{"product_id":"mimeograph-chronicles-謄写版クロニクル","title":"Mimeograph Chronicles \/ 謄写版クロニクル","description":"\u003cp class=\"p1\"\u003eCo-published by \u003cmeta charset=\"utf-8\"\u003eInga Books and Red de Reproducción y Distribución, Mimeograph Chronicles 謄写版クロニクル by Bruno Ruiz Nava is a result of research on the origin and uses of the mimeograph, or gariban and toshaban as it is known in Japan, during a residency at and with generous support from the Fukuoka Asian Art Museum. This is the 2nd reprint by Neutral Colors in Yokohama, Japan.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe mimeograph tool is a simple, portable press made of wood and shaped like a briefcase, containing inside a mesh frame and a roller. Easy to transport and ideal for small organizations—schools, offices, or political groups—it enables mobility and autonomy in printing, allowing its users to produce materials and grassroots communication quickly. Originally introduced at the 1893 World's Fair in Chicago by Thomas Edison, whose Japanese counterpart Shinjiro Horii's concurrent contribution’s were overlooked as an essential part of the process, having developed within the context of Japanese paper making the stencil paper needed for the use of the machine.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThrough a visit to the Daito Tosha-Technical Archive Museum in Gifu Prefecture, a museum which exhibits an extensive collection and history of and history of mimeograph printing, the pamphlet recounts the history of gariban in Japan as an industrial, artistic, and pedagogical tool. In the latter half of the book, and referencing the writing of KuroDalaiJee, the work of 1960s Japanese underground artist Asai Masuo is featured, a pioneer of hippie communes and what’s known as the mini-komi zine community—“a pre-digital social network.” Asai’s work with coal mine labor movements and his pedagogical approach to children’s art, such as via the publication series Kuroi kaku (Black Core, 1962), is highlighted.\u003c\/p\u003e\n\u003cp class=\"p1\" style=\"padding-left: 40px;\"\u003e\u003cem\u003eWe fight our own fight.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eRejecting all interference from adults\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eWe stand on autonomous ground\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eWe continue fighting\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eTo fulfill our promise of destruction and creation\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eRooted in the children’s own fundamental desire\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"p1\" style=\"text-align: right;\"\u003e– “Itan no kodomo tachi no sengen” (Manifesto of the Heresy Children) by Asai Masuo, 1963\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003eメキシコ人のアーティスト、ブルーノ・ルイス・ナバ（Bruno Ruiz Navas）による謄写版（ガリ版）年代記。Brunoはメキシコ人でコレクティブRRDのメンバー。本書は、RRDが福岡アジア美術館で展示及び滞在制作を行った際の謄写版についてのリサーチブック。日本人でも知らないようなガリ版の歴史、意義、役割などを綿密かつ徹底的なリサーチと考察が1冊にまとまっている。デザイナーはシカゴの書店Ingaを主宰するJacob、NEUTRAL COLORSは2刷目の印刷を担当。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003ePages: 20\u003cbr\u003eSize: 210×297\u003cbr\u003eFormat: Saddle stitch\u003cbr\u003eCopies: 250\u003cbr\u003eLanguage: English, Japanese\u003cbr\u003ePublication Year: 2026\u003cbr\u003eDesigner: Jacob Lindgren\u003cbr\u003ePublisher: RRD, 2025\u003cbr\u003eISBN None\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Bruno Ruiz Nava","offers":[{"title":"Default Title","offer_id":67594677977390,"sku":null,"price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2263\/4647\/files\/imgi_1_pc_cover.jpg?v=1790770553","url":"https:\/\/3ssstudios.com\/products\/mimeograph-chronicles-%e8%ac%84%e5%86%99%e7%89%88%e3%82%af%e3%83%ad%e3%83%8b%e3%82%af%e3%83%ab","provider":"Bungee Space by 3standardstoppage","version":"1.0","type":"link"}