ori.studio

design + publishing

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Designers Maxim Cormier and Fan Xuechen founded practice ori.studio in 2016, and later publishing label da-in-print in 2018. In 2023 the names were combined, and today ori.studio exists as a tensegrity like structure comprised of graphic design, research, and publishing, and its output consists primarily of an ongoing series of book based projects. For new project inquiries, please contact us at info@ori.studio.

publications

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c-site.4 : Distance

2023.1, 208 pages, 190x247x17mm
ISBN978-1-9995159-6-6

c-site (c = conversation) is centered around an interdisciplinary dialogue surrounding a singular topic, exploring it in physical and metaphysical terms, and removed from the typical interviewer/interviewee archetype, where focus is placed on the equal interaction between two disparate ‘others’. For the first three iterations this was achieved via a sequential format. Moving forward, and beginning with this fourth iteration, the dialogue structure will become fluid, and will explore how the format of a dialogue could share a clear relationship with the theme around which it is based.

Our hope in the creation of these environments is that we may better understand the nature and potential of a topic which is universal in essence through the combination of perspectives deriving from various backgrounds, experiences, and ways of thinking.

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New Format :

An anonymous interdisciplinary dialogue between 10 people on the topic of distance, conducted in English, Chinese, and Japanese.

Within this dialogue, the identities of those participating have been hidden from one another, only to be revealed upon its conclusion. This is an instance of “distance”, a boundary creating a relationship between dialogue and theme. This dynamic can too be seen within the form of this book; just as these ten contributors speak back to back, this book is divided into two distinct halves placed back to back—their contrasting directionalities, vertical and horizontal, defining a physical boundary which separates them.

Distance :

Walking in a landscape, if you stop for a moment, is it possible to see instances of ‘distance’ in the surrounding environment? Perhaps it is the darkening gradient of color in the lake due to the gradual change in depth, or the eusociality being displayed by the ants beneath us acting as a small mirror of our own world. Or the slow transition from old growth to new growth vegetation. Or the air growing thinner as the elevation rises. Or maybe is it the difference in sound and texture as you step from moss covered earth onto dry gravel. In thinking about it, are these all various distances building up the landscape in front of us?

The word ‘distance’ at first appears as something we rarely notice, and yet if we look closer we find it being repeated again and again in our conversations and in our writing. In saying there is no distance between us and something, are we actually referring to being in close proximity to what’s in front of us? ‘Distance is the possibility of seeing. In order to be able to see, I need distance from my object’ (Jun Miyagawa).

In understanding our surroundings, the relationships between us and all others is defined by distance. Within our perceptions the known and the unknown overlap. Distance allows us to see the intangible cognitive relationships we share with the other, and extreme distance or lack thereof (near and far) compromises our ability to see them.

What is the inductive state which lies between us and distance? Does distance have a material contour? How is the distance between the act of creation and its result measured? What are the conditions and perspectives that produce distance? What conditions make the disappearance or appearance of distance felt? What kinds of dynamic relationships exist between time, space, and distance? Can distance be free from time and space? Can distance be reproduced? Is distance equivalent to relationship? Is all matter in some sense divided? Do absence or pause and distance have equivalent meanings? Can a collective be defined by the distance within it? What lies beyond the boundaries of distance? Do overlapping distances exist? Does distance have an antithesis?

Contributors : Stephan Keppel / Kenshu Shintsubo / Osamu Kanemura / Shin Akiyama / gerlach en koop / Nerhol (Ryuta Iida+Yoshihisa Tanaka) / Marc Nagtzaam / Kozo Kadowaki / Megumi Matsubara / Ryuji Nakamura

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Yui Takada AXIS | 髙田唯 軸

2022.7, 332 pages, 174 (~) x 210mm
ISBN978-1-9995159-5-9

Appearing as a magnetic line cutting across space, pulling inward and connecting together elements from our collective environment which begin to cohesively spin harmoniously in a single orbit, the practice of graphic designer Yui Takada provides us with a new view of our world. These elements are sampled from the mundane, seemingly ordinary scenes and objects that surround us, elevated to a state that appears entirely contradictory to its own nature, but which simultaneously expresses it in such an honest way that said nature is not simply maintained, but celebrated. Through wielding this transformative cyclone like energy, Takada makes us “aware”.

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Built out of 471 individual fragments, comprised of deconstructed work, collected and documented environmental and contextual elements such as waste bins, tree skin, “no smoking” signs, or newspaper clippings deriving from his daily life, as well as various other experimental projects, this book has become a physical manifestation of the “axis” Takada has created, where an order is generated not through a systematic application of logic, but rather in the acceptance and love for, and in the utilization of chaos which seems to have resulted in a completely new form of existence. Thus this is an object, comprised of layer upon layer of seemingly disparate material, bound together both physically and by an order generated through chaos, that gives us the opportunity to objectively see something who's contours appear to be in a constant state of flux, and which changes along side the change in perspective from one person to the next.

Essays by Ikuhisa Sawada (Photographer) and Shuta Hasunuma (Musician) provide perspectives from those who have no direct relationship with Takada, but who’s own practices are inextricably interlinked with the idea of “axis”. Interviews with designers Nobuo Nakagaki, Kenya Hara, and Kazunari Hattori, each of whom have long standing relationships with Takada, provide three unique impressions of his work, attitude, and methods.

Yui Takada : Born in 1980 in Tokyo. Graduated from Kuwasawa Design School. Director of Allright Inc., which consists of Allright Graphics, and Allright Printing. He is an associate professor at Tokyo Zokei University, a member of JAGDA, and a member of AGI.

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Olivier Goethals POEM!

2021.10, 134p, 325 (~) x 210mm
ISBN978-1-9995159-5-9

The compilation which follows does not provide a comprehensive overview of the work and practice of Architect/Artist Olivier Goethals. Rather, it is an attempt to transcend the particularities and context of various works in isolation, and to instead demonstrate the cohesive relationships which work to build a coalescing whole. The title of this book, POEM, can thus be interpreted in two ways. The first being, as each copy has been arranged differently, images juxtaposed in a constantly changing order, but inexplicably interlinked combination after combination, the somehow illogical yet constructive system seems itself to act as a poetic manifestation of the narrative born out of Goethals practice in a way which words alone can not properly express. A spatial POEM of image and word.

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The second derives from the nature of the word POEM itself. From the Greek “poieses” or “to make”, it seems to fittingly describe both this book, which itself combines various scenes, paintings, drawings, writings to make something which by virtue of newly revealed relationship, did not exist before, and the work, through means which cannot be described as dissimilar.

Each book is comprised of a series of combinations and juxtapositions, and no static order has been applied, as to demonstrate a pre-existing logic which slowly reveals itself in a constantly shifting cycle, where suddenly the intangible takes on physical form, in lines crossing 38 projects, 48 poems, and 132 images. 

Olivier Goethals : Based in Ghent. Studied Architecture and Urban Development. He works simultaneously as architect and artist. In his wide practice he researches the connection between physical space and consciousness. Goethals has made spatial interventions and artistic installations for venues such as: Z33 Hasselt, CIAP Hasselt, Extra City Antwerp, HNI Rotterdam, SMAK Ghent & Palais De Tokyo Paris, etc,. Previously he worked as a freelance senior architect for De Vylder Vinck Taillieu for eight years. Since 2010, he has taught at the KU Leuven Architecture Department. He was a guest teacher at RU Ghent faculty of Architecture, LUCA School of Arts Experimental Studio and ETH Zurich faculty of Architecture, among other institutes. Olivier is in charge of the design and implementation of all spatial interventions for art collective 019.

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c-site.3 : Other 他者

2021.2, 137p, 245x190x10mm
ISBN978-19995159-4-2

c-site (c = conversation) is based around an interdisciplinary discussion surrounding a singular topic, exploring it in physical and metaphysical terms. It has been removed from the typical interviewer/interviewee archetype. Rather, it has been formatted to take place in a sequential manner (a → b) , (b → c) … (j → a) where participant (a) will ask a question to participant (b), who after answering will ask a question to the next person down the list (c), so as to achieve a more natural and autonomous form of dialogue.

Our ultimate goal is to analyze the nature and potential of a topic by combining the perspectives of people from various backgrounds, experiences, and ways of thinking, thus maximizing the scope of peoples understanding and ways of thinking.

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Other :

A pupa lies dormant within its cocoon, generating a detachment between it and the external environment. From the perspective of this fragile pupa, branches full of natural fragrance, the rolling in of a dense fog, and coarse earth all belong to what can be described as ‘other’. This tiny cocoon is recorded by dew in the form of a reflected image, and looking from the perspective of this reflection the universe itself becomes ‘other’. This phenomenon could be generated manually by photographing the present moment, as the past and future would therefore become ‘other’. This would also be true for the gaps which lie between one single point of time to the next. Following this line of thinking which is based on the dimension of time, the dimension of space can be regarded as ‘other’.

If we create in our own imaginations a unique space within which our consciousness can wander, all outside of this dreamt world can be referred to by using the word ‘other’, as can the the parts within the space which we don’t actively realize. The scale, distance, shape and complexity of ‘other’ is also constantly disturbed by the addition of new objects or by a change in scene and context.

Can ‘other’ exist at the same scale as a single cell? Can a subject coincide, replace, or influence ‘other’ from its own perspective? What are the differences in perspective from inside and outside in regards to ‘other’? If boundaries are blurred, how can we define what is ‘other’? Can the space (or interlaced relationship) between ‘other’ and a subject be observed? How many instances of ‘other’ can be generated through fixed-point observation? How can we distinguish ‘other’ from the white space which surrounds it? Can the original nature of things and the nature of ‘other’ be switched? Are there a variety of methods in forming ‘other’? From our own perspectives, can the phenomenon of ‘other’ be described as an illusion? Can ‘other’ in relation to time coexist with ‘other’ in relation to space?

Contributors : Kozo Kadowaki / Olivier Goethals / Ryuji Nakamura / Yuzo Kariya / Shuta Hasunuma / Osamu Sakuma / Fuminori Nousaku / Ikuhisa Sawada / Marc Nagtzaam / Takashi Fujino

Essay : Go Itami

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n-site [1]

2020.1, 10 essays + 42 images, 220x310mm
ISBN978-1-9995159-3-5

Like a village made up of 10 houses, each with their own unique characteristics, materials, color, shape, n-site brings together 10 architects, artists, and designers who each share a single thought or idea on any topic which interests them. Just like the characteristics of oneself are often passed down to the characteristics of ones home, these unfinished concepts shed light on the thinkings of the contributors, each unique in their own way.

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There lies a certain quality in a quick thought which may at that moment present no clear value, or a sketch quickly drawn out on a note pad, its transience fleeting like a match glowing brilliant orange in the dark. Left in this incomplete state, its rawness perhaps limits how much action can be taken, but within the same instance provides us with a sense of universal appreciation in its simplicity and in its personal nature, crossing the borders between mediums as its meaning is not solely within a single space, but instead can be taken from context to context and used in an uncountable amount of ways.

Contributors : Toru Kase / Nishiyama Hiroshi / Tezzo Suzuki / Yehwan Song / Yuichiro Higashiji / Yuichi Nishimura / Mitsuru Tokisato / Yusuke Saitoh / Cheng Zhi  / Naoyuki Tokuda 

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Soushi Tanaka : Post [EE]

2019.9, 410p, 215x285mm, English/Japanese

Within ongoing project ‘Post”, photographer Soushi Tanaka systematically takes images of each page of a newspaper each day using multiple exposures, generating data in order to demonstrate the behaviors behind production. With this method, each day all pages from a newspaper are combined into one image (Daily). These images are then reshot using the same method after each month (Monthly) and then all 12 months of a year are gathered and again reshot using the same method (Anually). Within this highly controlled process, Tanaka has produced work which is simultaneously mechanical and anthropological.

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A bi-product of exhibition Composition Systems and Variables (09.10-09.17.2019, Shanghai), Soushi Tanaka : Post [Experimental Edition] derives from the alternate logic generated over 8 days. The primary logic, manifested as a complete year of Post, exists as a completely white object, only revealing itself when opened. Content is modularized, sections overlapping each other at various sizes. Lines appear; gaps between one island to the next. This negative space which crisscrosses the primary logic has been used for inserting new content, pulled directly from the exhibition.

Co-existing with the main work, a wall of alternative logic was generated comprising of images and material pulled from Post as a project and reintroduced into a completely new context. This material was then again pulled out and placed into the book, each of the 16 copies produced differ in both image and composition.

Essays have been provided by photographer Osamu Kamekura, and Rei Masuda, curator at the National Museum of Modern Art, Tokyo. The book also contains a disk with a video documenting the daily production methods used by Tanaka within the project.

Soushi Tanaka : A student of Osamu Kanemura, Tanaka focuses on the limits and structure of photography as a medium, as well as the function of machines (camera), the principles of how to utilize data generated by said machine, and the relevance of photos in relation to other media, Tanaka attaches great importance to the chemical and optical properties in photography, using mechanical properties to generate rules and use rules to automatically generate data. He uses this thinking as the basis of his work.

A machine (camera) can form images in different states from those in human eyes. Photographs can be embodiments of information captured from a flux of time, using machines. For him photographs are the records of remnants of time and information.

“Post” is a project that has been in constant development since April 2015. Each day, month, and year follows the same ritual -

Take photographs of all the pages of a newspaper from that day using multiple exposures, and combine them into a single image. (DAILY)
Take photographs of all the daily images taken within that month and combine them into a single image. (MONTHLY)
Take photographs of all the monthly images taken within that year and and combine them into a single image. (ANNUALLY)

The generated data will then be uploaded to various social media networks, and in the act of uploading data each day the process of creation is visualized.

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Soushi Tanaka : Post

2019.8, 126p, 282x195mm, English/Japanese
ISBN978-1-9995159-2-8

Within ongoing project ‘Post”, photographer Soushi Tanaka systematically takes images of each page of a newspaper each day using multiple exposures, generating data in order to demonstrate the behaviors behind production. With this method, each day all pages from a newspaper are combined into one image (Daily). These images are then reshot using the same method after each month (Monthly) and then all 12 months of a year are gathered and again reshot using the same method (Anually). Within this highly controlled process, Tanaka has produced work which is simultaneously mechanical and anthropological.

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Shedding light on the white space which exists between idea and outcome, our goal with this publication was to display both the work and the forests of details which exist behind it. Post is a project inherently linked to its process, and as such to understand the work you must first understand the process. Therefor this book goes beyond simply showing the project in a completed state, and instead presents it within multiple dimensions.

Year wraps month, which in turn wraps day, and in this way we are able to sense with form and space the culmination of one year of Post, each image displayed in sequence for the reader to experience the subtle changes rise up as one day passes to the next.

Essays have been provided by photographer Osamu Kamekura, and Rei Masuda, curator at the National Museum of Modern Art, Tokyo, on the topic of Post; illustrating two different perspectives on the project.The book also contains a disk with a video documenting the daily production methods used by Tanaka within the project.

Soushi Tanaka : A student of Osamu Kanemura, Tanaka focuses on the limits and structure of photography as a medium, as well as the function of machines (camera), the principles of how to utilize data generated by said machine, and the relevance of photos in relation to other media, Tanaka attaches great importance to the chemical and optical properties in photography, using mechanical properties to generate rules and use rules to automatically generate data. He uses this thinking as the basis of his work.

A machine (camera) can form images in different states from those in human eyes. Photographs can be embodiments of information captured from a flux of time, using machines. For him photographs are the records of remnants of time and information.

“Post” is a project that has been in constant development since April 2015. Each day, month, and year follows the same ritual -

Take photographs of all the pages of a newspaper from that day using multiple exposures, and combine them into a single image. (DAILY)
Take photographs of all the daily images taken within that month and combine them into a single image. (MONTHLY)
Take photographs of all the monthly images taken within that year and and combine them into a single image. (ANNUALLY)

The generated data will then be uploaded to various social media networks, and in the act of uploading data each day the process of creation is visualized.

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c-SITE#2 Topic : Sample「采样/サンプリング」

2019.7, 120p, 180x240mm, English/Japanese/Chinese
ISBN978-1-9995159-1-1

c-SITE is one of the main publication categories of da大 in print, and is based around an interdisciplinary discussion surrounding a singular topic, exploring it in physical and metaphysical terms. It has been removed from the typical interviewer/interviewee archetype. Rather, it has been formatted to take place in a sequential manner (a → b) , (b → c) … (j → a) where participant (a) will ask a question to participant (b), who after answering will ask a question to the next person down the list (c), so as to achieve a more natural and autonomous form of dialogue.

Our ultimate goal is to analyze the nature and potential of a topic by combining the perspectives of people from various backgrounds, experiences, and ways of thinking, thus maximizing the scope of peoples understanding and ways of thinking.

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Sample :

Living in an environment which is complex and ever-changing, we constantly sample things around us. These things which we interact with exist in a variety of contexts, such as natural or ecological phenomena, sound, temperature, fragments of time, or perhaps even the different fields of thought which people inhabit. The process of consciously collecting, experiencing, questioning, and judging the things which we come across represents ones attitudes and ideas towards specific things. Once sampled from its original context and time, an element begins to change depending on the personal experiences and consciousness of a particular person.

What is the relationship between the memory of a sample and a sample in its original context? What type of thinking happens in the process of sampling? What type of changes to something in regards to scale or essence are possible in the process of sampling? What happens when something sampled is blended with ones own perception and ways of thinking? How can one break the bonds between a sample and its original context or environment? What is the relationship between a sample and time? Can the act of sampling things be reversed? (Can our abstractions be sampled)?

Contributors : Jun Iizuka/Go Hiyama/Yo Shimada/David Reinfurt/Na Kim/Naohiro Utagawa/Ko Sin Tung/Keisuke Nagami/Joost Grootens/Yuichiro Higashiji

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c-SITE#1 Topic : New「新/新しさ」

2019.1, 119p, 180x240mm, English/Japanese/Chinese
ISBN978-1-9995159-0-4

c-SITE is one of the main publication categories of da大 in print, and is based around an interdisciplinary discussion surrounding a singular topic, exploring it in physical and metaphysical terms. It has been removed from the typical interviewer/interviewee archetype. Rather, it has been formatted to take place in a sequential manner (a → b) , (b → c) … (j → a) where participant (a) will ask a question to participant (b), who after answering will ask a question to the next person down the list (c), so as to achieve a more natural and autonomous form of dialogue.

Our ultimate goal is to analyze the nature and potential of a topic by combining the perspectives of people from various backgrounds, experiences, and ways of thinking, thus maximizing the scope of peoples understanding and ways of thinking.

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New : New is the beauty before old appears, and after old disappears.

There are many ways of interpreting what is new and what is old. New itself has many definitions, such as freshness/initial/awake/rebirth/change/redefinition/new value/new direction as well as many others. Sometimes new itself can even be interpreted as negative/regressive/unclear, and sometimes new is a timely response to our changing society. New gives us the ability to challenge preconceived habits and ways of doing things.

How can new be maintained and avoid becoming transitory within our rapidly changing society? What is the relationship between new and time? Is new just an illusion? How can we define the boundaries between new and old? Is it possible for new and old to continuously transition between each other? How should we understand new differently?

Contributors : Daniel Everett/Yui Takada/Go Itami/Takuma Tsuji/James Ginzburg/Jeroen Barendse/Soushi Tanaka/aaajiao/Uso Fujishiro/Koji Aramaki

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exhibitions, news

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IDEA No.399

2022.9.10

We were invited to design the pages featuring a roundtable discussion on the Yui Takada ggg exhibition + AXIS book between Yui Takada, Takeshi Nishio, Madoka Nishi and ourselves hosted by ggg and IDEA, and recorded in July. Size matches the AXIS book. (p.135-150)
http://www.idea-mag.com/en/idea_magazine/idea-no-399/

Yui Takada with ori.studio CHAOTIC ORDER

2022.7.11─8.25

ginza graphic gallery (ggg)
DNP Ginza Building 1F/B1, 7-2, Ginza 7-chome, Chuo-ku, Tokyo 104-0061
Open hours: 11:00am-7:00pm (Closed on Sundays and holidays)

The AXIS book was published in conjunction with Yui Takada's first solo exhibition at the ginza graphic gallery "CHAOTIC ORDER", which took place between July 11th to August 25th, 2022 at the ginza graphic gallery in Tokyo. Both the exhibition and book were created in tandem, and the basement level centered around the world of content of which the book is comprised.
https://www.dnpfcp.jp/gallery/ggg_e/

Company

2022.2.11─12

Presented by rondade
Alternative Space The White
#202, 2-chōme−2−1, Sarugakuchō, Chiyoda City, Tokyo
13:00–19:00

The exhibition will simultaneously sell previously published books alongside the presentation of models of books in progress, and will deal with after-objects (after packaging) and before-objects (accumulation of thoughts before packaging) in parallel, exploring the nature and possibilities of the book in the present day. Our books will be shown, including Olivier Goethals POEM! in this experimental book fair along side other books, complete and in progress, from a variety of others.

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Using the books that the ‘senders’ (designers, publishers, etc.) have been involved with as the main medium, we would like to create a dialogue with the audience and make this a new venue.

POEM! Launch at abC Shanghai.

2021.10.21─24

POEM! Launch at abC Shanghai.
Modern Art Museum Shanghai
No. 4777, Binjiang Avenue, Pudong New Area, Shanghai
Pavillion designed by Olivier Goethals.

IDEA No.394

2021.6.10

From Books to Designing Environments : The ori.studio Methodology
Idea No.394 “CLASS FOR GRAPHIC DESIGN” has been released in Japan. In an article featuring our recent projects and books, we had the opportunity to discuss our thinking in design, editing and publishing, and how these activities support each other. (p.153-168)
http://www.idea-mag.com/idea_magazine/394/

displacement / Rondade + ori.studio

2021.6.4─7.18

CAGE GALLERY
1F 2-16-8 Ebisu Shibuya-ku, Tokyo
11:00 – 20:00
Handout: *In Hender Scheme "Sukima" across from the gallery
https://cagegallery.com/exhibition/934
https://bijutsutecho.com/exhibitions/8036

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CAGE GALLERY is pleased to present ‘displacement’ by Japanese publisher Rondade and Chinese ori.studio from June 4th. The second edition of ‘displacement’ at CAGE GALLERY began in 2019 as an experimental project by Rondade on ‘books’ and ‘places’. For this exhibition, Rondade will collaborate with Chinese publisher ori.studio, sharing two windows of expression.

The exhibition will be composed of Rondade and ori.studio’s respective interpretations of a book found in a market, with Rondade reimagining the book in three dimensions and creating an object imagined from a different structure, and ori.studio creating a printed composition incorporating the elements of window transparency and barriers. Despite their seemingly different interpretations, what they have in common is a three-dimensional interpretation of the flatness of printed matter, and attempt to rethink the medium of books.

‘Deviation Trajectory’ c-site.3 Tokyo Launch

2021.3.26─27

ALTERNATIVE SPACE The White (https://www.the-white-jp.com/)
#202, 2-chōme−2−1, Sarugakuchō, Chiyoda City, Tokyo
Supported by rondade (https://rondade-prototype.com/)
Display by on-demand

‘apparition’ c-site.3 Beijing Launch

2021.3.21─4.5

Postpost space
58 Yangrou Hutong, Xicheng Distrct, Beijing
Open from Tuesday to Sunday 11:00 – 19:30 (Closed every Monday)

r-site[1] Higashiji Yuichiro 1/3 : Distance

2020.2.06─13

(r)- site, (r) = reset。
Hatsune_wing_C2, Hatsune cho, Yokohama

Temporary Exhibition Space #363 : Composition Systems and Variables

2019.9.11─17

Collaborative exhibition between Tokyo based photographer Soushi Tanaka and our previous publishing label "da-in-print". Held at "Temporary Exhibition Space #363", an unused room at a commercial building in Shanghai which was repurposed specifically for this event, Tanaka's work "Post" was exhibited in China for the first time, and a new publication "Soushi Tanaka : Post [EE] was assembled and released within the exhibition itself.
http://tanakasoushi.net/works/composition_systems_and_variables.php
https://www.behance.net/gallery/85919082/ExhibitionConposition-Systems-and-Variables

UNFOLD SABF - TANK EDITION : Composition Systems and Variables [Soushi Tanaka, da大 in print]

2019.9.13─15

In addition to the main exhibition venue "Temporary Exhibition Space #363", a simultaneous extension of the Soushi Tanaka exhibition "Composition Systems and Variables" took place at the UNFOLD Shanghai Art Book Fair - TANK EDITION from 13th to the 15th of September, 2019.
Book Signing:9.14 14:00 – 17:00

“disassemble” - situation room 01 : ori.studio

2019.7.9─14

ALTERNATIVE SPACE The White
#202, 2-chōme−2−1, Sarugakuchō, Chiyoda City, Tokyo
Supported by rondade (https://rondade-prototype.com/)
Talk session 7/14(Sun) Open-19:30 Start-20:00
Sakuma Osamu (Rondade) × Maxim Cormier (ori.studio)
https://www.the-white-jp.com/exhibition/2019/0709_r205/

artists, authors, contributors

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selected articles

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bookshops

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