Tokyo Art Book Fair 2025
In February last year, Japan’s publishing industry was caught off-guard by an announcement from the Tokyo Art Book Fair (TABF). Traditionally a four-day event held in late November or early December, it had been decided that the fair would expand significantly in 2025, spanning two weeks. Week One ran from 11-14 December, and Week Two from 19-21 December, with exhibitors rotating between the two sessions to effectively double the size of the event.
One member of the organising team told me the primary driver for this change was the sheer volume of applicants; year on year, more creators were being turned away simply due to a lack of space. While the wider publishing industry faces struggles, independent publishing is thriving, and artists and creators are increasingly keen to work with print – TABF’s decision seemed to reflect this trend.
Held once again at the Museum of Contemporary Art Tokyo in Kiyosumi-Shirakawa, this year’s fair welcomed around 560 exhibitors. Among them were several magazines I had long admired, but whose creators I had never met. Writing this report gave me the perfect excuse to approach them and discuss their motivations. At Steven’s request, I have also included my own magazine, Troublemakers.
Yuto Miyamoto and Manami Inoue from Troublemakers
Troublemakers
Troublemakers is a Tokyo-based bilingual (English/Japanese) magazine dedicated to the stories of misfits. Positively (mis)interpreting the word ‘troublemaker’ to describe those who don’t turn a blind eye to social issues, we embrace the role of the troublemaker and set out to meet misfits and share their life stories.
The theme of our second issue, published in summer 2025, is ‘Home’, or the sense of belonging. We featured an 82-year-old Japanese feminist who found her voice through gender critique of literature; the owners of Kabe to Tamago (The Wall and Egg), a Tokyo café that embraces misfits; and our dear friend Linda, a Cambodian-American woman who found a new home in Ireland.
Beyond the magazine, we produce a mini-book series. The first edition, Design is for Everybody, translates five essays from Futuress, a Swiss-based platform exploring the intersection of design, feminism, and politics. The latest edition, Stammering Pride, features six translated interviews from Dysfluent, a London-based magazine about the experience of living with a stammer. While we are telling Japanese/Asian stories to international audiences through the magazine, we also believe in the power of translation, introducing international perspectives to Japanese readers.
Alvin Ho and Clara Koh from Science of the Secondary
Science of the Secondary
Apple, Cup, Clock, Window, Egg, Socks, Toilet paper, Banana, T-shirts, and Book… These everyday items are the subjects of Science of the Secondary. Launched in 2013 by Atelier HOKO, a Singapore-based creative practice run by Alvin Ho and Clara Koh, this publication explores the objects and phenomena we take for granted. Over 12 years and 17 issues, each edition has been dedicated to a single item.
Opening its pages reveals an exhaustive investigation from every conceivable angle. The Cup issue, for instance, examines how cups are held and temperature perceived; the difference in weight felt on the fingers between cups of varying shapes; the contact area between upper and lower lips when drinking; how many sips it takes to finish drinks in cups of different sizes and the corresponding mouth shapes; and even the role of the void. This earnest exploration of the trivial feels quietly humorous. “Life is short, and we might die anytime,” Clara says. “So I feel like there are so many things around us that we still don’t know. There are so many hidden things behind the everyday object.”
Alvin adds that he wants readers to become more aware of their surroundings. “Because we are so glued to our phones, we miss the simple things.” Science of the Secondary teaches us that if we observe closely enough, there is wonder to be found in everything.
Miya and Haru from HIGH(er)magazine
HIGH(er)
For Haru, magazine-making has always been a way to connect with the world. Growing up between Japan and Germany, she faced language barriers that led her, at 17, to create a zine with classmates – a way to express herself beyond the spoken word. Realising that putting her thoughts on paper allowed her to connect with others, she launched HIGH(er) magazine with friends in 2015, shortly after entering university in Japan.
The magazine’s concept is to, “focus on personal issues extending from everyday life and create a space for dialogue.” Covering everything from fashion and music to politics, gender, and sex – topics often considered taboo in Japan – it consistently presents the views through a personal lens. The latest issue (Autumn 2025) features an interview with Sae Tsuji, a prosthetic arm user, model, and former Paralympian. The dialogue captures her journey to becoming a Paralympian, the sexualised gaze directed at female athletes, and her desire to shift perceptions of disability. “I believe certain things resonate precisely because they are heard as personal stories,” says Haru. “More than themes, each issue reflects who we want to be with right now, and what we want to discuss with them.”
Celebrating its 10th anniversary, HIGH(er) has a cult following among younger generations. Yet Haru insists that what they do – observing and discussing one’s daily life – is actually, “something anyone can do.” She adds, “Hearing people say, ‘I read HIGH(er) and made my own magazine!’ is what makes me happiest.” The team also runs the underwear brand HEAP (hence the giant panties at their booth), based on the philosophy that choosing everyday underwear is an act of choosing what you truly want. Through both stories and products, HIGH(er) empowers people to become, if only a little, their better selves.
Almer Mikhail and Januar Rianto from Serving Suggestion
Serving Suggestion
Created by the Indonesian publishing platform Further Reading, Serving Suggestion may not be the most eye-catching magazine at first. Its modest, risograph-printed cover features a simple layout and a food-themed graphic – a mushroom for issue one, shrimps for issue two, and eggs for issue three.
Yet turning the pages reveals diverse narratives centred on Indonesia and Southeast Asia, all of which use food as an entry point. Issue three contains personal writing on food-related memories; an interview with Indonesia’s former Director General of Culture; essays on the country’s past and traditions explored through tea and rice; a script about eggs and grief; cocktails inspired by Indonesian folklore; recipes; and even comics. “We use food as a means to open up broader discussions, touching on social politics and cultural heritage,” says editor-in-chief and creative director Januar Rianto.
When asked about the title, Januar explained: “We wanted a publication that doesn’t dictate what to do or think, but instead gives space for the reader to interpret what they read. Food is a huge part of daily life; it’s not just about taste, it’s about the story. I want readers to be more intentional about the food we encounter every day.”
instagram.com/serv.ingsuggestion
Lucas B.B. from PAPERSKY
PAPERSKY
On the final day of Week Two, I was lucky enough to speak with Lucas B.B., founder and editor-in-chief of PAPERSKY. Born in Baltimore and raised in San Francisco, Lucas arrived in Japan in 1993, fresh out of university with just a backpack. Intending to stay for two weeks, he has now been here for over 30 years because, “there was no reason to go back.” Having started his first magazine at age 12, Lucas launched the culture magazine TOKION in 1996, followed by PAPERSKY in 2002. Now one of Japan’s longest-running independent magazines, it features one region per issue. The team practices “ethno-travel” – personally walking the land and engaging with locals to capture the atmosphere.
Looking through back issues, a shift is visible. While the late 2010s often featured overseas destinations like Sweden, Mexico, or Oregon, since 2020, post-COVID, the focus has shifted to Japan’s regions: Iwate, Amami, Yamaguchi, and beyond. “I believe the world is now interested in Japan because it seeks what Japan has – balance, safety, and kindness,” he says. “That’s why we want to share authentic Japanese culture, not just trends.” Both their print and online magazines are produced in Japanese, English, and Chinese (Simplified and Traditional).
PAPERSKY also produces travel wear and tools, organises the Tour de Nippon cycling events, and in the near future plans to open a PAPERSKY Inn. “We want to create opportunities where people can actually ‘do’ the magazine – experience the very things featured in it,” says Lucas. It is no longer just a magazine but a platform that enables Japanese people to take pride in their regions while helping international visitors discover the country’s true appeal.
