Dizzy Magazine Issue 6

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Interviews with artists based in Japan

For this issue we chose to feature artists all based in Japan. The timing is strangely fortuitous, considering a new inability to travel. In a way it makes even more sense to do this now. 2020 is our "international" year, featuring artists outside of America and having conversations between cultures, countries, and generations. Our next issue will be based in Mexico. Why specifically Japan? I have spent a good portion of the last three years there -- going for the first time soon after we started Dizzy Magazine. Throughout my time there, I met incredible artists that I hoped to feature in the magazine. An excerpt from my Editor's Note; "New York can be a bubble, a place we often forget to look outside of". Prior to visiting and developing a relationship with Tokyo, the Japanese design and publishing world had been a large part of Arvid (Logan, co-founder of Dizzy) and my influences as self-publishing artists and book lovers. When we first met, he shared his collection of Hobby Japan issues and FRUiTS Magazine compilations. We flipped through pages of Hobby’s robot model kit instructions and dioramas and FRUiTS’ photos of inventive street style from the early 2000s. Drawn in by their colorful layouts and unique typography, the design of these magazines, and others, heavily impacted our sensibility when starting Dizzy. The value placed on print, handmade paper, and physical media in Japan is something we connected to immediately. Strolling through Jimbocho, a Tokyo neighborhood known for its bookstores, we have discovered precious reference material, ranging from children’s books to fetish magazines. Issues of the adult magazine SM fan, dating back to the 60s, have a variety of paper stock and printing methods throughout the illustrated pages. Gorgeous sewing pattern catalogues from the 1940s remain in pristine condition, even when pressed between heavy stacks of books.

日本をベースに活動しているアーティストたちをフューチャーすることに今号は決めました。 いま旅行ができないということを考えると、このタイミングはとても不思議で思ってもいませんでした。ある意味では今だからこそというものあります。2020年は私たちの国際的な年で、アメリカの外のアーティストそしてカルチャー、国、そしていろんな世代の間での話を取り上げています。次の号はメキシコです。どうして今回日本?というと、私はこの雑誌を始めて、初めて日本に滞在してらこの三年間、すごくいい体験をしています。そこでのあるゆる場面でこの雑誌で取り上げたい、素晴らしいアーティストたちと出会います。これはエディターズノートからの抜粋です。 "ニューヨークは儚くて、たまに外の世界を見ることを忘れがちになってしまうけど、ニューヨークやアメリカ以外のアーティストたちをいつもフィーチャーしていた。" 東京と繋がる以前から、私とArvidは日本のデザインと出版物に、自主出版アーティスト、そして愛書家として、とても大きな影響を受けていた。初めて私とArvidが出会った時に、彼は私にHOBBY JAPANのコレクションとファッション誌のFRUiTSを見せてくれた。私たちはHOBBY JAPANのモデルキットの説明書と、2000年代初期の独創的なストリートスタイルの写真で溢れているFRUiTSのページをめくりながら、カラフルなレイアウトとユニークなタイポグラフィー、雑誌のデザインなどに魅了され、Dizzyを始めた時にとても感化された。 印刷物が持つ価値、ハンドメイドの紙、そして日本における出版はすぐに私たちが結びつきを感じたことだった。古書の街として知られる神保町を練り歩いて、絵本からフェティッシ雑誌に至るまで、素晴らしい参考書を発見できた。60年代のSMアダルト雑誌のイラストページは、さまざまな紙や印刷方法で作られていた。1940年台のゴージャスな洋裁パターンカタログは、大量の本に埋もれていても、まるで新品のような状態だった。

The cover is a wooden sculpture by Makoto Kobayashi. Makoto san is the owner of a shop called Out of Museum in Tokyo, Japan. A combination of Makoto san's own artwork, as well as objects that he has collected from all over the world, books, and more, there are endless treasures to be found. An excerpt from his introduction in the magazine: "Kobayashi’s sculptures, constructed using various found objects, live in harmony beside other figures of similar scale. He integrates the natural materials found from the earth and man made objects from around the world, created and touched by many, and now him. There is no ego in his space; he is not concerned with distinguishing his own art from his findings. The selection Kobayashi presents is constantly shifting, as he pulls from his vast archive, which extends from his home to a storage space. When he is ready to let go of the objects, he is generous. I have walked out of the shop with Spanish matchboxes and Russian postcards with photographed felt dolls on them." -- Milah Libin.

このカバーは、アーティスト、コバヤシマコトによる気の彫刻です。マコトさんは東京のOut of Museumというギャラリーのオーナーでもあります。彼が世界中から集めた本や、収集した一生のお宝のようなものと、彼自身の作品とのコンビネーションになります。今号の彼の紹介分から抜粋したものです。 " 彼のつくりだす彫刻は、見つけてきたさまざまなものからできており、店内に並ぶ他のオブジェたちとうまく調和している。地球のどこかで見つけた自然の素材や、世界のどこかの人がつくり、いくつもの人の手に渡ってきたものたち。彼のつくりだしたこの空間には自我がなく、つくったものと集めてきたものを区別することに興味はないそうだ。店にあるものたちは自宅や倉庫に及ぶ膨大なアーカイブから引き出され、常に変化し続ける。手放す心の準備が整ったものは店で購入ことができる。私はスペインのマッチ箱と、フェルト人形の写真がプリントされたロシアのはがきを持ち帰った。" -- translated by Reiko Loucks

Because of the pandemic, the world is in a limbo right now, with many of us staying in our homes, and spending a lot of time online. We hope that Dizzy can be there when our readers need to take a moment away from the internet. This ties into your question about why we choose to publish in print. A tactile reading experience can re-center us in a space outside of the internet. Eyes resting upon a page is a much different physical experience than eyes working to decode a screen. Perhaps Dizzy can be read in the morning at breakfast, before your day begins, or at night in bed before your day ends.


I find it easiest to listen to instrumentals when I am reading -- music without lyrics. Film scores are good. Some music suggestions are: Vangelis (Blade Runner soundtrack), Ryuichi Sakamoto, Hiroshi Yoshimura (so calming!) and Cocteau Twins -- Elizabeth Fraser is so hard to understand, it's pretty much instrumental haha! This is also a cool album.

私がいつも読書をするときは、歌詞がない音楽、インストメンタルをよく聞いています。映画のサントラがいいですね。ここにいくつかオススメを書いときます。Vangelis (Blade Runner soundtrack), Ryuichi Sakamoto, Hiroshi Yoshimura (so calming!) and Cocteau Twins。 Elizabeth Fraser ( Scottish singer, songwriter )はすごく何て歌っているかわからないから、まあインストメンタルみたいなものです笑。それとこれもすごくいいですよ。

Date published
Date published
July 17 2020
Country / Language
US / English and Japanese
Reason for print format
We approach each issue with the hope that it is something you’ll want to put on your bookshelf, and come back to, rather than it being a disposable news source. I've found, at least speaking for myself, that once I read an article online, I close the tab and that's it. I still have so many of the books I grew up with, and collected throughout the years. I can easily pull them out of my shelf and re-engage with the content. I think that print encourages you to spend more time with the work, and each artist. Additionally, seeing artwork on a page is a step closer to what it looks like in person. We like the idea of the magazine serving as a physical archive of the artists' work -- who knows what will happen to the internet in the future!


Website / Instagram
www.dizzymagazine.com / @dizzymag