“When I moved to Montreal in 1998, I was surprised to see how many sushi takeouts there were around the Plateau area, most of them run by non-Japanese; it was a bit of culture-shock for me within the same city. Then in 2008 I documented twenty-seven sushi shops all within a thirty-minute walking distance from my apartment. This was sort of the core inspiration of this Montreal-specific project,” so tells us Shie Kasai as she takes a break to talk more about her Survival Cooking Project.
With over seventy percent of its land covered by forests, Akita Prefecture in Japan’s northern Tohoku region is blessed with an abundance of nature.
Volume 3 of Papersky’s Journey’s on the Musical Saucer series with Haruomi Hosono which featured writings on Hosono’s returns to places once encountered during his rich musical career and travels.
Volume 2 of Papersky’s Journey’s on the Musical Saucer series with Haruomi Hosono which featured writings on Hosono’s returns to places once encountered during his rich musical career and travels.
Skateboarding needs art as much as it needs skaters. One of the pros and artists operating at the intersection of the two forms is Daisuke Tanaka.

Online gallery of
Japanese Contemporary Art
www.azito-art.com
Volume 1 of Papersky’s Journey’s on the Musical Saucer series with Haruomi Hosono which featured writings on Hosono’s returns to places once encountered during his rich musical career and travels.
I wrote my will at the North Pole. I figured that it wouldn’t be too strange if I died there. Ice can flow 30 kilometers in one night, and bears can sneak up on you. At times I felt as powerless as a small bird with its legs pulled off. I could hardly mov under my own power.
The current issue of Sb, The 2010 Photo Annual, bears an attention-grabbing gold reflective font and runs the musing title, “A life with a piece of wood and four wheels.” More than a quote, this phrase is enough to adequately echo the Sb editorial ethos of portraying skateboarding.
The first in a new series taking a closer look at Japanese photographers.
John Kormeling stands amidst the disarray that is his house. Metal scraps, paper shreds, a screaming child and watermelon rinds are strewn across the space. Models in metal and wood, children’s toys, faded posters, piles of books, trunks and dark corners full of mystery all make it clear that this is a man who keeps everything.
Strolling the lanes of Kyoto’s Arashiyama neighborhood, one passes a number of souvenir stores selling incense, pottery and the like. Then, there is one store that looks different from the rest, with a wooden and leather studded sign that reads “Anomaly Structure” and a bicycle parked in front.