncomfortable to sit on. His friends have criticized him for this, but he still thinks it is a part of him. In an online conversation with Kaoru Kasai, who wrote the text for the obi, he said, \u0026quot;The simplicity of the furniture makes it more appealing.\u003cmeta charset=\"utf-8\"\u003e\u0026quot;You can move towards stillness and silence,\u0026quot; he said. I agreed with him.\u003cspan style=\"color: #0054ff;\"\u003e\u003ca href=\"https:\/\/bon-book.jp\/publishing\/8\/\" title=\"対談（フィリップ・ワイズベッカー、葛西薫、櫛田理）\"\u003eClick here for details of the discussion\u003c\/a\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eThis book was written by a Parisian\u003cmeta charset=\"utf-8\"\u003eThe book is made up of photographs taken by Toshiaki Miyamoto (then a professor at the University of Tokyo). Only a few photographs were able to be included, and it was very difficult to cut them down. The words he narrated are also excellent (translated by Natsuko Kita, who also works in management). I particularly like the words he wrote in the \u0026quot;Production\u0026quot; chapter from 10:30. They are a bit long, but I'll quote them here.\u003cbr\u003e\u003cbr\u003eSometimes it comes on its own,\u003cbr\u003eSometimes, even if you ask for it, it doesn't come easily.\u003cbr\u003eIt doesn't matter what method you use to lure them out.\u003cbr\u003eFind good paper, use a good ruler,\u003cbr\u003eIf nothing happens even after choosing a good pencil,\u003cbr\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eUse your last resort.\u003cbr\u003eLiving in the atelier,\u003cbr\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eA source of accumulated inspiration\u003cbr\u003eTry sticking your nose in it.\u003cbr\u003e(ibid., p.51)\u003cbr\u003e\u003cbr\u003eThe book's hardware was supervised by textile designer Reiko Sudo.\u003cmeta charset=\"utf-8\"\u003eThe result is a cloth binding with a wavy mesh pattern. The gauze cloth used in Japanese mosquito nets is backed with black tissue paper. The binding design was done by Yoshihisa Tanaka, who has worked on numerous art books. The printing and binding was done by Tosho Printing Co., Ltd., which publishes the publishing label BONBOOK.\u003cmeta charset=\"utf-8\"\u003eAs BONBOOK\u003cmeta charset=\"utf-8\"\u003eFor the publication of its eighth book, the series has welcomed contributions from a variety of authors across genres, including manga artist Takano Fumiko, poet Hiraide Takashi, and Hattori Kazunari, who also designed the FRAGILE BOOKS logo.\u003cbr\u003e\u003cbr\u003eIn addition, this book has inspired\u003cmeta charset=\"utf-8\"\u003eThe \u0026quot;HANDMADE\u0026quot; exhibition, which featured Philippe Weisbecker's \u0026quot;self-made furniture\u0026quot;, was held in spring 2022.\u003cmeta charset=\"utf-8\"\u003eATELIER MUJI GINZA on the 6th floor of MUJI Ginza was bustling with activity.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/files\/2_f7c258c8-bd80-4047-8980-39790ddba355_1024x1024.jpg?v=1658716600\" style=\"float: none;\" data-mce-style=\"float: none;\"\u003e\u003cimg style=\"float: none;\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/files\/DSC01868-1024x683_1024x1024.jpg?v=1658716667\" alt=\"\" data-mce-style=\"float: none;\"\u003e\u003c\/p\u003e  \u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eBy the way, the title of this book, \u0026quot;Homo faber,\u0026quot; refers to the creative activity of making and using tools. This is what distinguishes us from other animals.\u003cmeta charset=\"utf-8\"\u003eThe term was coined by French philosopher Henri Bergson, who said that this is the essence of human activity. Surrounded by furniture he made himself, and with his life and creation inextricably linked, Philippe Weisbecker's daily life quietly exemplifies what a creative person should be like.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eText by Osamu Kushida\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e  \u003ch6 style=\"text-align: center;\" data-mce-style=\"text-align: center;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/files\/portrait_480x480.jpg?v=1658569633\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/files\/portrait_480x480.jpg?v=1658569633\"\u003e\u003cbr\u003ePhoto by Toshiaki Miyamoto\u003c\/span\u003e\u003c\/h6\u003e  \u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr\u003ePhilip Weisbecker\u003cbr\u003ePhilippe Weisbecker\/Born in France in 1942. Graduated from the École Nationale Supérieure des Arts Decoratifs in Paris, he moved to New York in 1968. He has worked on numerous illustrations for American advertisements and editorials, while also producing artwork. He returned to France in 2006. He has deep ties with Japan, and in 2000 he held his first solo exhibition at Creation Gallery G8. In 2002, he stayed at Villa Kujoyama in Kyoto for four months as an artist-in-residence run by the Institut Français du Japon. In 2021, he held a solo exhibition at the Takenaka Carpentry Tools Museum, a public interest foundation. He also worked on the official art poster for the 2020 Tokyo Olympics. He is currently based in Paris and continues to exhibit his works in Europe, the United States, and Japan.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":42541306970280,"sku":"","price":3300.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/homofaber_02.jpg?v=1658562634"},{"product_id":"pictures_before_a_picture_book_ryoji_arai-2","title":"Picture books before they became picture books\/Arai Ryoji","description":"\u003ch1\u003e\u003cstrong\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/files\/RyojiArai_pictures_before_a_picture_book_3cover_abc2_1024x1024.jpg?v=1665811734\" alt=\"\" data-mce-fragment=\"1\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/files\/RyojiArai_pictures_before_a_picture_book_3cover_abc2_1024x1024.jpg?v=1665811734\"\u003e\u003cbr\u003e\u003cbr\u003eI just didn't ask anyone.\u003cbr data-mce-fragment=\"1\"\u003eI've always wanted to paint in dark colors.\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e—\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e—\u003c\/span\u003e Ryoji Arai\u003c\/strong\u003e\u003c\/h1\u003e  \u003cp\u003eA collection of 23 original illustrations by picture book author Ryoji Arai has been created. Each piece is filled with the premonition of a new picture book, and is filled with nostalgic darkness and light, as if Arai's own memories and those of \u0026quot;someone he has never met\u0026quot; are mixed together. An interview is included at the end of the book. There are three cover designs to choose from, and they are limited to the first edition only. (The contents are the same.)\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e\u003cspan style=\"color: #2b0245;\" data-mce-style=\"color: #2b0245;\"\u003e\u0026lt;Three types of covers\u0026gt;\u003c\/span\u003e\u003c\/strong\u003e\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #2b0245;\" data-mce-style=\"color: #2b0245;\"\u003e\u003cstrong\u003eA: Ballerina\u003c\/strong\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #2b0245;\" data-mce-style=\"color: #2b0245;\"\u003e\u003cstrong\u003eB: Ghost\u003c\/strong\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #2b0245;\" data-mce-style=\"color: #2b0245;\"\u003e\u003cstrong\u003eC: A girl with pigtails\u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"text-decoration: underline;\" data-mce-style=\"text-decoration: underline;\"\u003e\u003cspan style=\"color: #2b0245; text-decoration: underline;\" data-mce-style=\"color: #2b0245; text-decoration: underline;\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003eTogether with picture book author Ryoji Arai, we have created a new picture book! Or rather, a \u0026quot;picture book before it becomes a picture book.\u0026quot; It is a collection of 23 original illustrations that were drawn specifically for this book. Although there is no single story that runs through the whole book, each illustration gives the impression that many new stories could be born from it, making it a book with such depth.\u003cbr\u003e\u003cbr\u003eThe common theme of the pictures is \u0026quot;nostalgia\u0026quot; for someone you've never met. The titles of the works sound like songs that have been made from a diary. The \u0026quot;golden painting\u0026quot; on the first page is the first base coat that Arai applies when he starts to paint. As you turn the gold pages, the works appear in order, and at the end of the book there is a special interview with Arai. The book has a simple structure, but it took a lot of trial and error to arrive at this pagination. What we wanted to emphasize was the texture of the original painting and the process of seeing the original painting.\u003cbr\u003e\u003cbr\u003eHow can we reproduce the gold of the base and the three-dimensionality and luster of the paint? How can we convey to readers the charm of the \u0026quot;real thing\u0026quot; that cannot be conveyed in a book printed on flat paper? After much thought, we decided to boldly trim the original artwork without telling Arai, and place a page with much more detail in front of the original artwork, so that the whole picture cannot be seen. This made the shine of the gold, the texture of the paper, and the three-dimensional details of the paint stand out more vividly. We also placed a piece of tissue paper in front of it, on which the title of the work in Roman letters was placed, and by deliberately going through a shaky process, we devised an experience that makes it seem as if the reader has finally arrived at the original artwork. Arai says the following in an interview at the end of the book.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e  \u003cblockquote\u003e  \u003cp\u003e\u003cspan\u003eI think I was drawing the scenery I could see beyond the candlelight. As I stared at the desk and the window in front of me, I gradually began to see another world beyond, and I quickly drew it down before it disappeared. That scenery might not be mine, but someone else's.\u003cmeta charset=\"utf-8\"\u003ehey.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-size: 7.000000pt; font-family: 'KoburinaGoStdN';\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 7.000000pt; font-family: 'KoburinaGoStdN';\"\u003e———From the interview at the end of \u0026quot;Picture Books Before They Became Picture Books\u0026quot; by Ryoji Arai\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e  \u003c\/blockquote\u003e  \u003cp\u003e\u003cbr\u003eInspired by Arai's words, I wanted readers to take their time to savor the view beyond the dim candle light, so I sandwiched a fuzzy, translucent piece of paper between the white pages of the main text, creating an entrance to an ambiguous world that is visible but not visible.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThere is one other thing worth mentioning about this book. The hidden theme of the newly drawn pictures is \u0026quot;pictures in dark colors.\u0026quot; Arai is often called \u0026quot;the man of color\u0026quot; because many of his works use bright and vivid colors, but Arai jokingly said, \u0026quot;This time, it's \u0026quot;dark Ryoji!\u0026quot; It didn't take long for him to decide on this hidden theme.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOn the day of the first meeting, the editorial team was waiting for Arai to appear at a coffee shop somewhere in Tokyo with excitement. Arai appeared with a red backpack on his back, looking more cheerful than anyone else. The first meeting started with a discussion of \u0026quot;What kind of book should we make?\u0026quot; As they exchanged various ideas, such as a collection of all the pictures he had drawn so far, a picture book with a story, and a book of all the copies that Arai makes every day, the discussion turned to \u0026quot;Motai Takeshi\u0026quot; among the several reference books brought by the editorial team. At the end of the book, he says the following.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e  \u003cblockquote\u003e  \u003cp\u003eI like a children's artist called Takeshi Motai, and I once drew a picture that was almost a copy for a gallery exhibition. It's hard to put Motai's paintings into words, but you can feel the weight of his emotions in them. Even though he paints pictures in dark colors, they feel dark but bright. And more than anything, you can feel the care he takes in painting each and every picture from his paintings.\u003cbr\u003e\u003cbr\u003eI also wanted to draw each picture one by one and make a book with just those pictures. And I didn't want to just collect all the original drawings I'd made so far, without a clear beginning and end like a picture book. I wanted to draw pictures that could be turned into a picture book later. I've always liked pictures in dark colors, but I haven't had the chance to draw them, so this time I thought I'd go with \u0026quot;Dark Ryoji\u0026quot; using dark colors. In the end, it didn't turn out to be that dark, though.\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 7.000000pt; font-family: 'KoburinaGoStdN';\" data-mce-fragment=\"1\" data-mce-style=\"font-size: 7.000000pt; font-family: 'KoburinaGoStdN';\"\u003e———From the interview at the end of \u0026quot;Picture Books Before They Became Picture Books\u0026quot; by Ryoji Arai\u003c\/span\u003e\u003c\/p\u003e  \u003c\/blockquote\u003e  \u003cp\u003e\u003cbr\u003eArai says he likes Takeshi Motai. He says he likes the unique expression of this era, which uses heavy, dark colors even though the things he draws and the contents are not dark. I also learned that picture books are usually drawn in bright colors, at the request of the publisher. So this time, let's do it in \u0026quot;dark colors.\u0026quot; I think that most people usually enjoy books in a bright environment, but I recommend that you turn the pages of this book by candlelight. I think you will feel the gentle light that gently lights up deep in your heart.\u003cbr\u003e\u003cbr\u003eThis book, which also has an appealingly tactile cover, is part of the same series.\u003ca href=\"https:\/\/www.fragile-books.com\/products\/homo-faber\" target=\"_blank\" data-mce-href=\"https:\/\/www.fragile-books.com\/products\/homo-faber\"\u003e\u0026quot;Homo Faber\/Philippe Weisbecker\u0026quot;\u003c\/a\u003eThe cloth binding, with its wavy mesh pattern, was supervised by textile designer Reiko Sudo and is made from gauze cloth, the same material used in Japanese mosquito nets, backed with azuki-coloured tissue paper. The binding was designed by Yoshihisa Tanaka, who has worked on numerous art books. The printing and binding was done by Tosho Printing Co., Ltd., which publishes the publishing label BONBOOK. This is the ninth book published by BONBOOK, and to date they have welcomed a variety of authors from across genres, including manga artist Fumiko Takano, poet Takashi Hiraide, and Kazunari Hattori, who also designed the FRAGILE BOOKS logo.\u003cbr\u003e\u003cbr\u003eIt is said that in the old days, the day began with the sun setting. Light is born in darkness. I hope this book will bring a gentle light to the darkness of this tired world.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e  \u003chr\u003e  \u003ch4\u003e《 Linked Project 》\u003cbr\u003e  \u003c\/h4\u003e  \u003ch1\u003e\u003cstrong\u003eFragile Exhibition\u003cbr\u003eRyoji Arai Original Illustrations Exhibition | Picture books before they became picture books\u003c\/strong\u003e\u003c\/h1\u003e  \u003ch4\u003e  \u003cspan\u003ePeriod: November 5th to November 30th, 2022\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eplace:\u003c\/span\u003e\u003cspan style=\"color: #232e39;\"\u003e\u003ca style=\"color: #232e39;\" href=\"https:\/\/www.fragile-books.com\/collections\/ryoji-arai-painting\" title=\"原画展｜絵本になる前の絵本\"\u003eFragile Expo｜Online Exhibition Room\u003c\/a\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eThis month's Fragile Exhibition is an exhibition of original illustrations by picture book author Ryoji Arai.\u003cspan style=\"color: #273340;\"\u003ePicture books before they became picture books\u003c\/span\u003eThe 23 original illustrations drawn for \u0026quot;The Book of the Dead\u0026quot; are filled with the premonition that a picture book will be born, and each one is filled with nostalgic darkness and light, as if Arai's own memories and those of \u0026quot;someone he has never met\u0026quot; are mixed together.\u003ca href=\"https:\/\/www.fragile-books.com\/products\/custom-frames-by-ryoji-arai\" target=\"_blank\" data-mce-href=\"https:\/\/www.fragile-books.com\/products\/custom-frames-by-ryoji-arai\"\u003eCustom Frame\u003c\/a\u003ewill also be sold.\u003cbr\u003e\u003cbr\u003e\u0026quot;I wanted to draw each picture one by one and make a book out of those pictures alone. Also, I didn't want to have a clear beginning and end like with a picture book, and I didn't want to just collect all the original drawings I'd done so far. I wanted to draw pictures that could later be made into a picture book from each one.(From an interview with Ryoji Arai at the end of \u0026quot;Picture Books Before They Became Picture Books\u0026quot;)\u003cbr\u003e\u003cbr\u003e  \u003c\/h4\u003e  \u003ch4\u003e\u003cbr\u003e\u003c\/h4\u003e  \u003cdiv\u003e\u003ca href=\"https:\/\/www.fragile-books.com\/collections\/ryoji-arai-painting\" title=\"原画展｜絵本になる前の絵本\"\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/files\/arai_ryoji_sq01_1024x1024.jpg?v=1667637523\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/files\/arai_ryoji_sq01_1024x1024.jpg?v=1667637523\"\u003e\u003c\/a\u003e\u003c\/div\u003e  \u003chr\u003e  \u003ch4\u003eProfile\u003c\/h4\u003e  \u003cp\u003e  \u003c\/p\u003e  \u003ch6 style=\"text-align: center;\" data-mce-style=\"text-align: center;\"\u003e  \u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/files\/2022-10-1419.08.29_480x480.jpg?v=1665742130\"\u003e\u003cbr\u003e\u003cspan style=\"color: #808080;\" data-mce-style=\"color: #808080;\"\u003ePhoto by Masako Nagano\u003c\/span\u003e\u003cbr\u003e  \u003c\/h6\u003e  \u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #404040;\" data-mce-style=\"color: #404040;\"\u003eRyoji Arai Ryoji Arai \u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e  \u003cp\u003e\u003cspan style=\"color: #404040;\" data-mce-style=\"color: #404040;\"\u003ePicture book author. Born in Yamagata Prefecture in 1956. After graduating from the Department of Fine Arts at Nihon University College of Art, he began writing picture books. He has won numerous picture book awards both in Japan and abroad, including the Special Prize at the Bologna Children's Book Fair in 1999 for \u0026quot;Nazonazo no Tabi\u0026quot; (Riddle Journey), and in 2005, he became the first Japanese person to win the Astrid Lindgren Memorial Literature Award. He is active in many areas, from curating at art museums to exhibitions, illustrating the opening of the NHK drama series \u0026quot;Jun to Ai\u0026quot; (Pure and Love), and serving as artistic director of the Yamagata Biennale Art Festival in the Middle of the Road. His main picture books include \u0026quot;Happy-san,\u0026quot; \u0026quot;Sleeping Princess,\u0026quot; \u0026quot;Today's Sky is Round,\u0026quot; \u0026quot;Today's I Can Run Anywhere,\u0026quot; and \u0026quot;Children Are Hooked.\u0026quot; He is known as one of Japan's leading picture book authors, and his work has been attracting attention overseas as well.\u003c\/span\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"A. Ballerina","offer_id":42824964669608,"sku":"3SKU-A","price":3300.0,"currency_code":"JPY","in_stock":true},{"title":"B. Ghost","offer_id":42824964702376,"sku":"3SKU-B","price":3300.0,"currency_code":"JPY","in_stock":true},{"title":"C. Girl with pigtails","offer_id":42824964735144,"sku":"3SKU-C","price":3300.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/20221028_056_2ebe713b-52a8-4703-9320-ad82788ccc98.jpg?v=1667617707"},{"product_id":"paper-cats","title":"\u003ctc\u003ePaper Cats \/ Kazunari Hattori\u003c\/tc\u003e","description":"\u003ctc\u003e\n\u003ch1 data-editor-transcy=\"true\"\u003e\u003cstrong\u003eYes, that's true.\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003ehappened once, right?\u003c\/strong\u003e\u003c\/h1\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003e\u003cbr\u003eThe coincidental design of this book is a book by Kazunari Hattori.\u003c\/div\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003e\u003cbr\u003eKazunari Hattori, who undertook all the key designs for FRAGILE BOOKS, including the logo and care mark. As an art director and graphic designer, Kazunari Hattori is gentle yet sharp and unique,\u003c\/div\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003eAs an art director and graphic designer, \u0026nbsp;Kazunari Hattori has developed his gentle yet sharp and unique view of design, and while he has been involved in numerous book designs such as \"Ryuko Tsushin\" magazine, \"Mayonaka\" magazine, \"here and there\" magazine, \"Petit Royale French-Japanese Dictionary\" and \"NAKAJO\" by Obunsha, he is also a graphic designer. Surprisingly, he has never designed any of his own books. This book is an artist's book, planned, photographed, designed, and written by Kazunari Hattori.\u003c\/div\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003e\u003cbr\u003eThe book features 23 \"paper cats\" that he cut out with scissors and photographed. The 48-page hardcover book is wrapped in a blue cover and looks like the packaging of a confectionary. The publisher is BON BOOK Publishing label, started by a long-established printing company. We were in charge of editing.\u003cbr\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003eKazunari Hattori says, \"I am probably the last of my generation to have experienced transcription.\" In the 30-odd years since joining LIGHT PUBLICITY in 1988 and becoming independent in 2001, the environment surrounding designers has changed drastically, from typesetting and typesetting to the structure of printing and publishing. As tools evolved by leaps and bounds, Kazunari Hattori stopped for a moment and resisted the design work that is finished as if it were measured by numbers. To say that he resisted is a bit of an exaggeration, but I think he disliked design work that was done according to a schedule.\u003cbr\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003eThis is how Kazunari Hattori's representative works, such as the \"Kewpie Half\" advertisement and \"Ryuko Tsushin\" magazine, which incorporated accidental designs, were born. And now, this book.\u003cbr\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003eThe outline of this book was almost decided at our first meeting at Kazunari Hattori's office in Nishi-Azabu. He is a person who is incredibly quick to grasp the intentions of his clients and translate them into his own designs, sometimes with a sharp point of view. There were no side trips or agonizing chit-chat along the way. Especially this time, I think it was his thirst for \"designing with his own body\" that motivated Kazunari Hattori .\u003c\/div\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003e\u003cbr\u003eThe cat was chosen as a motif by chance. However, the draft of the project started with the idea of creating a book featuring the 42 cats that Kazunari Hattori \u0026nbsp;had designed for the cover of Heibonsha's PR magazine, \"Gekkan Hyakka\". However, he was not interested in going in the direction of completing the project on a computer. Instead, he proposed a plan to improvise on paper, prefacing it with the statement, \"I don't know if they will be cats or not.\u003c\/div\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003eThe 23 cats in the book are paper cats that Kazunari Hattori improvised and cut out with scissors from a blank sheet of paper. He placed them in a corner of his office and shot them down with a flash. More than anyone else, Kazunari Hattori moved his body and enjoyed the accidental design of the finished product. It was also Kazunari Hattori's idea to wrap the cover and the back of the book in NT Rasha's \"Ruri\" color. Incidentally, cartoonist Fumiko Takano, author of \"Uta no Hon,\" a book published after \"Paper Cats\" in the BONBOOK series, said, \"If Kazunari Hattori is blue, I prefer a color like dusted soybean flour,\" and the book was yellow. It was Kazunari Hattori who bound Fumiko Takano's \"Dormitory Tompkins\" (Chuokoron Shinsha).\u003cbr\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003eFor more details about the motivation and background behind the creation of this book, please also see the interview at the time of publication. The \"graphic designing with a camera\" passage, in particular, is a very good example of Kazunari Hattori s views on design.\u003cbr\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003e＞\u003ca href=\"https:\/\/bon-book.jp\/publishing\/5\/\" target=\"_blank\" rel=\"noopener\"\u003eBONBOOK Publication Interview\u003c\/a\u003e\u003c\/div\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003eText by Osamu Kushida\u003c\/div\u003e\n\u003c\/tc\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":42949218664616,"sku":"","price":1980.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/bb_papercats01b.jpg?v=1670211993"},{"product_id":"kuki-no-okashi","title":"Air sweets\/Tsuchiya Mio","description":"\u003ch1\u003e  \u003cstrong\u003eFluffy and sparse\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eDelicious sweets are\u003cbr\u003eMade mostly of air\u003c\/strong\u003e\u003cbr\u003e  \u003c\/h1\u003e  \u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eMio Tsuchiya, a confectioner who loves sweets more than she loves food, has compiled her fantasies, obsessions, and desires into a book. Marshmallows, meringues, chiffon cake, cotton candy, popcorn, and fresh cream. This book introduces eight types of airy, fluffy, and hollow sweets that are full of air from three perspectives: metaphors, stories, and recipes.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e  \u003cp\u003eMr. Tsuchitani says he will eat any kind of sweets from all over the world, past and present (except castella cakes), but the main reason he decided to focus on making air sweets this time was because of the value of air.\u003c\/p\u003e  \u003cblockquote\u003e  \u003cp\u003eAir is free. And because it is invisible, it is not listed as an ingredient. However, air creates such deliciousness as an ingredient, especially in air sweets, that it should be listed at the top of the recipe.\u003c\/p\u003e  \u003c\/blockquote\u003e  \u003cp\u003eThe fact that weight and value are proportional is recognized outside of confectionery. Heavy = packed with content. So, what if we apply this to airy sweets? That was Tsuchitani's point of view. What would happen to the deliciousness of fluffy, hollow sweets if you took the air out of them? We hope you will find the answer in the book.\u003cbr\u003e\u003c\/p\u003e  \u003cp\u003eSo let me introduce three aspects of this book.\u003cbr\u003e\u003cbr\u003e[1] Mitate\u003cbr\u003eAccording to Tsuchitani, \u0026quot;Mitate\u0026quot; is a very important way of thinking in his work as a confectioner. At Cineca, which he started alone in 2012, he has discovered a new way of expression by likening a movie to a piece of candy.\u003cspan data-mce-fragment=\"1\"\u003eIf I were to be replaced by sweets, I would be able to eat everything.\u003c\/span\u003eAs the words suggest, Tsuchitani likens the objects in our everyday lives to airy sweets. You can enjoy dreamy, comical scenes such as a fluffy cotton candy futon on the bed, marshmallow foam in a cardboard box, and a chiffon cake neck pillow for the reader.\u003cbr\u003e\u003c\/p\u003e  \u003cp\u003e[2] Story\u003cbr\u003eThe eight pieces that Tsuchitani wrote in essay style have a pleasant rhythm, and each one is just the right length to read over a cup of coffee. With historical figures, familiar sweets, and the town of Asakusa, which is closely related to Tsuchitani, the straightforward emotions of his love for sweets and the sharp perspective of a confectioner are mixed together, and there is no doubt that anyone will find something new in the book.\u003c\/p\u003e  \u003cp\u003e[3] Recipe\u003cbr\u003eTen years have passed since Tsuchitani started his career as a confectioner, but he has not yet published a recipe book. This time, he introduces the recipes for the eight types of airy sweets that appear in the first half of this book. The distinctive feature of the recipes is, of course, that they contain air as an ingredient. Only by skillfully incorporating air can you make delicious airy sweets, and this must have been a world first. Confectionery, which mainly uses refined ingredients, is much more chemical than cooking in terms of both the way it is made and the structure. Tsuchitani's short notes explain sweets from a chemical perspective, so they are a must-read.\u003cbr\u003e\u003c\/p\u003e  \u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis book is probably the first in the world to include \u0026quot;air\u0026quot; as an ingredient in a recipe. This book is an attempt to create a book that contains all of Tsuchitani's \u0026quot;delicious places.\u0026quot; The preface of the book includes the following passage:\u003c\/span\u003e\u003c\/p\u003e  \u003cblockquote\u003e  \u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe casual everyday scenery,\u003cbr data-mce-fragment=\"1\"\u003eIf it gets replaced with sweets,\u003cbr data-mce-fragment=\"1\"\u003eI could eat this and that.\u003cbr data-mce-fragment=\"1\"\u003eIs it a delusion, an excessive obsession, or perhaps a wish?\u003cbr data-mce-fragment=\"1\"\u003eThe sweets in the air and life blend together,\u003cbr data-mce-fragment=\"1\"\u003eTime becomes sweeter for a moment.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAir is tasteless, odorless and free\u003cbr data-mce-fragment=\"1\"\u003eBecause he's a very humble person\u003cbr data-mce-fragment=\"1\"\u003eAlthough we hardly notice it,\u003cbr data-mce-fragment=\"1\"\u003eI can get through today\u003cbr data-mce-fragment=\"1\"\u003eI think it's all thanks to the air.\u003c\/span\u003e\u003c\/p\u003e  \u003c\/blockquote\u003e  \u003cp\u003e\u003cbr\u003eTsuchitani is always thinking. Can we make our everyday lives, which have become so ordinary without us even realizing it, more delicious, more cute, and more interesting? This book uses air sweets as a starting point to ask questions about our everyday lives, where we take what is \u0026quot;ordinary\u0026quot; without questioning it.\u003c\/p\u003e  \u003cp\u003e  \u003cspan style=\"text-decoration: underline;\"\u003e\u003c\/span\u003e\u003c\/p\u003e  \u003chr\u003e  \u003ch4\u003eProfile\u003c\/h4\u003e  \u003ch6 style=\"text-align: center;\" data-mce-style=\"text-align: center;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cimg data-mce-fragment=\"1\" alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/files\/miotsuchiya_mono_480x480.jpg?v=1671159062\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/files\/miotsuchiya_mono_480x480.jpg?v=1671159062\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/h6\u003e  \u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cbr\u003eMio Tsuchiya \/ Mio Tsuchiya\u003cbr\u003eConfectioner. Born in Tokyo. Graduated from Tama Art University. After working in graphic design, he studied confectionery at a confectionery school in Tokyo. In 2012, inspired by movies, he founded cineca, which creates confectionery with a story. In confectionery, he has created an original method of incorporating the realizations he has made through observing everyday life and landscapes into the world of confectionery. Since around 2017, he has also been involved in planning, confectionery supervision, artwork production and writing. Recent work includes supervision and production of original confectionery for the \u0026quot;Peter Doig Exhibition\u0026quot; at the National Museum of Modern Art, Tokyo (2020), and confectionery supervision for the \u0026quot;POWER CAKES\u0026quot; at the LUMINE All-Store Christmas Fair 2019. In spring 2022, he will launch \u0026quot;Awaimon,\u0026quot; which focuses on the shapes represented by the space, and will be the owner of the confectionery and store.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCineca\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003ehttp:\/\/cineca.si\/\u003cbr data-mce-fragment=\"1\"\u003einstagram @cineca\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong\u003eBlind\u003c\/strong\u003e\u003cbr data-mce-fragment=\"1\"\u003ehttps:\/\/www.awaimon.shop\/\u003cbr data-mce-fragment=\"1\"\u003eInstagram @awai_mon\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":42974867292328,"sku":"","price":1980.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/pc_kuukinookashi_01.jpg?v=1671185738"},{"product_id":"空気のお菓子-本とマシュマロの発泡材set","title":"\"Air Sweets\" + Marshmallow Foam (Limited Set of 50)","description":"\u003ch1\u003e  \u003cstrong\u003ePackages delivered in cardboard boxes\u003cbr\u003eThe foam material that was carefully protected.\u003cbr\u003eAfter that, you're done\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003eBecause it's sad, everything\u003cbr\u003eI wish I could eat it all.\u003c\/strong\u003e  \u003c\/h1\u003e  \u003cp\u003e\u003cspan\u003eMio Tsuchiya, a confectioner who loves sweets more than she loves food, has compiled her fantasies, obsessions, and desires into a book. Marshmallows, meringues, chiffon cake, cotton candy, popcorn, and fresh cream. This book introduces eight types of airy, fluffy, and hollow sweets that are full of air from three perspectives: metaphors, stories, and recipes.\u003cbr\u003e\u003cbr\u003eThis time, we will be selling a limited number of edible \u0026quot;marshmallow foam\u0026quot; exclusively at FRAGILE BOOKS. It is a small palm-sized cardboard box packed with soft marshmallows. Of course, you can eat them. They are delicious as they are, lightly toasted with a bunner and sandwiched between cookies, or even added to hot chocolate on a cold day. They would also make a great surprise gift, with a small fragile item inside. They will be delivered together with specially made marshmallow stamps. Please enjoy reading \u0026quot;Sweets of the Air\u0026quot; while munching on a marshmallow. If you would like to purchase the book only,\u003ca href=\"https:\/\/www.fragile-books.com\/products\/%E7%A9%BA%E6%B0%97%E3%81%AE%E3%81%8A%E8%8F%93%E5%AD%90\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eClick here\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e  \u003cp\u003e  \u003c\/p\u003e  \u003cp\u003e[Delivery information] Shipping is scheduled for around December 26th.\u003c\/p\u003e  \u003chr\u003e  \u003cp\u003eAbout the book \u0026quot;Air Sweets\u0026quot;\u003c\/p\u003e  \u003cp\u003eMr. Tsuchitani says he will eat any kind of sweets from all over the world, past and present (except castella cakes), but the main reason he decided to focus on making air sweets this time was because of the value of air.\u003c\/p\u003e  \u003cblockquote\u003e  \u003cp\u003eAir is free. And because it is invisible, it is not listed as an ingredient. However, air creates such deliciousness as an ingredient, especially in air sweets, that it should be listed at the top of the recipe.\u003c\/p\u003e  \u003c\/blockquote\u003e  \u003cp\u003eThe fact that weight and value are proportional is recognized outside of confectionery. Heavy = packed with content. So, what if we apply this to airy sweets? That was Tsuchitani's point of view. What would happen to the deliciousness of fluffy, hollow sweets if you took the air out of them? We hope you will find the answer in the book.\u003c\/p\u003e  \u003cp\u003eSo let me introduce three aspects of this book.\u003cbr\u003e\u003cbr\u003e[1] Mitate\u003cbr\u003eAccording to Tsuchitani, \u0026quot;Mitate\u0026quot; is a very important way of thinking in his work as a confectioner. At Cineca, which he started alone in 2012, he has discovered a new way of expression by likening a movie to a piece of candy.\u003cspan\u003eIf I were to be replaced by sweets, I would be able to eat everything.\u003c\/span\u003eAs the words suggest, Tsuchitani likens the objects in our everyday lives to airy sweets. You can enjoy dreamy, comical scenes such as a fluffy cotton candy futon on the bed, marshmallow foam in a cardboard box, and a chiffon cake neck pillow for the reader.\u003c\/p\u003e  \u003cp\u003e[2] Story\u003cbr\u003eThe eight pieces that Tsuchitani wrote in essay style have a pleasant rhythm, and each one is just the right length to read over a cup of coffee. With historical figures, familiar sweets, and the town of Asakusa, which is closely related to Tsuchitani, the straightforward emotions of his love for sweets and the sharp perspective of a confectioner are mixed together, and there is no doubt that anyone will find something new in the book.\u003c\/p\u003e  \u003cp\u003e[3] Recipe\u003cbr\u003eTen years have passed since Tsuchitani started his career as a confectioner, but he has not yet published a recipe book. This time, he introduces the recipes for the eight types of airy sweets that appear in the first half of this book. The distinctive feature of the recipes is, of course, that they contain air as an ingredient. Only by skillfully incorporating air can you make delicious airy sweets, and this must have been a world first. Confectionery, which mainly uses refined ingredients, is much more chemical than cooking in terms of both the way it is made and the structure. Tsuchitani's short notes explain sweets from a chemical perspective, so they are a must-read.\u003c\/p\u003e  \u003cp\u003e\u003cspan\u003eThis book is probably the first in the world to include \u0026quot;air\u0026quot; as an ingredient in a recipe. This book is an attempt to create a book that contains all of Tsuchitani's \u0026quot;delicious places.\u0026quot; The preface of the book includes the following passage:\u003c\/span\u003e\u003c\/p\u003e  \u003cblockquote\u003e  \u003cp\u003e\u003cspan\u003eThe casual everyday scenery,\u003cbr\u003eIf it gets replaced with sweets,\u003cbr\u003eI could eat this and that.\u003cbr\u003eIs it a delusion, an excessive obsession, or perhaps a wish?\u003cbr\u003eThe sweets in the air and life blend together,\u003cbr\u003eTime becomes sweeter for a moment.\u003cbr\u003e\u003cbr\u003eAir is tasteless, odorless and free\u003cbr\u003eBecause he's a very humble person\u003cbr\u003eAlthough we hardly notice it,\u003cbr\u003eI can get through today\u003cbr\u003eI think it's all thanks to the air.\u003c\/span\u003e\u003c\/p\u003e  \u003c\/blockquote\u003e  \u003cp\u003e\u003cbr\u003eTsuchitani is always wondering. Can we make our everyday lives, which have become so ordinary without us even realizing it, more delicious, more adorable, and more interesting? This book uses air sweets as a starting point to question the \u0026quot;ordinary\u0026quot; things we take for granted without questioning them.\u003c\/p\u003e  \u003cp\u003e  \u003c\/p\u003e  \u003chr\u003e  \u003ch4\u003eProfile\u003c\/h4\u003e  \u003ch6 style=\"text-align: center;\"\u003e\u003cspan\u003e\u003cimg alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/files\/miotsuchiya_mono_480x480.jpg?v=1671159062\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/h6\u003e  \u003cp\u003e\u003cspan\u003e\u003cbr\u003eMio Tsuchiya \/ Mio Tsuchiya\u003cbr\u003eConfectioner. Born in Tokyo. Graduated from Tama Art University. After working in graphic design, he studied confectionery at a confectionery school in Tokyo. In 2012, inspired by movies, he founded cineca, which creates confectionery with a story. In confectionery, he has created an original method of incorporating the realizations he has made through observing everyday life and landscapes into the world of confectionery. Since around 2017, he has also been involved in planning, confectionery supervision, artwork production and writing. Recent work includes supervision and production of original confectionery for the \u0026quot;Peter Doig Exhibition\u0026quot; at the National Museum of Modern Art, Tokyo (2020), and confectionery supervision for the \u0026quot;POWER CAKES\u0026quot; at the LUMINE All-Store Christmas Fair 2019. In spring 2022, he will launch \u0026quot;Awaimon,\u0026quot; which focuses on the shapes represented by the space, and will be the owner of the confectionery and store.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eCineca\u003c\/strong\u003e\u003cbr\u003ehttp:\/\/cineca.si\/\u003cbr\u003einstagram @cineca\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eBlind\u003c\/strong\u003e\u003cbr\u003ehttps:\/\/www.awaimon.shop\/\u003cbr\u003eInstagram @awai_mon\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":42980079960232,"sku":"","price":2980.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/pc_kuukinookashi_set01.jpg?v=1671236171"},{"product_id":"bucher_veronika-schapers","title":"Bücher | Veronika Schäpers Veronika Schäpers","description":"\u003ch1\u003e  \u003cstrong\u003eContemporary book artists\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eA self-designed catalogue raisonné.\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eLimited edition of 300 copies.\u003c\/strong\u003e  \u003c\/h1\u003e  \u003cp\u003eThis box-type catalogue raisonné is a complete record of Veronica Shepas's book art works. The idea was launched in 2021, but due to the impact of the pandemic, it was not completed until the fall of 2022. This box was also self-designed and bound, and although it is a limited edition with only 30 copies in the world, it is a rare opportunity to get a glimpse into her world of bookbinding, with most of her original works housed in museums and galleries.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eVeronica Shepas, who we believe to be the most comprehensively skilled in the world of book art, has bookbinding skills backed by solid technique, and a sense for using any text as a clue to imbue the physical book with lyricism. She is a rare book artist.\u003cbr data-mce-fragment=\"1\"\u003eThis book is a box set that offers an overview of Veronica's various book art projects, from her earliest works created during her several years living in Japan to \u0026quot;OKONOMIYAKI\u0026quot; (a book on the theme of okonomiyaki), which she realised after reaching out to Yoko Tawada, who lives in Germany, over the course of several years.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThese archival boxes are acid-free storage boxes that were originally developed for the long-term preservation of valuable documents and artworks such as books, ancient documents, and prints. Veronica herself normally uses archival boxes to store her own works, which is why she decided to create an acid-free box catalogue. They are light, durable, practical, and beautiful. This storage method is very Veronica-like. The box is also apparently designed to hold all past catalogues and publications. The box manufacturer is a German company.\u003cmeta charset=\"utf-8\"\u003e\u003ca data-mce-fragment=\"1\" href=\"https:\/\/www.klug-conservation.com\/\" target=\"_blank\" data-mce-href=\"https:\/\/www.klug-conservation.com\/\"\u003eKlug Conservation\u003c\/a\u003eand is a major supplier to libraries and museums.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOpening the box, the dazzling world of Veronica begins. It also contains documents of the works she created immediately after graduating from university. Every time you turn the page, you will see a collection of works created with completely different approaches. The high level of perfection of each work is remarkable. Both the high level of skill as a book maker and the worldview of an artist are overflowing in the details of the book. Not only is the content rich, but the joy is also conveyed by the skin of your hands as you turn the pages.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eHer original works were originally produced in limited quantities of only a few dozen, and almost all of them are in the appropriate collections, so it is almost impossible to purchase them again. Therefore, this archive box is a rare opportunity to see her world of work. Every box has a serial number and Veronica's autograph.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eText by Ema Otobe\u003cbr\u003e\u003c\/p\u003e  \u003ch5\u003eArchive Box Contents:\u003cbr\u003eThe box is available in two versions.\u003cbr\u003eVersion A includes #2-5, and Version B includes #1-5.\u003cbr\u003e\u003cbr\u003e#1\u003cbr\u003eCatalogue of the \u0026quot;Entgrenzt\u0026quot; exhibition held at the Klingspohl Museum in Offenbach, Germany. In addition to numerous photographs and detailed explanations of all works from 1998 onwards, the catalogue features essays by Dr. Stefan Soltek, Martina Weiss (Klingspohl Museum in Offenbach), Dr. Viola Hildebrand Schatt (Frankfurt\/M), Marshall Weber (Brooklyn), Nina Schneider (Los Angeles), and Akiko Takiguchi (Tokyo).\u003cbr\u003eDesigned by Alex Sonderegger, Susanna Baer, so+ba (Tokyo\/Zurich)\u003cbr\u003eBinding: Buchbinder Mergemeier, Düsseldorf (12 6-page accordion folds, 9 8-page accordion folds)\u003cbr\u003eCover printing: Swiss Harmony Presspan\u003cbr\u003eBody paper: offset printing on Munken Links 120g paper\u003cbr\u003eExternal dimensions: 8.85 x 11.7 inches\u003cbr\u003eIssue number: Limited to 300 copies\u003cbr\u003ePlace of production: Berlin, Offenbach\u003cbr\u003eProduction year 2014\u003cbr\u003e\u003cbr\u003eVeronica explains:\u003cbr\u003eIt was published for a large exhibition held at the Klingspohl Museum in Offenbach in 2014. It was an exhibition where all my past works were displayed, and all of them are included in the catalog (all of my university works are not included). The catalog was partly funded by the museum, but most of the production costs were self-funded. Therefore, many friends were involved, but the biggest support came from Susanna Baer and Alex Sonderegger of so+ba design. I often helped them with the binding, and they gave me advice on typography. They were also involved in the graphic design of other parts of the catalog, and we use the same font and some graphic elements. The idea for the box came to me when I was thinking about a new catalog for 2021. Since 2014, I have released nine new works, and customers have asked for a new catalog. I didn't want to reprint many books, so it was clear to me that I would make it like a second catalog. I also wanted the second issue to have a similar structure to the first issue, and in the end I gave it a structure with a fold on the inside of the main text. Materials are a very important element in my work, and ultimately I wanted to create a box rather than a slipcase, one that could hold books and pamphlets of different sizes and materials, like a box assemblage.\u003cbr\u003e\u003cbr\u003e#2\u003cbr\u003eSeven artists' books are detailed in German and English, with numerous illustrations.\u003cbr\u003eDesigned by Alex Sonderegger, Susanna Baer, so+ba (Tokyo\/Zurich)\u003cbr\u003eBinding: Buchbinderei Mergemeier, Düsseldorf (76 pages, Japanese binding, 7 fold-in pages. Flexible linen binding with white background and navy blue spine and embossed title)\u003cbr\u003eBody paper: offset printing on Munken Crystal 90g paper\u003cbr\u003eSize: 8.85 x 11.7 in\u003cbr\u003eIssue number: Limited to 300 copies\u003cbr\u003ePlace of production: Karlsruhe\u003cbr\u003eProduction year 2022\u003cbr\u003e\u003cbr\u003eVeronica explains:\u003cbr\u003eFor #2, I had a bookbinding company in Dusseldorf make a sample of my design, offset print it, and bind it. #1 was also bound by the same company.\u003cbr\u003e\u003cbr\u003e#3\u003cbr\u003eA text booklet containing essays \u0026quot;From a Distance, Close Up\u0026quot; by Ruth Rogers (Wellesley College, MA) and \u0026quot;The Utility of Interpretation\u0026quot; by Marshall Weber (Booklyn, Brooklyn, NY). Both texts are in English only. In addition, the booklet contains a current collection index and a list of exhibitions since 2014.\u003cbr\u003eBody paper IBO Reflex 60g Digital Print\u003cbr\u003eCover paper: EnDuro Ice transparent cover\u003cbr\u003eCover processing: Embossed title\u003cbr\u003eBookbinding process Hand-sewn with filament\u003cbr\u003eNumber of pages: 48 pages\u003cbr\u003eSize: 4.52 x 8.7 in\u003cbr\u003eIssue number: Limited to 300 copies\u003cbr\u003ePlace of production: Karlsruhe\u003cbr\u003eProduction year 2022\u003cbr\u003e\u003cbr\u003eVeronica explains:\u003cbr\u003e#3 is a small text booklet and an updated resume. I printed it separately from catalog #2 so that I can print more text booklets of the same size in the near future, and to easily update the resume if necessary. This booklet was digitally printed and bound by me. For the cover, I used SIHL Enduro Ice paper foil, which I have used in some of my previous works, and the stitching was done with a very fine filament, which I often use. I think that including these materials in the catalog will give the artist book a more realistic feel.\u003cbr\u003e\u003cbr\u003e#4\u003cbr\u003ePyongyang in May 2004 \/\/ Pyongyang in September 2019\u003cbr\u003eThe cover of the Risograph with a photograph of the mural. Inside are six postcards inserted with illustrations and project descriptions in English and German. The Risograph is protected by a dust jacket made of clear polyester film and contains two magnifying glass inserts.\u003cbr\u003eText printing: 4-color lithograph\u003cbr\u003eCover printing: Digital printing on 250g Ina Card paper\u003cbr\u003eSize: 8.27 x 11.7 in.\u003cbr\u003eIssued: Limited to 300 copies\u003cbr\u003ePlace of production: Karlsruhe\u003cbr\u003eProduction year 2022\u003cbr\u003e\u003cbr\u003eVeronica explains:\u003cbr\u003e#4 is a kind of small catalog or prospectus for my book \u0026quot;Pyongyang\u0026quot;. I decided to use 4c lithograph to imagine some of the prints I saw in Pyongyang. The lithograph technique allowed me to reproduce the slightly blurred and artificial colors, which are typical of North Korean publications. The lithograph colors rub off easily, so I needed to protect the surface, so I covered it with clear archival polyester film, a material I often use for my other books. The original version has the impression of a travelogue or souvenir, so I decided to include six lithograph postcards with the original images and descriptions. All of #4 is bound and produced by me.\u003cbr\u003e\u003cbr\u003e#5\u003cbr\u003eJapanese music charts for May 25, 1968. Eight accordion pages with illustrations and explanations in English and German. The accordion is housed in a corbon cover reminiscent of a record sleeve, with an orange and matte grey circular cut.\u003cbr\u003eText paper: Munken Lynx 150g, digitally printed\u003cbr\u003eCover Corvon Shimme, Corvon Mano\u003cbr\u003eSize: 7.1 x 7.1 in.\u003cbr\u003eIssue number: Limited to 300 copies\u003cbr\u003ePlace of production: Karlsruhe\u003cbr\u003eProduction year 2022\u003cbr\u003e\u003cbr\u003eVeronica explains:\u003cbr\u003e#5 is about the original \u0026quot;The Japanese Charts of May 25, 1968\u0026quot; and features a text by Peter Handke. This artist book comes with a record of abstract compositions by Dirk Haubrich. #5 looks like a record at first glance, but the slipcase is made of orange and gray binding material (CORVON by Winter \u0026amp; Company) that has the same texture as the material of the original version. This slipcase is also handmade by me.\u003cbr\u003e\u003cbr\u003eSome of the past works\u003ca href=\"https:\/\/vimeo.com\/user135431023\" target=\"_blank\"\u003eHere\u003c\/a\u003eYou can view it from here.\u003cbr\u003e  \u003c\/h5\u003e  \u003ch5\u003eContents of the Archive Box \/\u003cbr\u003eTwo versions of the box are available for purchase:\u003cbr\u003eVersion A, which includes the publications #2-#5, \u003cbr\u003eVersion B, which includes the publications #1-#5. \u003cbr\u003eAll boxes are numbered and signed. books@veronikaschaepers.net\u003cbr\u0026gt;\u003cbr\u003e#1\u003cbr\u003eVeronika Schäpers: Bücher \/\/ Books\u003cbr\u003eCatalog for the exhibition «Entgrenzt» at the Klingspor Museum Offenbach. In addition to many photos and detailed explanations of all the works since 1998, the catalog contains essays by Dr. Stefan Soltek and Martina Weiß (Klingspor Museum Offenbach), Dr. Viola Hildebrand-Schat (Frankfurt\/M) as well as Marshall Weber (Brooklyn), Nina Schneider (Los Angeles) and Akiko Takiguchi (Tokyo). The design is by Alex Sonderegger and Susanna Baer, so+ba (To-kyo\/Zurich) and the elaborate finishing was done by Buchbinder Mergemeier, a bookbindery in Düsseldorf. Twelve 6-page accordion folds and nine 8-page accordion folds.\u003cbr\u003eOffset printing on Munken Lynx 120 g.\u003cbr\u003eCover: Swiss Harmony Presspan.\u003cbr\u003e8.85 x 11.7 in.\u003cbr\u003eEdition of 300 copies.\u003cbr\u003eBerlin\/Offenbach, 2014.\u003cbr\u003e\u003cbr\u003e#2\u003cbr\u003eVeronika Schäpers: Books \/\/ Books 2\u003cbr\u003eA detailed description of seven artists' books in German and English with numerous illustrations. \u003cbr\u003eThe design is by Alex Sonderegger and Susanna Baer, so+- ba (Tokyo\/Zurich), and the binding was made by Buchbinderei Mergemeier in Düsseldorf.\u003cbr\u003e76 Japanese-bound pages and seven interior folds. Flexible linen binding in white with blue-black spine and title embossing.\u003cbr\u003eOffset printed on Munken Kristall 90 g.\u003cbr\u003e8.85 x 11.7 in.\u003cbr\u003eEdition: 300 copies.\u003cbr\u003eKarlsruhe, 2022.\u003cbr\u003e\u003cbr\u003e#3\u003cbr\u003etexts\u003cbr\u003eA text booklet with essays by Ruth Rogers, Wellesley College, MA, «From a Distance, Close Up,» and Marshall Weber, Booklyn, Brooklyn, NY, «The Utility of Interpretation.» Both texts are printed in English only. In addition, the booklet includes a current collection index and a list of exhibitions since 2014. \u003cbr\u003eDigital print on IBO Reflex, 60 g.\u003cbr\u003eTransparent cover made of EnDuro Ice with embossed title, stitched by hand with filament.\u003cbr\u003e48 pages.\u003cbr\u003e4.52 x 8.7 in.\u003cbr\u003eEdition: 300 copies. Karlsruhe, 2022.\u003cbr\u003e\u003cbr\u003e#4\u003cbr\u003ePyongyang in May 2004 \/\/ Pyongyang in September 2019\u003cbr\u003eA risographed cover with a photograph of a mural. Inside are six inserted postcards with illustrations and descriptions of the project in English and German.\u003cbr\u003eThe risograph is protected by a dust jacket made of clear polyester film with two inserted magnifying glasses.\u003cbr\u003e4-color lithography.\u003cbr\u003eDigital print on inacard, 250 g.\u003cbr\u003e8.27 x 11.7 in.\u003cbr\u003eEdition: 300 copies.\u003cbr\u003eKarlsruhe, 2022.\u003cbr\u003e\u003cbr\u003e#5\u003cbr\u003eThe Japanese Charts of May 25, 1968.\u003cbr\u003eAn 8-page accordion fold with illustrations and descriptions of the project in English and German.\u003cbr\u003eThe accordion fold is housed in a Corvon cover with circle cutouts in orange and matte gray, reminiscent of a record cover.\u003cbr\u003eDigital printing on Munken Lynx 150 g.\u003cbr\u003eCover: Corvon Shimmer and Corvon Mano.\u003cbr\u003e7.1 x 7.1 in.\u003cbr\u003eEdition: 300 copies.\u003cbr\u003eKarlsruhe, 2022.\u003c\/h5\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":43026338185384,"sku":"","price":0.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/VeronikaSchapers_catalog2_00b.jpg?v=1674091785"},{"product_id":"art-brut-the-book-of-books","title":"Art Brut. The Book of Books","description":"","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":43026368856232,"sku":"","price":13200.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/artbrut_001.jpg?v=1672468450"},{"product_id":"between-visible-tomoko-yoneda","title":"between visible","description":"\u003ch1\u003e  \u003cstrong\u003ePhotographer Tomoko Yoneda\u003cbr\u003eBeyond what can be seen\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eHow to see the invisible world.\u003c\/strong\u003e\u003cbr\u003e  \u003c\/h1\u003e  \u003cp\u003eThis photobook brings together representative works from the series \u0026quot;Between the Visible and the Invisible,\u0026quot; which photographer Tomoko Yoneda (1965-) has been producing since her earliest days. Looking at her photographs, which she thoroughly prepares (researches) and then approaches (shoots) like an athlete, means getting involved with her \u0026quot;system\u0026quot; of \u0026quot;what to see through what.\u0026quot; The reason why a \u0026quot;system\u0026quot; is necessary to look at a photograph is that the subject she wants to capture is no longer there. Her photographs are\u003cspan data-mce-fragment=\"1\"\u003eIt is a device for seeing the invisible, designed to make images appear and disappear within the rectangular boundary of the photograph.\u003c\/span\u003eIt's like using photography to recreate Buson's \u0026quot;The Place Where the Kite Climber Climbs Yesterday's Sky\u0026quot; - and that's what I've always admired.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis book features some of the most important figures of the 20th century, including writers, musicians, architects, and scientists.\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eNine people\u003c\/span\u003eCharacters appear in the play. But they do not appear in person. The play is structured so that the viewer can peer through the \u0026quot;glasses\u0026quot; actually worn by nine great figures - Freud, Hesse, Mahler, James Joyce, Sartre, Junichiro Tanizaki, Le Corbusier, Gandhi, and Trotsky - at books and letters related to each of them. For example, the work peers through Mahler's glasses at an unfinished\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSymphony\u003c\/span\u003eSheet music for No. 10. Freud's Glasses\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThrough\u003c\/span\u003eHe peers at a text written by his ally Jung, which hints at his break with himself, while through Junichiro Tanizaki's glasses he looks at a letter addressed to his third wife, Matsuko.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe titles given to each photograph decipher the invisible relationships. Not that this is the reason, but I find Tomoko Yoneda's photographs more comfortable to look at on the pages of a book than on the white walls of a gallery or museum. Between opening and closing the book, I blink my eyes countless times and freely imagine \u0026quot;the space between the visible and the invisible.\u0026quot; The shape of a book, which allows me to indulge in such thoughts, suits her well. I even think that Tomoko Yoneda's photographs are books in the form of photographs.\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis is one of my favorite books in that respect.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e  \u003ch6\u003e  \u003cbr\u003e  \u003cbr\u003eTomoko Yoneda\u003cbr\u003e\u003cbr\u003eBorn in Hyogo Prefecture, he completed his master's degree at the Royal College of Art (London) in 1991 and has since been based in London, where he has been active in exhibitions both in Japan and abroad. His major exhibitions include \u0026quot;Reverberation - Lashing Waves\u0026quot; (ShugoArts, Tokyo, 2022), \u0026quot;Tomoko Yoneda\u0026quot; (Fundamental Mapfre, Madrid, 2021), \u0026quot;Dialogues with Albert Camus\u0026quot; (ShugoArts, Tokyo, 2019), the 12th Shanghai Biennale (Shanghai, 2018-19), \u0026quot;Dialogues with Albert Camus\u0026quot; (Maison de la Culture du Japon, Paris, 2018), \u0026quot;Disharmonious Harmony\u0026quot; (Hiroshima City Museum of Contemporary Art, 2015\/Kuandu Museum of Fine Arts, Taipei, 2016), Gwangju Biennale (2014), Aichi Triennale (2013), \u0026quot;If We Meet in a Place Without Darkness\u0026quot; (Himeji City Museum of Art, 2014)\/Tokyo Photographic Art Museum (2013), \u0026quot;Kyiv Biennale\u0026quot; (2012), \u0026quot;Japanese House\u0026quot; (ShugoArts, Tokyo, 2011), \u0026quot;The End is the Beginning\u0026quot; (Hara Museum of Contemporary Art, Tokyo, 2008), the 52nd Venice Biennale (2007), \u0026quot;10 Years Since the Earthquake\u0026quot; (Ashiya City Museum of Art and History, 2005), and \u0026quot;Beyond Memory and Uncertainty\u0026quot; (Shiseido Gallery, Tokyo, 2003).\u003c\/h6\u003e  \u003cp\u003e\u003cbr\u003e\u003cbr\u003eText by Osamu Kushida\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":43026374951080,"sku":"","price":22000.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/between-visible_001.jpg?v=1672468986"},{"product_id":"book-manifest-irma-boom","title":"BOOK MANIFEST\/Irma Boom","description":"","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":43026731040936,"sku":"","price":5500.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/Irma-Boom_001.jpg?v=1672483218"},{"product_id":"chaekgeori","title":"Chaekgeori\/Bookcase drawing","description":"","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":43026757877928,"sku":"","price":30000.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/chaekgeori_001.jpg?v=1672483708"},{"product_id":"the-libraries-diane-arbus","title":"The Libraries: Diane Arbus","description":"\u003ch1 class=\"p1\"\u003e  \u003cmeta charset=\"utf-8\"\u003e  \u003cstrong\u003eThe remaining books\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eThe mysterious photographer\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eHe will tell you in secret.\u003c\/strong\u003e\u003cbr\u003e  \u003c\/h1\u003e  \u003cp class=\"p1\"\u003eThis book documents the private book collection of photographer Diane Arbus (1923-1971). The book is accordion-folded, and when opened, reveals a horizon of over eight meters of bookshelves. It is a book that will never cease to intrigue you as to what books she once read and held on to, after continuing to photograph those who were marginalized from society with a straightforward eye and meeting her sudden and mysterious end.\u003c\/p\u003e  \u003cp class=\"p1\"\u003eSusan Sontag once said that her bookshelf was \u0026quot;in my head...a map of my brain.\u0026quot; I know exactly how she feels. A personal collection is an extension of one's mind, and a bookshelf that maps out the interior of the head is a map where the owner's interests intersect. For some people, having their private bookshelf seen is more embarrassing than having someone see them naked. As part of my job, I select books, display them, design bookshelves, and plan publications, and I have had the good fortune of getting a peek into many private collections.\u003cbr\u003e\u003cbr\u003eDiane is a photographer, so there are many photo books on her bookshelf. There are many masterpieces from the early days of photography, such as Nadar, Atget, Lartigue, Bresson, Irving Penn, and Stieglitz. There are also magazines that feature projects and interviews that Diane herself was involved in, such as Edward Steichen's \u0026quot;The Family of Man.\u0026quot; Even so, there seem to be few books that have been donated. The collection is carefully selected, and each is loosely divided into several small groups. This is probably proof that Diane has had a deep relationship with books, treating them as an extension of her body. Among the books by her friend Avedon, a portrait of the 34th President of the United States, Eisenhower, which Avedon gave to Diane, is sticking out from the shelf. If you look closely, you can see self-portraits of Diane taken by her husband Alan and another photographer peeking out from between the books. EJ Bellocq's portraits of mysterious prostitutes and anonymous photographs of circus troupes that appear out of nowhere may have been images that Diane used as reference for her photographs.\u003cbr\u003e\u003c\/p\u003e  \u003cdiv style=\"text-align: start;\"\u003e\u003cimg style=\"float: none;\" alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/files\/2023-01-1221.17.00_1024x1024.png?v=1674042191\"\u003e\u003c\/div\u003e  \u003cp class=\"p1\"\u003eHe also seems to have read a lot of novels, literary books, and humanities books. Many of the paperbacks have cracked spines, probably because they were read so many times. Just by looking around, you can see the original (or English versions) of Dante's Divine Comedy, Homer's The Odyssey, Aeschylus' Greek Tragedy, Henry James' The Wings of the Dove, Proust's In Search of Lost Time\/Swann's Way, Georges Bataille's Eroticism, Dostoevsky's The Brothers Karamazov, Kafka's The Trial, Borges' Fantastic Books, Rilke's Duino Elegies, Celine's Journey to the End of the Night, James Fraser's The Golden Bough, Wittgenstein's The Problem of Certainty, Virginia Woolf's To the Lighthouse, Garcia Marquez's One Hundred Years of Solitude, Emil Cioran's The Seduction of Existence, and Abbott's Flatland. In Albert Camus's \u0026quot;The Exile and the Kingdom,\u0026quot; an article titled \u0026quot;Woman tortured by agonizing itch\u0026quot; is inserted as a substitute for a bookmark. Such substitutes and repurposed objects, and the sight of seemingly unrelated candles, trophies, and rocks lined up alongside books, are the chaotic charm of a personal library.\u003cbr\u003e\u003c\/p\u003e  \u003cdiv style=\"text-align: start;\"\u003e\u003cimg style=\"float: none;\" alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/files\/DSC_3025_1024x1024.jpg?v=1674042738\"\u003e\u003c\/div\u003e  \u003cp class=\"p1\"\u003eCurious about the layout of the books, I looked over the room from a bird's-eye view and noticed that next to art books by Bruegel, Da Vinci, and Goya was Bresson's The Decisive Moment, with a Matisse cutout on the cover, and next to that was a magazine with a portrait cut-out of August Sander, a German portrait photographer to whom Diane had been compared and referenced even during her lifetime.\u003cbr\u003e\u003cbr\u003eIn another corner, next to a portrait of her grandmother that she had photographed, are volumes 1 and 2 of The Tales of Genji, next to Jean Genet's Our Lady of the Flowers, and next to that is The Next Room of the Dream, a collection of poems by her brother, the poet Howard Nemeroff. And on the last page of the book, there is a diary from 1971, the year Diane died, placed like a gravestone.\u003cbr\u003e\u003cbr\u003eHmm, it's a book that becomes more enjoyable every time I look at it.\u003cbr\u003eI would like to take a moment to look back on the life of Diane Arbus, whose works are featured on this bookshelf.\u003c\/p\u003e  \u003cp class=\"p1\"\u003eBorn in 1923 to a Jewish family in New York, Diane grew up in Central Park West, where her wealthy family always had a maid, a cook, a chauffeur and a nanny. Her father, David Nemeroff, ran a fur and women's clothing store called Russek's Department Store on Fifth Avenue in New York. At the age of 13, she met advertising photographer Allen Arbus, who frequented her father's store, and they married after Diane turned 18. She gave birth to two daughters (Doon in 1945 and Amy in 1954), and while raising her children, she began helping her husband Allan with photography for fashion magazines such as Harper's BAZAAR as an assistant photographer. The film Fur: An Imaginary Portrait of Diane Arbus (2006) depicts the inner conflict she was going through at this time and her awakening as a photographer.\u003cbr\u003e\u003c\/p\u003e  \u003cdiv style=\"text-align: start;\"\u003e\u003cimg style=\"float: none;\" alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/files\/2023-01-1221.16.25_1024x1024.png?v=1674042107\"\u003e\u003c\/div\u003e  \u003cp class=\"p1\"\u003eShe discovered photography through her husband Alan, and after divorcing him in 1959, she studied under Berenice Abbott, Alexey Brodovitch, and Lisette Model, while establishing her own style as a photographer. In 1960, her first photo essay was published in Esquire magazine, and in 1963 and 1966, she was awarded Guggenheim Fellowships, and began a series of photographs titled \u0026quot;American Rites, Manners, and Customs.\u0026quot; In 1967, she was selected as one of three people (the other two being Lee Friedlander and Garry Winogrand) to show the potential of documentary photography in the groundbreaking exhibition \u0026quot;New Documents,\u0026quot; organized by John Szarkowski, the director of photography at the Museum of Modern Art (MOMA) in New York. This marked a decisive turning point for her.\u003cbr\u003e\u003cbr\u003eDiane was a photographer who captured her subjects head-on. She focused on the square format, and with a twin-lens reflex camera such as a Rolleiflex or Mamiya C33 hanging from her neck and a flash on her shoulder, she went out to photograph \u0026quot;freaks\u0026quot; who lived ordinary lives just like everyone else. Her style was to visit the places where they lived, rather than inviting them to a photography studio. Diane called these people \u0026quot;aristocrats of the spirit,\u0026quot; even though they were looked upon strangely as dwarves, giants, hermaphrodites, mentally ill people, and freak show performers. She stood in front of her subject, positioned herself facing them as if they were a mirror, and fired the flash directly in front of them.\u003cbr\u003e\u003c\/p\u003e  \u003cdiv style=\"text-align: start;\"\u003e\u003cimg style=\"float: none;\" alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/files\/2023-01-1221.03.02_1024x1024.png?v=1674042131\"\u003e\u003c\/div\u003e  \u003cp class=\"p1\"\u003eHer photographs have been praised and criticized. In particular, she has been criticized for \u0026quot;taking pictures of unfortunate people and exploiting them.\u0026quot; In her mid-40s, she was devastated by depression and hepatitis, which she suffered from in 1966. And her artistic, intellectual and unstable days came to an all-too-early end. On July 26, 1971, four years after the \u0026quot;New Documents\u0026quot; exhibition, Diane wrote the words \u0026quot;The Last Supper\u0026quot; in her diary, lay in her bathtub fully clothed, and cut her wrists. Although she is now remembered as a legendary photographer, her career was short, lasting less than 10 years. Although she never published a single photo book during her lifetime, her posthumous publication \u0026quot;Diane Arbus: An Aperture Monograph\u0026quot; is still in print around the world.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eSupplementary\u003cbr\u003e\u003cbr\u003eShe was the first photographer to have her work selected for the Venice Biennale, a feat she achieved the year after her death. From 1972 to 1975, a major retrospective of her work was held at the Museum of Modern Art in New York, which traveled to the United States and Canada. In 2003, a major retrospective of her work, \u0026quot;Diane Arbus Revelations,\u0026quot; was held at the San Francisco Museum of Modern Art, which toured museums in the United States and Europe until 2006.A major European retrospective began at the Jeu de Paume in Paris in October 2011, and traveled to Winterthur (Switzerland), Berlin (Germany), and Amsterdam (Netherlands) until 2013. In 2016, the Met Breuer held a smash hit exhibition titled \u0026quot;In the Beginning,\u0026quot; focusing on unpublished photographs from the first seven years of her career (1956-1962). The exhibition traveled to the San Francisco Museum of Modern Art, Malba in Buenos Aires, and the Hayward Gallery in London. In 2018, the Smithsonian American Art Museum held an exhibition titled \u0026quot;Diane Arbus: A box of ten photographs.\u0026quot; Diane Arbus's life as a pioneer in the acceptance of photography as a \u0026quot;serious\u0026quot; art form is still legendary.\u003cbr\u003e\u003cbr\u003eThis book was published as a record of the personal library exhibited in the retrospective \u0026quot;Diane Arbus Revelations,\u0026quot; which was held at seven museums, including the San Francisco Museum of Modern Art, from 2003 to 2006.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e«Major Publications»\u003cbr\u003e\u003cbr\u003eDiane Arbus (Aperture, 1972)\u003cbr\u003eMagazine Work (1984)\u003cbr\u003eUntitled (1995)\u003cbr\u003eDiane Arbus Revelations (2003)\u003cbr\u003eDiane Arbus: A Chronology (2011); Silent Dialogues\u003cbr\u003eDiane Arbus \u0026amp; Howard Nemerov (2015)\u003cbr\u003eIn the Beginning (2016)\u003cbr\u003eDiane Arbus: A box of ten photographs (2018)\u003cbr\u003eDiane Arbus Documents (2022)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eText by Osamu Kushida\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":43029555151016,"sku":"","price":12000.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/thelibraries_001.jpg?v=1672545226"},{"product_id":"die-kassettenkataloge","title":"DIE KASSETTEN KATALOGE DES STÄDTISCHEN MUSEUMS MÖNCHENGLADBACH","description":"\u003ch1\u003e  \u003cstrong\u003eThe German museum\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003ePublished instead of a catalogue\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eA comprehensive catalogue of \u0026quot;take-home museums.\u0026quot;\u003c\/strong\u003e  \u003c\/h1\u003e  \u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDuring the 11 years from 1967 to 1978,\u003c\/span\u003eA box book called \u0026quot;Box Catalogue\u0026quot; (commonly known as Kassetten) was published by the Mönchengladbach Municipal Museum. The key person in charge is the publisher, producer, and museum director, Johannes Kladas.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eCrudas was a pioneering curator who sought a new style of museum. In 1968, in his essay \u0026quot;anti-museum,\u0026quot; he declared that the ideal museum of the future would be one that \u0026quot;removed physical walls and constructed a spiritual home.\u0026quot; He wanted to find the true value of art in communication with people, rather than that it be because it is placed inside an authoritative building. He even thought that museums were in fact getting in the way. After that, Crudas spent a long time putting his \u0026quot;anti-museum\u0026quot; into practice. The place where he put it into practice was\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt all starts at the Mönchengladbach Art Museum.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn 1967, Kladas became director of the Municipal Museum of Mönchengladbach (now the Abteiberg Museum) in Germany. He organized the first exhibition at this small town's municipal museum, which signaled the beginning of the \u0026quot;anti-museum\u0026quot; movement. It was Joseph Beuys' first solo exhibition at a museum. Beuys was a 46-year-old veteran at the time, and was teaching as a professor of sculpture at the Düsseldorf Art Academy, the same school that produced Gerhard Richter and Anselm Kiefer, and was still virtually unknown as an artist. Moreover, Beuys was on the verge of being fired from the school for abolishing the entrance exam and insisting on accepting all 142 students who could not get in because of the school's quota into his class. In any case, it was a time when Beuys was not yet considered one of the most representative artists of the 20th century.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAfter many twists and turns, the exhibition by Beuys was decided, but the Municipal Museum did not have the budget to make a special catalogue. All they could do was a small, ordinary pamphlet printed on the cheapest paper. So Beuys, who had released a boxed work from Edition Rene Block the previous year, came up with the idea of an experimental, hybrid publication that mixed an exhibition catalogue with a multiple work. A multiple is a \u0026quot;mass-produced artwork\u0026quot; as opposed to an original work that only has one piece, and it became common after Fluxus released it in various ways in the 1960s. Thus, together with Beuys, the Municipal Museum of Mönchengladbach's legendary publication \u0026quot;Box Catalogue (commonly known as Kassetten)\u0026quot; was born, and a total of 35 limited edition boxes were published one after another over the 11 years from 1967 to 1978, when Kladdas was the director.\u003cbr\u003e\u003cbr\u003eThe box book was published with an impressive lineup of artists who would later be recognized as some of the most representative artists of the 20th century, including Joseph Beuys, Bernd and Hilla Becher, Marcel Broodthaers, Hanne Darboven, Piero Manzoni, and Gerhard Richter.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe box catalogues, which are independent art projects in themselves, hardly meet the requirements of an exhibition catalogue. Some of them even don't mention the exhibition at all. Nevertheless, the fact that art can be experienced anywhere, outside of a museum or at home, is the most symbolic expression of the \u0026quot;anti-museum\u0026quot; that Cruddas practices.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eText by Osamu Kushida\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":43029761622184,"sku":"","price":12000.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/Die-Kassettenkataloge_001.jpg?v=1672549533"},{"product_id":"an-invocation-five-hundred-and-thirty-books-from-southend-central-library","title":"An Invocation: Five Hundred and Thirty Books from Southend Central Library","description":"\u003ch1\u003e  \u003cstrong\u003eFrom the demolished library\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eOf the 530 books rescued\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003eA book of books.\u003c\/strong\u003e  \u003c\/h1\u003e  \u003cp\u003eThis is my favorite \u0026quot;book of books,\u0026quot; and I discovered it five years ago at the Motto Berlin bookstore.\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e530 books in Southend Central Library\u003c\/span\u003eThe word \u0026quot;Invocation\u0026quot; comes from the Latin verb \u0026quot;invocare,\u0026quot; which in the Middle Ages meant a prayer to God recited at the beginning of a ritual, and earlier it meant a spell to summon spirits or demons.\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eMagical Words\u003c\/span\u003eIt was. Now it has been used in various scenes such as \u0026quot;executing the law, praying in mass, starting a computer\u0026quot;. That's why this book is tailored as \u0026quot;a book for summoning books\u0026quot;. I would like to briefly introduce the background of why it has such a strange name.\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe origins of this book lie in the demolition of Southend Central Library, a local symbol of Southend-on-Sea, England. A new public facility was built on the site of the library, incorporating a contemporary art gallery, Focal Point Gallery. This artist book was produced in 2013 by British artist Mike Nelson as the opening work for the new facility.\u003c\/span\u003e\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe 1,000-page book contains the front and back covers of 530 books that Nelson himself rescued from the pile of books removed from the demolished Southend Central Library. It is easy to say that it is a book of scanned images of book covers bound together, but as Mallarmé said, \u0026quot;the world exists to lead to a book,\u0026quot; and it is a book that was removed from the only library in the area.\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eone book\u003c\/span\u003eFor it to disappear would be like an unknown world disappearing from the city. Perhaps Nelson\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLike that\u003c\/span\u003eSo Nelson came up with the idea of creating a book for books, as a magic spell to summon the lost book (world), or as a \u0026quot;start command\u0026quot; for a computer.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAs for the types of books included, there are literary works such as Jules Verne's \u0026quot;A Trip to the Moon,\u0026quot; Orson Welles' \u0026quot;The Trial,\u0026quot; and Andrei Tarkovsky's \u0026quot;The Tarkovsky Diaries,\u0026quot; but there are also many books from the margins, such as \u0026quot;Third Edition: A Guidebook to Mexican Coins.\u0026quot;\u003cbr\u003e\u003cbr\u003eThe selected books will be randomly placed on the left and right sides of the spread.\u003cspan data-mce-fragment=\"1\"\u003eThe rule seems to be that the back cover (Table 4) is placed on the left page and the cover (Table 1) is placed on the right page, but the combination is random, which is what makes it interesting.\u003c\/span\u003eFor example, a strange double page spread has been created with \u0026quot;Snoopy\u0026quot; on the left page and \u0026quot;Colonel Gaddafi\u0026quot; on the right page.\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWhen scanning books,\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt seems that they insisted on making it 100% original size.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe images of the larger books are cut off halfway through. This is also quite difficult to do, but I think the author wanted to preserve the \u0026quot;history of the lost books\u0026quot; rather than just store the bibliographical information. As if to leave only a faint scent behind. As I leafed through this light and thick book,\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eThey will never be next to each other on the library shelves.\u003cmeta charset=\"utf-8\"\u003eBooks of all different genres, publication years, and author nationalities are lined up like a celebration.\u003c\/span\u003e\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003eNelson has also created a \u0026quot;hidden installation\u0026quot; inside the walls of the new gallery using books removed from the old library. The books cannot be seen as they have been locked away in gaps inside the walls; this book is the only record that can be seen. When asked to describe the installation, Nelson said, \u0026quot;The book is the installation.\u0026quot;\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe supplement booklet \u0026quot;Interview\u0026quot; includes the following:\u003cspan data-mce-fragment=\"1\"\u003eWith Mike Nelson\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eDirector of Focal Point Gallery\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eAndrew Hunt's\u003c\/span\u003eThe interview includes information about the installation and publishing process, as well as side stories.\u003cspan data-mce-fragment=\"1\"\u003eNelson's reading history is also shown.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eNelson, an avid reader of Stanislaw Lem and J. G. Ballard, has always been fascinated by the imagination of science fiction. He says he has always sought ways to visualize things that no one has ever seen before. This \u0026quot;visual utopia,\u0026quot; something that is invisible but certainly there, is exactly what Nelson wanted to achieve with this publication and installation.\u003cbr\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003eNelson was born in Loughborough, England in 1967.\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLoughborough\u003c\/span\u003e), and currently lives and works in London. He represented the UK at the 54th Venice Biennale (2011) and has had exhibitions at Malmö Konsthall (2012), Tate Britain (2010), ACCA (2006), Turner Contemporary (2005) and Camden Arts Centre (1998), among others.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003eText by Osamu Kushida\u003cbr\u003e\u003cbr\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":43029869396136,"sku":"","price":12000.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/DSC_2837.jpg?v=1672897199"},{"product_id":"for-the-voice-dlia-golosa","title":"For the Voice\/Dlia Golosa in Russian","description":"\u003ch1\u003e  \u003cmeta charset=\"utf-8\"\u003e  \u003cstrong\u003ePoetry and typography.\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eMayakovsky and Lissitzky\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eThe October Revolution in concert. \u003c\/strong\u003e  \u003c\/h1\u003e  \u003cp\u003eThis three-volume set includes facsimile versions of the originals of \u0026quot;Dlja golosa\/For the Voice\u0026quot; and \u0026quot;Khorosho! Oktyabrskaya poema\/Good! October poem,\u0026quot; a collaboration between the Russian Futurist poet Mayakovsky and the artist El Lissitzky, as well as an explanatory essay by art historian Mikhail Yurievich German entitled \u0026quot;The Visible Voice of the Poet\u0026quot; (in Russian\/in English).\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIt was published in 1987, just before the collapse of the Soviet Union, to commemorate the 70th anniversary of the October Revolution, which marked the first time in human history that the country left capitalism and embarked on the path to socialism. The book is designed to store the two volumes mentioned above in an inner pocket that opens on both sides. It also retains the nail-hook index that was (supposedly) the first in the world to be designed by Lissitzky for Dlja golosa\/For the Voice. Based on 13 poems by Mayakovsky,\u003cspan data-mce-fragment=\"1\"\u003eAn innovative attempt at book design that treats poetry and typography equally\u003c\/span\u003eAccording to Lissitzky, the aim of the binding design was to create a \u0026quot;book to be read out loud\u0026quot;.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAs an aside, Lilya Brik, who edited \u0026quot;Dlja golosa\/For the Voice,\u0026quot; was Mayakovsky's beloved, a married woman who sent him hundreds of love letters before she shot herself with a gun at the age of 36. She was also called the \u0026quot;muse of the Russian avant-garde\u0026quot; and a \u0026quot;vampire.\u0026quot; In post-revolutionary Russia, she was considered a symbol of free love and female power.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eText by Osamu Kushida\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":43030193635496,"sku":"","price":42000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/Vladimir_001.jpg?v=1672555752"},{"product_id":"gogyosansou-genteiban-shomokusaiken","title":"The Gokoro Mountain Lodge Limited Edition Book Hosomi","description":"","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":43030465446056,"sku":"","price":20000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/gogyosannso_002.jpg?v=1672583047"},{"product_id":"hakkinbon-ourai","title":"Banned","description":"","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":43031644962984,"sku":"","price":80000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/hakkinbon_001.jpg?v=1672583430"},{"product_id":"enghelab-street-a-revolution-through-books-iran-1979-1983","title":"ENGHELAB STREET, A REVOLUTION THROUGH BOOKS: IRAN 1979-1983","description":"\u003ch1\u003e  \u003cstrong\u003eIranians who don't know about the revolution\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eA female artist\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eA collection of revolutionary books collected in secret.\u003c\/strong\u003e  \u003c\/h1\u003e Hanna Darabi (b. 1981), an Iranian-born, Paris-based artist, has collected a visual catalogue of various “revolutionary books.” The book is particularly about books published in the period from 1979 to 1983, when freedom of speech was permitted in Iran, from the end of the Shah’s regime to the beginning of the Islamic regime.\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFor a moment\u003c\/span\u003eWe have collected books published about the Iranian Revolution. They range from propaganda photobooks inciting the continuation of the revolution to illegal underground publications known as \u0026quot;white covers\u0026quot; (for example, political books and foreign novels), and also include many self-published works such as zines that were born out of the urgency of wanting to get the message out as quickly as possible.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe books in this collection blend pop and dark extremes, with covers that evoke the calligraphy of Mexican murals and street culture, but the contents are far more tragic than you would expect, including some brutal war photos that will make you want to look away.\u003cbr\u003e\u003cbr\u003eDaravi, who was born in Tehran after the revolution, wanted to experience the revolution with her own eyes, not a glossed-over view of history.\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn Tehran\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eI frequented the area where there were many bookstores, and little by little I picked up revolutionary books.\u003cmeta charset=\"utf-8\"\u003eBookstore district\u003c\/span\u003eThe name of the area where the book is located is the title of this book.\u003cspan data-mce-fragment=\"1\"\u003e\u0026quot;Enghelab Street\u0026quot;\u003c\/span\u003eIt has become.\u003cbr\u003e\u003cbr\u003eThe film is divided into three sections. The first section conveys the unique aesthetic sense and visual trends of Iran.\u003cspan data-mce-fragment=\"1\"\u003ePhoto Collection\u003c\/span\u003eThe second part focuses on political propaganda, with various partisan books providing hastily compiled records, while the third part unfolds what Dharavi calls \u0026quot;Reconstructions\u0026quot;: everyday objects, documents, family photographs, audiovisual images, postcards, etc.\u003cbr\u003e\u003cbr\u003eThe publication was prompted by the exhibition of the same name, Hannah Darabi, Enghelab Street, A Revolution through Books: Iran 1979–1983, which was held at LE BAL in Paris from January 9 to February 11, 2019, and was supported by grants from the French National Center for Art and Design (CNAP) and the European Research Centre (ERC).\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eText by Osamu Kushida","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":43031879549096,"sku":"","price":11000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/Iran-1979-1983_001.jpg?v=1672587841"},{"product_id":"autograph-edition-of-kanashiki-gangu","title":"Documentary: Sad Toys\/Ishikawa Takugi","description":"\u003ch1\u003e  \u003cmeta charset=\"utf-8\"\u003e  \u003cstrong\u003eEveryone\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eGo in the same direction.\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eThe feeling of watching it from the sidelines. \u003c\/strong\u003e  \u003c\/h1\u003e  \u003cp\u003eThis book is a faithful reproduction of the original handwritten notebook that Takuboku called his \u0026quot;gloomy notebook.\u0026quot; The drafts written in this notebook were supposed to be the second collection of tanka poetry after \u0026quot;A Handful of Sand.\u0026quot; However, before it could be published, he died young of pulmonary tuberculosis. He lived a very short life at the age of 26 and two months. Takuboku's close friend and poet Toki Yoshimaro (\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003esorrowful fruit\u003c\/span\u003e) and was fortunate enough to survive the Great Kanto Earthquake.\u003cspan data-mce-fragment=\"1\"\u003eLimited to 300 copies\u003c\/span\u003eAs a handwritten book\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOn the 25th anniversary of his death\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eFrom Book Outlook\u003c\/span\u003eIt was published. By the way, the \u0026quot;ekiden marathon\u0026quot; is a New Year's tradition.\u003cspan data-mce-fragment=\"1\"\u003eThe name comes from the \u0026quot;Tokaido Ekiden Walking Race\u0026quot; that Toki Yoshimaro came up with while he was a newspaper reporter.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWhat is fascinating about this book is the realism of the book, from the feel of the book to the reproduction of the printing, which makes you feel like \u0026quot;this is what the notebook must have been like.\u0026quot;\u003cspan data-mce-fragment=\"1\"\u003eThe habit of dividing a poem into three lines, the use of punctuation and exclamation marks, and indentation\u003c\/span\u003eRhythm. Not only the handwriting written with a pencil,\u003cspan data-mce-fragment=\"1\"\u003eEven the margins and spaces between the lines are very detailed.\u003c\/span\u003eThe draft is vivid and full of design.\u003cbr\u003e\u003cbr\u003eI don't know if that's why, but this book does not have modern text typeset for easy reading, nor does it have footnotes. This book was not edited or designed without any unnecessary additions.\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt preserves the image of the \u0026quot;medium-sized notebook with a gray rasha cover\u0026quot; that Toki received.\u003c\/span\u003eHis direct gaze can be seen as a sign of respect and remembrance for his late best friend, who passed away without ever having the opportunity to organize or correct the psalms himself, or even to read the completed work.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIf you look closely, you will see that the paper used for the main text is watermarked, and that it is high-quality paper with the watermarks \u0026quot;MOSES SUPER FINE\u0026quot; and \u0026quot;Portrait of Moses.\u0026quot; If they had used poor quality paper, it would have deteriorated quickly, so perhaps they hoped to prevent it from becoming even more \u0026quot;gloomy.\u0026quot; It is interesting that Saito Shozo, the editor and publisher who designed the book's binding, was also in charge of the book's binding. Saito Shozo is known for his unusual bookbinding hobby, which uses bamboo skins and umbrellas for binding, which are not usually used for books, and this may be one of his most modest publications, but that's what makes it so good. He can do this kind of unconventional work as well.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe most impressive part is the end of the book. There are over 20 \u0026quot;blank pages\u0026quot; that have not been written. This book is not a work of art, and the notebooks wrapped in a case inside the box are\u003cspan data-mce-fragment=\"1\"\u003eSimple\u003cmeta charset=\"utf-8\"\u003eweak\u003c\/span\u003eHowever, there is no other example of such a vivid and innovative binding design.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eText by Osamu Kushida\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":43032058233000,"sku":"","price":15000.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/kanashiki_gangu_001.jpg?v=1672591137"},{"product_id":"under-the-umbrella","title":"Under the umbrella","description":"\u003ch1\u003e\u003cstrong\u003eMy father used to make books.\u003cbr data-mce-fragment=\"1\"\u003eThe registry of atomic bomb victims led to\u003cbr data-mce-fragment=\"1\"\u003eA bound book of photographs of the author's hometown, Hiroshima.\u003cbr\u003e\u003c\/strong\u003e\u003c\/h1\u003e  \u003cp\u003eIn an age where many publications are smooth, artist Tachibana Fumio continues to create rough, privately-produced books. This book is set in his hometown.\u003cbr\u003e\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003eThere are 119 books in the basement of Hiroshima\u003cmeta charset=\"utf-8\"\u003eIt has been placed in a state of rest.\u003c\/span\u003eThese books, which are normally not visible to the public like secret Buddha statues, contain the names, ages and dates of death of 324,129 people who lost their lives in the atomic bombing, written in calligraphy. Each year the names of those who died that year are recorded and placed under the cenotaph in Hiroshima Peace Memorial Park on August 6th. Apparently this register of the names of those who died in the atomic bombing was bound by Tachibana Fumio's father, Hideo, who formerly ran a bookbindery in Hiroshima. The appearance of the register, carefully bound in Torinoko washi paper with a silk cloth cover, is captured in this book. The photograph shows\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThese were taken by Fumio Tachibana in Hiroshima and Tokyo.\u003c\/span\u003eAt the end of the book, my brother\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSculptor\u003c\/span\u003eIt contains a novel by Hidehisa Tachibana. It is printed by Shinano Books Printing. It is limited to 350 copies and the binding is by Fumiho Tachibana.\u003c\/p\u003e  \u003ch6\u003e  \u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color: #808080;\" data-mce-style=\"color: #808080;\"\u003eFumio Tachibana\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #808080;\" data-mce-style=\"color: #808080;\"\u003eBorn in Hiroshima in 1968. Artist. His works are mainly made up of text, paper, prints and books as materials and themes. While he produces unique books and printed matter such as the magazine \u0026quot;Kyutai,\u0026quot; he also holds exhibitions at museums and galleries as an artist. His latest photo collection is \u0026quot;Kasashita.\u0026quot; He is participating in the \u0026quot;Sagacho Exhibit Space 1983-2000\u0026quot; exhibition at the Museum of Modern Art, Gunma until December 13, 2020.\u003c\/span\u003e  \u003c\/h6\u003e  \u003cp\u003e\u003cbr\u003e\u003cbr\u003eText by Osamu Kushida\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":43058105057448,"sku":"","price":12000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/20221227-3228_003.jpg?v=1672990066"},{"product_id":"reading-ed-ruscha","title":"Reading Ed Ruscha","description":"\u003ch1\u003e  \u003cstrong\u003eOver 50 years\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eRuss has been working on\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eBook project catalogue.\u003c\/strong\u003e  \u003c\/h1\u003e This book focuses on Ed Ruscha's (born 1937) interest in the \u0026quot;act of reading\u0026quot; and his special relationship with artist books, which he has been exploring for 50 years. It was published in conjunction with the \u0026quot;Reading Ed Ruscha\u0026quot; exhibition held in 2012 at the Kunsthaus Bregenz, built by Peter Zumthor (Zumthor) on the shores of Lake Constance. It contains 400 color images, including plates of exhibitions and installations.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSince 1961, when Rucha, who now lives in California, exhibited his first word painting in Paris, words and phrases have frequently appeared as symbols and motifs in his paintings. He has also painted many books as objects. In the process of pursuing the \u0026quot;act of reading\u0026quot; in his own way, Rucha produced 16 small artist books (Twentysix Gasoline Stations, Various Small Fires, etc.) between 1962 and 1978, which are legendary in the world of artist books. This book contains all the pages of all 16 books.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn the preface, Canadian novelist, playwright, and visual artist Douglas Coupland looks at Ruscha's texts through the lens of literature and poetry, while art historian Beatrice von Bismarck writes an essay reexamining the book as a work of art, a publication, and an exhibition. Yilmaz Dziewior, the curator who edited the book, provides an overview of Ruscha's words and the relationship of artist books to Ruscha. This is the best book you can find to get to know Ruscha.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eText by Kushida Osamu","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":43058514362536,"sku":"","price":110000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/Reading-EdRuscha_001.jpg?v=1672994571"},{"product_id":"book-design-collection-of-keisuke-serizawa","title":"Serizawa Kei's book collection","description":"\u003ch1 class=\"p1\" data-mce-fragment=\"1\"\u003e  \u003cstrong\u003eStore it away in a paulownia wood box\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eThat kind of book design work\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eThere is.\u003c\/strong\u003e  \u003c\/h1\u003e  \u003cp class=\"p1\" data-mce-fragment=\"1\"\u003eKeisuke Serizawa, one of Japan's leading dyers (\u003cspan class=\"s1\" data-mce-fragment=\"1\"\u003e1895-1984\u003c\/span\u003eThe works of the artist are wide-ranging, from kimonos, noren curtains, calendars and other items that brighten up our lives, to works of art such as folding screens and scrolls, to commercial and interior design. Of particular note is his work related to books.\u003cspan class=\"s1\" data-mce-fragment=\"1\"\u003e1931\u003c\/span\u003eYear (Showa\u003cspan class=\"s1\" data-mce-fragment=\"1\"\u003e6\u003c\/span\u003eThe cover of the monthly magazine \u0026quot;Kogei\u0026quot; that he designed in\u003cspan class=\"s1\" data-mce-fragment=\"1\"\u003e500\u003c\/span\u003eThe stencil-dyed cover of the section\u003cspan class=\"s1\" data-mce-fragment=\"1\"\u003e1\u003c\/span\u003eIt was produced over a period of years.\u003cspan class=\"s1\" data-mce-fragment=\"1\"\u003e20\u003c\/span\u003eAnnually\u003cspan class=\"s1\" data-mce-fragment=\"1\"\u003e120\u003c\/span\u003eIssues published\u003cspan class=\"s1\" data-mce-fragment=\"1\"\u003e27\u003c\/span\u003eBy issue\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSerizawa's\u003c\/span\u003eThe stencil-dyed fabric was featured on the cover.\u003cspan class=\"s1\" data-mce-fragment=\"1\"\u003e54\u003c\/span\u003eOver the years, Serizawa has worked on a number of books, from bookbinding to illustrations, including a private book that he himself came up with.\u003cspan class=\"s1\" data-mce-fragment=\"1\"\u003e850\u003c\/span\u003eIt is said to be more than a book.\u003cbr\u003e\u003cbr\u003eThis special edition book, in a paulownia wood box, was hand-designed by Keisuke Serizawa himself.\u003cspan data-mce-fragment=\"1\"\u003eContains 80 book design illustrations\u003c\/span\u003eThis is a collector's edition. It faithfully reproduces the materials and techniques actually used,\u003cspan data-mce-fragment=\"1\"\u003eThe person\u003c\/span\u003eThe collection also includes hand-dyed covers. It includes the inaugural issue of the folk art magazine \u0026quot;Kogei\u0026quot; edited by Muneyoshi Yanagi, which is now difficult to obtain, Seibunsha's \u0026quot;Handicraft Japan,\u0026quot; and Yasunari Kawabata's \u0026quot;Snow Country\u0026quot; published by Sogensha.\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt can be said to be a complete preservation edition.\u003c\/span\u003eThe cover design, which is made using actual woodblock prints, original stencil dyeing, and hand coloring, is incomparably more beautiful than a printed work, and as a multiple work by artist Keisuke Serizawa, it has value comparable to that of a work of art.\u003cbr\u003e\u003c\/p\u003e  \u003cp class=\"p2\" data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003cbr\u003eText by Osamu Kushida\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":43058801279144,"sku":"","price":180000.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/KeisukeSerizawa_057_97ea97cf-7236-41d5-8450-217f9b1b94ff.jpg?v=1673006134"},{"product_id":"shosai-no-gakujin","title":"Taketo in the study","description":"\u003ch1\u003e  \u003cstrong\u003eShozo Saito\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eWrapped in a bagworm raincoat\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eA GeGeGe binding.\u003c\/strong\u003e  \u003c\/h1\u003e Although the content of this book is a discussion of book-loving writings by Kojima Usui, an alpinist who has become engrossed in books while hiking, it is known among antiquarian book enthusiasts as a representative example of a vintage binding.\u003cbr\u003e\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003eAlthough it has been almost 90 years since the first edition of this book was published, it still shines with a mysterious light because the spine of the book is bound with \u0026quot;bagworm raincoats\u0026quot; that the publisher and book designer Shozo Saito himself collected in the mountains. What is astonishing is that he printed 980 copies of it. It is insane.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe texture is\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eSoft and fluffy\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe book is like a stuffed animal of a living creature.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eGete binding (or simply Gete book,\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ebad example\u003c\/span\u003e) refers to \u0026quot;unusual books that use real objects such as sake bags, mosquito nets, bamboo skins, and wrapping cloths for their binding, which are not used in bookmaking.\u0026quot;\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt can be said to be synonymous with Shozo Saito's work.\u003c\/span\u003eThe origin of the word is\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn front of Saito's book \u0026quot;Shochi no Sanpo\u0026quot; (A Walk for Calligraphers), bound in oiled paper from a Japanese umbrella,\u003c\/span\u003eThis comes from Kunio Yanagita's comment that \u0026quot;even the most amateurish hobby is at the top.\u0026quot;\u003cbr\u003e\u003cbr\u003eIn the world of contemporary art books and book art, there is a knack for incorporating materials that are not normally used in books.\u003cspan data-mce-fragment=\"1\"\u003e\u0026quot;\u003ca href=\"https:\/\/www.fragile-books.com\/products\/solitude\"\u003eSolitude\u003c\/a\u003e\u0026quot; on the main paper of\u003c\/span\u003eFor medical use\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe use of filter paper and wrapping Akiyama Shin's \u0026quot;The House That Cultivates\u0026quot; in a plastic tin roof (corrugated iron) are now considered admirable bookbinding ideas, but\u003cmeta charset=\"utf-8\"\u003eBorn in 1887, Shozo Saito may have appeared a little too early. However, just as most things are done by Kohei Sugiura or Bruno Munari, Shozo Saito's work deserves more recognition.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eText by Osamu Kushida","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":43059542130856,"sku":"","price":35000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/shosainogakuto_001.jpg?v=1673010687"},{"product_id":"shosou-vol-1-12","title":"Calligraphy vol.1-12","description":"\u003ch1\u003e  \u003cstrong\u003e A small magazine published before the war.\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSurrounding the beautiful books\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eAfter the dreams of bibliophiles. \u003c\/strong\u003e  \u003c\/h1\u003e  \u003cp\u003eThis book is a compilation of the first 12 issues of the beloved bibliography \u0026quot;Shosado,\u0026quot; published by Aoi Shobo for about 10 years before the war (published on April 10, 1935).\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e2 books\u003c\/span\u003e.\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u0026quot;Shosado\u0026quot;\u003c\/span\u003eThe cover of each issue is color-printed by Koshiro Onchi.\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDesign\u003c\/span\u003eThe limited edition number (membership number) was engraved on the cover. The text was typeset using phototypesetting, which had just been developed at the time.\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOffset printed\u003c\/span\u003eThe main text was made of high-quality postal paper, the same paper used for banknotes and securities. Each issue had a different theme, such as a special feature on printing research, a memorial issue for Yumeji, a special feature on picture books, and a special feature on library records, and was created by book lovers of the time.\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eEyes wide\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eLikely\u003c\/span\u003eIn the serial corner, we introduced the symbol marks of domestic and foreign publishers, and members exchanged information such as \u0026quot;I'm looking for this book.\u0026quot;\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBooks I've worked on\u003c\/span\u003eThere is even a column in which the book designer himself speaks about his own thoughts on the book, so it is still quite interesting to read even today.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe author of this \u0026quot;Shosado\u0026quot; was the poet, printmaker, and book designer Koshiro Onchi.\u003cspan data-mce-fragment=\"1\"\u003eThe editorial and art direction make this magazine timeless.\u003c\/span\u003eLater, he was featured in Yusaku Kamekura's \u0026quot;Creation\u0026quot; (published by Recruit) and Fujio Akatsuka's \u0026quot;Monthly Manga No. 1\u0026quot; (published by\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eJapan\u003c\/span\u003e), and more recently\u003cspan data-mce-fragment=\"1\"\u003eFumio Tachibana's magazine \u0026quot;Kyutai\u0026quot; (published by:\u003cmeta charset=\"utf-8\"\u003eRokuyosha)\u003c\/span\u003eThere are magazines published by designers and manga artists who have served as editors-in-chief or editors-in-chief, but\u003cspan data-mce-fragment=\"1\"\u003e\u0026quot;Book Magazine\u0026quot;\u003c\/span\u003eThe edited version is almost unique.\u003cbr\u003e\u003cbr\u003eby the way,\u003cspan data-mce-fragment=\"1\"\u003eEven though it was a magazine, it was limited to 700 copies.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u0026quot;Shosado\u0026quot;\u003c\/span\u003eThe publisher,\u003cspan data-mce-fragment=\"1\"\u003eWorking hand in hand with Onji to create this beloved bibliography\u003cmeta charset=\"utf-8\"\u003eI kept sending them out like personal letters.\u003c\/span\u003eI am fascinated by a man named Shimo Taro (1900-1980). He was born in 1900 as the eldest son of a sake brewer and prefectural assembly member in Okayama Prefecture.\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn 1924\u003c\/span\u003eHe founded the liquor store \u0026quot;Isemoto\u0026quot; in Oji, Kita Ward. In 1929, he moved to Arai, Nakano Ward to open the Isemoto liquor store, where he happened to be living nearby and met Koshiro Onchi, with whom he and his wife hit it off. In 1934, he founded Aoi Shobo, and in the following year, 1935, he appointed Koshiro Onchi as editor.\u003cspan data-mce-fragment=\"1\"\u003ePublished the magazine \u0026quot;Shoshou.\u0026quot;\u003c\/span\u003eIn the afterword to the first issue, titled \u0026quot;Miscellaneous Diary,\u0026quot; he wrote the following opening statement: \u0026quot;Shomado is a magazine to read, but at the same time, we want it to be enjoyable to look at, so we have invested untold amounts of money in paper quality and printing to enhance the visual effect... Aoi Shobo is purely my hobby. I have never once thought about making a profit from publishing books.\u0026quot; There are no publishers like Shimotaro left.\u003cspan data-mce-fragment=\"1\"\u003eThe financial means he had for publishing was something to be envied, but even more than that, he had a love for type and books. Although he was the manager of a publishing company, Shimo Taro was also in charge of all aspects of the business, from typesetting to writing, editing, proofreading, public relations, and mail order sales. It was impossible for him to be merely a hobbyist.\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eShimotaro risked his life to protect these beautiful books.\u003c\/span\u003eAs the war situation became uncertain, the government implemented a national policy with the plausible name of \u0026quot;the campaign to abolish variant typefaces.\u0026quot; In reality, all typefaces other than Ming style were called \u0026quot;variant typefaces,\u0026quot; and these \u0026quot;unnecessary\u0026quot;\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003etype lead\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eDissolve\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eThey were planning to use it for weapons.\u003cmeta charset=\"utf-8\"\u003eShimo is,\u003c\/span\u003eA fierce protest\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn \u0026quot;Shomado No. 62\u0026quot;\u003c\/span\u003eIt has been published.\u003cspan data-mce-fragment=\"1\"\u003eThe government's secret operations\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eHe denounced it as an \u0026quot;unforgivable, heinous, outrageous act\u0026quot; and urged the publishing industry to rise up.\u003c\/span\u003eThe circumstances and the outcome of this are detailed in Katashio Jiro's \u0026quot;Men Obsessed with Type\u0026quot; (Robundo). This manifesto sent a huge shock through the publishing and printing world of the time, but he was also targeted by the authorities as a dangerous person and was hounded day and night, eventually causing Aoi Bookstore to go out of business. He also closed his livelihood shop, Isemoto, and was forced to retreat to a castle in the mountains of his hometown, Okayama Prefecture. After that, it is said that he never returned to Tokyo. The \u0026quot;Aishokai Tsuushin\u0026quot; that he published in his hometown was taken over by bookplate enthusiasts after the war and is still published today as the \u0026quot;Japan Bookplate Association Tsuushin.\u0026quot; Shimo retreated into the world of bookplates, the small books, and passed away in Okayama. Without Shimotaro, \u0026quot;Shosado\u0026quot; would not have existed.\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ePublished by Aoi Shobo\u003c\/span\u003eMany of Onchi Koshiro's beautiful books would never have been produced.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFinally, the poem by Hakushu Kitahara that appeared at the beginning of the first issue is so good that I'll post it here in its entirety, even though it's a bit long. I want to ruminate on the last three lines over and over again.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eSnow and Fireflies - A Commentary on \u0026quot;Shosado\u0026quot;\u003cbr data-mce-fragment=\"1\"\u003eHakushu Kitahara\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn the window where we once read our books\u003cbr data-mce-fragment=\"1\"\u003e(Oh, how classic.)\u003cbr data-mce-fragment=\"1\"\u003eI smelled the scent of fireflies,\u003cbr data-mce-fragment=\"1\"\u003eThe snow lights were also shining.\u003cbr data-mce-fragment=\"1\"\u003eI wore a kimono with Kurume Kasuri pattern,\u003cbr data-mce-fragment=\"1\"\u003eHe read it aloud, in the determined voice of a boy.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eYes, yes, yes,\u003cbr data-mce-fragment=\"1\"\u003eThe tarnished lamp of the lamp\u003cbr data-mce-fragment=\"1\"\u003eI also felt nostalgic for the paper sliding doors.\u003cbr data-mce-fragment=\"1\"\u003eAnything I read is interesting,\u003cbr data-mce-fragment=\"1\"\u003eI used to memorize everything.\u003cbr data-mce-fragment=\"1\"\u003eAh, but still\u003cbr data-mce-fragment=\"1\"\u003eThere was just one thing I didn't understand,\u003cbr data-mce-fragment=\"1\"\u003eSomething.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eNow, my child will be that age.\u003cbr data-mce-fragment=\"1\"\u003eJust like my father did back then.\u003cbr data-mce-fragment=\"1\"\u003eHe read aloud, in a commanding voice.\u003cbr data-mce-fragment=\"1\"\u003eIt seems like reading anything is interesting,\u003cbr data-mce-fragment=\"1\"\u003eI thought I was a complete adult.\u003cbr data-mce-fragment=\"1\"\u003eI think that's quite clever,\u003cbr data-mce-fragment=\"1\"\u003eBut I still don't understand it at all.\u003cbr data-mce-fragment=\"1\"\u003eJust that one secret.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWhat a nice guy,\u003cbr data-mce-fragment=\"1\"\u003eIt is better not to understand what you don't understand.\u003cbr data-mce-fragment=\"1\"\u003eYou'll be amazed when you find out now.\u003cbr data-mce-fragment=\"1\"\u003eThis was my father, but when I think about it\u003cbr data-mce-fragment=\"1\"\u003eI think I understand things I didn't understand back then,\u003cbr data-mce-fragment=\"1\"\u003eWhat I thought I understood was actually\u003cbr data-mce-fragment=\"1\"\u003eI don't understand anymore.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis child, I think,\u003cbr data-mce-fragment=\"1\"\u003eThis child is now in his first year of junior high school,\u003cbr data-mce-fragment=\"1\"\u003eHow young he is!\u003cbr data-mce-fragment=\"1\"\u003eWith a face that seemed to understand everything,\u003cbr data-mce-fragment=\"1\"\u003eIn fact, he is just a child.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe lights are too bright,\u003cbr data-mce-fragment=\"1\"\u003eThe window is made of too transparent glass,\u003cbr data-mce-fragment=\"1\"\u003eIt's too visible from the outside.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"text-decoration: underline; color: #808080;\" data-mce-style=\"text-decoration: underline; color: #808080;\"\u003e*\u003cmeta charset=\"utf-8\"\u003eAs of issue 103 of \u0026quot;Shoshou\u0026quot;,\u003cspan data-mce-fragment=\"1\"\u003eIn June 1944\u003c\/span\u003eSuspended publication.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eText by Osamu Kushida\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":43059692896424,"sku":"","price":120000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/shoso_080.jpg?v=1673017155"},{"product_id":"the-books-of-anselm-kiefer","title":"The Books of Anselm Kiefer, 1969-90","description":"","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":43060060520616,"sku":"","price":53900.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/AnselmKiefer_000.jpg?v=1673018849"},{"product_id":"the-codices-of-the-masters","title":"The codices of the masters\/The ultimate book","description":"\u003ch1\u003e  \u003cstrong\u003eA Chinese art dealer\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eCollected from all over the world\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e24 artist books.\u003cbr\u003e\u003c\/strong\u003e  \u003c\/h1\u003e This book introduces 24 rare artist books from the private collection of Chinese art collector Wang Ji. This book itself can be called a strange book, but it can also be said with confidence that it is one of the most beautiful \u0026quot;books of books\u0026quot; that have been published in the world in recent years.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis book does not feature artist books made with simple printing and binding, such as those by Ed Ruscha. It also does not feature book designs that stand out among commercial publishers, such as those by Irma Bohm, Kohei Sugiura, or Lu Jingren. Collector Wang Ji focuses on handmade numbered editions (special editions with limited numbers) published in small quantities, and has put together a collection of first-class works from around the world that would be included in a book art hall of fame.\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis will be China's first comprehensive and systematic introduction to the world of artist books, and will also feature several handmade books by Chinese artists who have since moved abroad to countries such as the United States and France.\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003eAll 24 books are bound and bound in a way that makes us want to call them \u0026quot;well-made books.\u0026quot; It is clear that the selection was made with great care. The common thread is that the presence of the authors or original authors is particularly prominent. They include SANYU, Andy Warhol, Inoue Yuichi, Salvador Dali, Günter Grass, Arnaldo Pomodoro, Zao Wou-Ki, Walasse Ting, Henri Matisse, Rauschenberg, Chagall, Enrico Baj, Zhu Dequn, and the ancient Chinese poet Tao Yuanming. Their birthplaces, eras, and professions are incredibly diverse.\u003cbr\u003e\u003cbr\u003eThe only Japanese book to be selected is \u0026quot;Inoue Yuichi Collection of Small Works: Manabe 1955-1978\u0026quot; (1981\/UNAC TOKYO). This volume contains 12 plates of Inoue Yuichi's small works, such as \u0026quot;One-character Calligraphy,\u0026quot; faithfully reproduced at almost full size. The cover is a portfolio style with the plates sandwiched together without binding so that each plate can be taken out and appreciated. The print run of 500 copies is quite large compared to the other books introduced in this book. FRAGILE BOOKS also has a collection of one book, which I hope to make public soon.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe main text, which is over 600 pages long, is composed of photographs of the details of each book and text that carefully introduces each \u0026quot;person.\u0026quot; The preface includes the \u0026quot;Tenshu\u0026quot; (Chinese Book), a work of fictitious Chinese characters that does not exist.\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBook from the Sky\u003c\/span\u003e\u0026quot; is a Chinese artist known for \/ XU Bing and Italian artist Angela Occhipinti contributed text.\u003cspan data-mce-fragment=\"1\"\u003eXu Bing is chosen\u003c\/span\u003eFrom the careful preparation,\u003cspan data-mce-fragment=\"1\"\u003eYou can really feel how serious they are about connecting books and art.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThe bold, almost A3-sized pages were designed by Pan Yanrong, an up-and-coming Chinese designer, who has also designed some other interesting books that I would like to introduce on another occasion. The book was printed by Artron, the world's largest art book printing company headquartered in Beijing, who specially ordered six types of special paper from Taiwan, Japan, and Germany for this book. I think that the book design and printing\/binding are worthy of the title \u0026quot;The Ultimate Book.\u0026quot;\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eText by Osamu Kushida\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":43060131397800,"sku":"","price":82000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/THE-CODICES-OF-THE-MASTER_001.jpg?v=1674266256"},{"product_id":"whole-earth-catalog-spring-1969","title":"Whole Earth Catalog Spring 1969","description":"\u003ch1\u003e  \u003cstrong\u003eIn the twentieth century \u0026quot;Book of Books\u0026quot;\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eThe most influential publications\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eThis might be it.\u003c\/strong\u003e  \u003c\/h1\u003e The Whole Earth Catalog, first published by Stewart Brand on the West Coast of the United States in 1968, quickly became a huge hit. The cover of each issue was a photograph of the Earth seen from space.\u003cspan data-mce-fragment=\"1\"\u003ePublish\u003cmeta charset=\"utf-8\"\u003eThis speaks to the teamwork of the brand, which persistently lobbied NASA.\u003c\/span\u003eThe editorial policy is also in the subtitle:\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBased on the concept of \u0026quot;access to tools,\u0026quot; we aim to provide useful tools (wisdom and\u003cmeta charset=\"utf-8\"\u003eThis was the introduction of hippie communes and counterculture practitioners, design, architecture,\u003cmeta charset=\"utf-8\"\u003eThe 1971 book \u0026quot;The Big Hit for Innovators in Technology\u0026quot;\u003cmeta charset=\"utf-8\"\u003eThe final issue, \u0026quot;The Last Whole Earth Catalog,\u0026quot; became a best-seller, selling over 1.5 million copies and winning a National Book Award.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eAlthough it has been more than 50 years since its first publication and its publication period was only three years, its influence is still being reevaluated in various circles.\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn 2005, Steve Jobs quoted \u0026quot;Stay hungry. Stay foolish.\u0026quot; from the Whole Earth Epilog (1974) in his famous speech at Stanford University, which became a hot topic.\u003cmeta charset=\"utf-8\"\u003eIn 2011, he was featured in the exhibition \u0026quot;\u003cmeta charset=\"utf-8\"\u003eI still remember the \u0026quot;Access to Tools\u0026quot; exhibition that was held based on the \u0026quot;Whole Earth Catalog.\u0026quot;\u003c\/span\u003eWe are once again amazed at the fact that most of the \u0026quot;tools\u0026quot; that this magazine deployed were \u0026quot;books\u0026quot; and that this magazine was a \u0026quot;book of books.\u0026quot;\u003cbr\u003e\u003cbr\u003eThis magazine, which was published in an era before the Internet, adopted a \u0026quot;catalog\u0026quot; style and featured \u0026quot;books\u0026quot; (reference books) on the pages of the magazine, along with DIY tools, to create alternative living environments in all sorts of areas, including natural science, architecture, art, and agriculture.\u003cspan data-mce-fragment=\"1\"\u003eThe books and products featured could be purchased from the publisher using an order form included in the catalog, and communities mediated by the featured books quickly began to sprout up.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003eThe books recommended by the editorial staff and readers ranged from practical books and instructional guides that could be used immediately in daily life to pioneering visions in architecture and design. It can be said that the Whole Earth Catalog popularized the philosophical ideas of Buckminster Fuller and Marshall McLuhan. As for Fuller, the first section of the catalog, \u0026quot;Understanding Whole Systems,\u0026quot; clearly states, \u0026quot;Buckminster Fuller's insights initiated this catalog.\u0026quot; Other books introduced in the Whole Earth Catalog include Darcy Thomson's The Form of Living Things and Norbert Wiener's The Man Machine, showing the depth of the book, which is not just practical books.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eText by Osamu Kushida\u003cbr\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":43061124268200,"sku":"","price":58000.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/WHOLE-EARTH-CATALOG_001.jpg?v=1673049381"},{"product_id":"henshu-tehon","title":"\u003ctc\u003eHenshu Tehon \/ Seigow Matsuoka\u003c\/tc\u003e","description":"\u003ctc\u003e\n\u003ch1 data-editor-transcy=\"true\"\u003e\u003cstrong\u003eDeciphering all things from thousands of books\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eLegendary editor.\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eSeigow Matsuoka's editorial instruction book.\u003c\/strong\u003e\u003c\/h1\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003eThe \"Otehon\" series is a series of \"handbooks\" in which he writes in his own handwriting what his predecessors on various paths have used as \"role models\". For the first volume of this series, Seigow Matsuoka has written. The legendary editor, who has been blasting through the unprecedented world of editing for half a century, secretly tells us \"this and that that I have taken as my role model,\" and the book is tailored in such a way. The book was planned, edited, and published by us, who had worked under Seigow Matsuoka as an apprentice editor for about 10 years.\u003cbr\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003eThe bellows-like binding was custom-made for this series. I conceived the idea of a \"medieval book made by machine,\" and spent several months working with a printing company to develop it. The book is designed to be folded by cutting two slits in a large sheet of paper to create a \"seamless bellows book\". We named it \"Tehon Ori\".\u003cbr\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003eFrom the very beginning of the planning stage, I had the idea of creating a \"handwritten book,\" and had manuscripts of \"Hagakure,\" \"Fushikaden,\" \"Da Vinci,\" and Paul Klee in mind. Therefore, I printed the book as it was, even with the vivid red proofreading, and created a book that looked as if it could have come out of a pocket. This was also a bit of a challenge to the \"fragrance of books\" that has been lost in today's mass publishing and distribution system. That is what a manuscript book is, and a handwritten book has a magical reading quality. Besides, I liked Seigow Matsuoka's handwriting.\u003cbr\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003eThe front side of the book consists of a manuscript of about 3,000 newly written words and \"Giga Yusho,\" his own illustrations. On the reverse side, more than a dozen aphorisms and various behind-the-scenes photos of the editorial process appear on the side. For example, a behind-the-scenes view of the author writing \"Senya-Sensatsu\" as usual in front of the \"Shoin,\" a machine dedicated to word processing. For example, a rehearsal scene with lighting designer Harumi Fujimoto. For example, looking for a book in \"Seisunbou,\" designed by Shiro Miura, an architect of sukiya-style houses. The photographers range from Bishin Jumonji to the staff of the time, and were carefully selected from an archive of several thousand photographs with the help of Seigow Matsuoka's office.\u003cbr\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003eHarumi Fujimoto, Issey Miyake, and Emi Wada, who were delighted to have this book made, are no longer with us. Yohji Yamamoto presented a black jacket embroidered with \"Seigow Matsuoka's Aphorism\" for the Yohji Yamamoto POUR HOMME Spring\/Summer 2021 collection, which was first published in this book. I wonder if the magic worked a little.\u003cbr\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003eThis book won the \"Japan Federation of Printing Industries Chairman's Award\" in the 53rd Bookbinding and Binding Contest.\u003c\/div\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003e\u003cbr\u003e＜Editor's Postscript＞\u003c\/div\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003eMy master, Seigow Matsuoka, is famous as a rare bookworm who has continued to write \"\u003ca href=\"https:\/\/1000ya.isis.ne.jp\/\" target=\"_blank\" rel=\"noopener\"\u003eSenya-Sensatsu\u003c\/a\u003e,\" which he started in 2000.\u003c\/div\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003eWhile reading, he says, \"Books are like notebooks; they are meant to be messy.\" He marks the text and scribbles in the margins with a red or blue pen. During meetings with staff members, he sketches \"diagrams\" that come into his mind on a blank piece of paper. Like Paul Klee's \"Creative Thinking,\" he is a person whose brain, eyes, and hands are connected in a single stroke. That is why I always looked forward to internal meetings and direction sessions. I would prepare a stack of blank papers and a pen and pencil and wait excitedly for what kind of formative editorial sensation would emerge today.\u003c\/div\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003eBy the way, the \"notebooks,\" \"manuscript,\" and \"drafts\" that arise in the night are never printed. Even if they were kept by the staff, they were rarely recorded as important documents, and were born on the spot and then disappeared on the spot.\u003c\/div\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003eOne night, I was shown a \"notebook\" that he had kept in his 20s and 30s. When I asked him to show me these notebooks, he pulled out a dozen or so old, atattered college notebooks from the back of his study and showed me them to me.\u003c\/div\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003eThere, on each page, key words such as \"minerals\" and \"machines\" were placed at the top of the page, and short passages and quotations were handwritten along the headings. To my surprise, the headlines were also written on the blank pages. The headline came first. As if they were guideposts, stepping stones of thought. The moment I realized that it was not a random notebook, not even a memorandum, something was ice-breaking.\u003c\/div\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003eWhat Seigow Matsuoka was noting down was \"a view of information\". Editing is a job that often involves looking to the past, but Seigow Matsuoka's attitude that what already exists is not the sole domain of the editor has always supported me.\u003c\/div\u003e\n\u003cdiv data-editor-transcy=\"true\"\u003e\u003cbr\u003eText by Osamu Kushida\u003c\/div\u003e\n\u003c\/tc\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":43084524191912,"sku":"","price":1980.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/files\/HRM8151_ca85eac6-cf76-413d-9f33-9e6d00d51d95.jpg?v=1733106928"},{"product_id":"another-companion-to-books-from-the-simpsons","title":"Another Companion to Books from the Simpsons","description":"\u003ch1\u003e  \u003cstrong\u003eTo put it mildly\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eIt's a pretty well-made zine.\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eAs a book it is a masterpiece.\u003c\/strong\u003e  \u003c\/h1\u003e  \u003cp\u003eOlivier Lebrun, a French graphic designer, has compiled a pocket guide that captures only the scenes in which books appear from the popular American TV animation show \u0026quot;The Simpsons\u0026quot; (first aired in 1989). It features 216 books that Bart, Lisa and others read during the episodes. When you open this book, which has a yellow cover and yellow paper, you will find all kinds of books, both real and fictional, ranging from real books such as \u0026quot;Gone with the Wind,\u0026quot; \u0026quot;Death in Venice,\u0026quot; and \u0026quot;Pat the Bunny\u0026quot; to fictional books set in the fictional city of Springfield where the main characters live. In fact, there are very few episodes that focus on books, so it is worth appreciating the effort of collecting all these books, which are one of the hidden props of the show.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eThis book is a perfect reference book for a fanzine or zine, and the authors apparently had help from a fan site for The Simpsons in collecting the references. All the still images are in black and white, and are arranged alphabetically by book title. This publishing project has been updated four times, and this is the third update. In 2018, the final expanded and revised edition, A Final Companion To Books From The Simpsons (Updated Version), was published. Books based on animation are rare, and this book is almost the only one of its kind.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eReference sites:\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWikisimpsons\u003cbr data-mce-fragment=\"1\"\u003ehttps:\/\/simpsonswiki.com\/wiki\/Main_Page\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eText by Osamu Kushida\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"Default Title","offer_id":43092328644776,"sku":"","price":22000.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/thesimmpsons_001.jpg?v=1673955872"},{"product_id":"paper-cats-poster-kazunori-hattori","title":"Paper Cats Poster by Kazunari Hattori\/Hattori Kazunari","description":"\u003cdiv data-mce-fragment=\"1\" class=\"page\" title=\"Page 1\"\u003e  \u003cdiv data-mce-fragment=\"1\" class=\"layoutArea\"\u003e  \u003cdiv data-mce-fragment=\"1\" class=\"column\" style=\"text-align: start;\" data-mce-style=\"text-align: start;\"\u003e  \u003ch1 class=\"c-text l-spaceVertical\"\u003e  \u003cstrong\u003eKazunari Hattori's \u0026quot;Paper Cat\u0026quot;\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eIt has been made into a poster.\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eB3 size, signed.\u003c\/strong\u003e  \u003c\/h1\u003e  \u003cp class=\"c-text l-spaceVertical\"\u003e\u003cimg data-mce-fragment=\"1\" style=\"float: none;\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/files\/Paper-Cats_poster_a001_1024x1024.jpg?v=1681441499\" data-mce-style=\"float: none;\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/files\/Paper-Cats_poster_a001_480x480.jpg?v=1681441499\"\u003e\u003cimg data-mce-fragment=\"1\" style=\"float: none;\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/files\/Paper-Cats_poster_b001_1024x1024.jpg?v=1681441510\" data-mce-style=\"float: none;\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/files\/Paper-Cats_poster_b001_480x480.jpg?v=1681441510\"\u003e\u003cimg data-mce-fragment=\"1\" style=\"float: none;\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/files\/Paper-Cats_poster_c001_1024x1024.jpg?v=1681441518\" data-mce-style=\"float: none;\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/files\/Paper-Cats_poster_c001_480x480.jpg?v=1681441518\"\u003e\u003cbr\u003eThe book \u0026quot;FRAGILE BOOKS\u0026quot; by Kazunari Hattori, who was in charge of all the key designs such as the logo and care mark.\u003ca href=\"https:\/\/www.fragile-books.com\/products\/paper-cats\"\u003ePaper Cats\u003c\/a\u003eThree types of posters were created from this.\u003cbr\u003e\u003cbr\u003eAs an art director,\u003cspan data-mce-fragment=\"1\"\u003eAs a graphic designer,\u003c\/span\u003eHattori, who naturally expresses his unique design perspective that is gentle yet sharp, has been featured in magazines such as \u0026quot;Ryuko Tsuushin\u0026quot; and \u0026quot;Mayonaka\u0026quot;.\u003cspan data-mce-fragment=\"1\"\u003e\u0026quot;Here and There\u0026quot;\u003c\/span\u003eAlthough he has worked on many book designs, such as Obunsha's Petit Royal French-Japanese Dictionary and Nakajo NAKAJO, he has surprisingly never designed a single book of his own.\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e『\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003ePaper Cats\u003c\/span\u003eis an artist book that was planned, photographed, designed and written entirely by Hattori Kazunari.\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e『\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003ePaper Cats\u003c\/span\u003eThe book features 23 \u0026quot;paper cats\u0026quot; that were cut out with scissors and photographed. It is a book that simply sticks to one theme, and while it seems like something anyone could imitate, it is quite difficult to complete, making it a collection of small pieces that is very Hattori-like. The 48-page hardcover book is wrapped in a blue cover, making it look like a pastry wrapper. It was published by the BON BOOK publishing label, which was started by a long-established printing company. I was in charge of editing.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eText by Osamu Kushida\u003cbr\u003e\u003cbr\u003e-\u003c\/p\u003e  \u003ch6 class=\"c-text l-spaceVertical\"\u003e  \u003cbr\u003e\u003cspan style=\"color: #404040;\" data-mce-style=\"color: #404040;\"\u003eProfile\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"color: #404040;\" data-mce-style=\"color: #404040;\"\u003eHattori Kazunari is a graphic designer born in Tokyo in 1964. He graduated from the Department of Design at Tokyo University of the Arts in 1988. He worked for Light Publicity before going freelance. His main work includes advertisements for Kewpie Half and JR East Japan, art direction for magazines Ryuko Tsushin and Mayonaka, venue design for Hermes' \u0026quot;Petit h Objects,\u0026quot; logotypes for the Mitsubishi Ichigokan Museum of Art and Hirosaki Brick Warehouse Museum, artwork for the rock band Quruli, and the book design for Petit Royal French-Japanese Dictionary and Nakajo NAKAJO. His main publications include Hattori Kazunari Graphics and Hattori Kazunari (Graphic Design of the World). He has received the Mainichi Design Award, Kamekura Yusaku Award, ADC Award, Hara Hiroshi Award, and Tokyo TDC Grand Prix.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cimg data-mce-fragment=\"1\" alt=\"\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/files\/IMG_3202_480x480.jpg?v=1681449296\" data-mce-src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/files\/IMG_3202_480x480.jpg?v=1681449296\"\u003e\u003cbr\u003e\u003cbr\u003e  \u003c\/h6\u003e  \u003cdiv class=\"l-container-border l-spaceVertical\"\u003e\u003cbr\u003e\u003c\/div\u003e  \u003c\/div\u003e  \u003c\/div\u003e  \u003c\/div\u003e","brand":"FRAGILE BOOKS","offers":[{"title":"A","offer_id":43508112556200,"sku":"","price":16500.0,"currency_code":"JPY","in_stock":true},{"title":"B","offer_id":43508112588968,"sku":"","price":16500.0,"currency_code":"JPY","in_stock":true},{"title":"C","offer_id":43508112621736,"sku":"","price":16500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/products\/Paper-Cats_poster_001.jpg?v=1681440143"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0559\/0050\/4232\/collections\/tag_book.png?v=1646752912","url":"https:\/\/en.fragile-books.com\/collections\/book-en.oembed?page=4","provider":"FRAGILE BOOKS","version":"1.0","type":"link"}