Zolo Press and MISAKO & ROSEN at Tokyo Art Book Fair

December 11 - 14, 2025

TOKYO ART BOOK FAIR started in 2009; the first book fair in Japan to specialize in art publications.

Held annually, it gathers independent publishers, gallery presses, bookshops as well as individual artists and groups. The fair has seen constant growth in its scale and content over the years, and the event now gathers more than 350 participants from Japan and abroad and attracts more than 20,000 visitors every year.

At the fair, visitors can communicate with and buy publications directly from hundreds of publishers and artists who create unique and innovative art publications; they can also enjoy various events including special exhibitions, talks/panel discussions and film screenings.

As the biggest of its kind in Asia, TOKYO ART BOOK FAIR aims to champion and lead art publishing culture in the region, and create the ideal opportunity for visitors to experience the ever evolving, vibrant arena of arts publishing.

Tokyo Art Book Fair

MISAKO & ROSEN

Zolo Press

Keijiban at Tokyo Art Book Fair

December 11 - 14, 2025

TOKYO ART BOOK FAIR started in 2009; the first book fair in Japan to specialize in art publications.

Held annually, it gathers independent publishers, gallery presses, bookshops as well as individual artists and groups. The fair has seen constant growth in its scale and content over the years, and the event now gathers more than 350 participants from Japan and abroad and attracts more than 20,000 visitors every year.

At the fair, visitors can communicate with and buy publications directly from hundreds of publishers and artists who create unique and innovative art publications; they can also enjoy various events including special exhibitions, talks/panel discussions and film screenings.

As the biggest of its kind in Asia, TOKYO ART BOOK FAIR aims to champion and lead art publishing culture in the region, and create the ideal opportunity for visitors to experience the ever evolving, vibrant arena of arts publishing.

Tokyo Art Book Fair

Keijiban

CAIM, Slane Castle, Co. Meath

Stptember 11 - 30, 2025

Named after the Celtic word for "sanctuary," CAIM is Slane Castle’s new art program dedicated to exploring nature and sanctuary through contemporary art. This September, CAIM will launch its inaugural exhibition at the iconic 18th-century estate, fostering dialogues between international contemporary art and Ireland’s cultural heritage.

In Irish Gaelic, CAIM signifies protection and sanctuary—a concept deeply rooted in ancient Celtic symbolism and ceremony. Traditionally, it refers to the act of encircling something in a protective prayer, evoking a sense of safety and sacredness.

Inspired by these themes of shelter, preservation, and ritual, the exhibition brings together 19 Irish and international contemporary artists working across various mediums, generations, and cultural backgrounds. Reflecting Slane Castle’s motto, "Nurture and Share," CAIM transforms the historic estate by engaging with and reawakening its connection to the surrounding natural landscape.

Leo Costelloe, Phoebe Evans, Fergus Feehily, Laura Gannon, Omar El Lahib, Liling Liu, Yi Liu, Scott Lyall, Fergus Martin, Tim Millen,Niamh O'Malley, Polina Piëch, Emily Ponsoby, Margaret R. Thompson, Melania Toma, Kathy Tynan, Lee Welch, Laura Wilson, Yijia Wu.

Curated by Jenn Ellis (Apsara Studio) and Matilda Liu (Meeting Point Projects)

CAIM

Coalescence: Happenstance With All Due Intent , Shimmer, Rotterdam

Curated by Paul O’Neill and Shimmer.

Opening Saturday 28 June 2025, 5 - 7pm

Coalescence: Happenstance With All Due Intent is a durational, accumulative and evolving exhibition-form featuring artists from all over the world to experiment with the exhibition format through collaboration, intervention, constellation and juxtaposition. Throughout the year, artists will respond to each other’s works, creating new pieces inspired by or adapting existing ones. Such actions turn the exhibition space into a dynamic environment where artists’ works merge into a collective assemblage. This exhibition challenges the boundaries of individuality and authorship, promoting a sense of cooperative and coalescent gathering.

Anne Tallentire, Bea MacMahon, Fergus Feehily, Inga Meldere, Katie Watchorn, Noor Abed, Ronan McCrea, Sarah Pierce, Suzanne Mooney, Tuukka Kaila, Eduardo Padilha, Grace Weir, Ilke Gers, Isabel Nolan, Jaime Gili, Lawrence Weiner, Liam Gillick, Moosje M Goosen, Nina Canell, Walker & Walker and William McKeown

Shimmer

Paul O’Neill

Two Coats of Paint

Fergus Feehily: The Horse and The Rider

Joe Fyfe, February 5, 2025 1:39 pm

“Feehily has published several small books, pamphlets, and brochures that touch on aspects of his works in relation to things in the world and a full-scale catalogue of 230 pages with color plates on coated, shiny paper interspersed with light, pastel-tinted dull paper stock on which are printed two essays by others, comments by the artist, images of found art, notes, and other relevant images, published by Zolo Press in 2023. His artworks have been exhibited regularly in Europe, Tokyo, Mexico City, and New Zealand, and in American museums in Texas and Minnesota, but New York has bypassed him for at least a decade.”

Two Coats of Paint

Pond, Chalk, Universe

Pond, Chalk, Universe is a day of events hosted by exhibiting artist Fergus Feehily on the occasion of his solo exhibition, Fortune House at Temple Bar Gallery + Studios, 13 December 2024 — 23 February 2025.

Pond, Chalk, Universe (Part I)

25 January 2025, 11:15–12:30

Exhibiting artist Fergus Feehily leads a walk through the city with readings from his book, The Horse and the Rider.

Meeting under the Eason’s clock on O’Connell Street, a small group of people will join the artist Fergus Feehily to walk across the city visiting several undisclosed locations. Here, the artist will lead readings from his new artist book The Horse and The Rider – written as an integral part of his exhibition at Temple Bar Gallery + Studios. Feehily is a kind of flâneur, both metaphorically in his artistic practice and in actuality, this has led the artist’s desire to bring viewers on this walk.

Participants on the walk are invited to attend Pond, Chalk, Universe (Part II).

Pond, Chalk, Universe (Part II)

25 January 2025, 2–5:15pm

Join us at the gallery for an afternoon of talks, readings, a lecture and discussions, hosted by artist Fergus Feehily on the occasion of his solo exhibition, Fortune House at Temple Bar Gallery + Studios. Stephen Ellcock is an online collector and curator of images, as well as a writer and researcher and creator of a virtual museum on Facebook and Instagram. This event brings together artists of different generations and locations, including artists Annie May Demozay and Aino Lintunen – both of whom the artist first met while teaching in Helsinki, the artist himself, and TBG+S Programme Curator Michael Hill who worked closely with Feehily towards this project.

This event is the second part of Pond, Chalk, Universe, a day of events hosted by exhibiting artist Fergus Feehily on the occasion of his solo exhibition, Fortune House at Temple Bar Gallery + Studios, 13 December 2024 – 23 February 2025.

Fortune House is situated in deep winter, taking place on both sides of the solstice, continuing into brighter days. This changing context draws on ideas of illumination, bridging time and memory through the exhibition. The title conjures a vision of a site where luck, prosperity, or a glimpse into the future might be found.

Fergus Feehily born in Dublin now lives and works in Berlin. Recent solo exhibitions include Lulu, Mexico City (2022); La Maison de Rendez-vous, Brussels (2020); Galerie Christian Lethert, Cologne. (2019) and Misako & Rosen, Tokyo (2018). His work has been shown at The Walker Art Center, Minneapolis; Dallas Museum of Art; X Museum, Beijing; Tokyo Opera City; Capital, San Francisco; Irish Museum of Modern Art, Dublin. In 2023, a major new monograph on the artist was published by Zolo Press, Mexico City/Brussels.

Stephen Ellcock is a collector and renowned curator whose online ‘Cabinet of Curiosities’ – an ever-expanding, virtual museum of art that is open to all via social media – has so far attracted more than 635,000 followers worldwide. Publications include Underworlds (2023) and The Cosmic Dance (2022) and Element: Chaos, Order and the Five Elemental Forces (2024) published by Thames & Hudson. Internationally acclaimed dance company BalletBoyz staged an adaptation of England on Fire, picture-edited by Ellcock, at Sadlers Wells in 2023.

Aino Lintunen, who was born in Jyväskylä, Finland, is a visual artist based in Helsinki. In her work, she uses methods of process-based painting, drawing and writing. She is interested in edges rather than cores, and navigates towards uncertainty. Lintunen has studied at the Academy of Fine Arts, Uniarts Helsinki (MFA 2022), Aalto University (MA 2016) and the Slade School of Fine Arts, London. Lintunen is also a member of the artist-run initiative SIC, located in an old train station in Helsinki.

Annie May Demozay reads and talks a lot. She is deeply interested in all sorts of things but she is fickle and the things she finds interesting are always changing. Sometimes the things she reads and talks about end up in her writing - sometimes they do not. She considers herself a conduit and is interested in the past and communing with the dead. Her writing is sporadic as she is an idler with a poor imagination. She spends more time on her bicycle than slaving over sentences. She is more interested in talking than writing anyway. Although lately she has been memorising poetry which she recites whilst riding her bicycle (she shouts Philip Larkin at the hills). She is interested in the vernacular and things that follow one thing after another. She is interested in folk approaches to art making, in things that are passed down and altered, in building on what has gone before. She lives in Scotland.

Michael Hill is Programme Curator at Temple Bar Gallery + Studios.

Event Location Description: This event will take place across multiple spaces at Temple Bar Gallery + Studios. Entrance through our street facing gallery, rooms accessible by stairs or lift, semi accessible bathroom available.

For further access information please contact Learning + Public Engagement Curator Órla Goodwin.

Temple Bar Gallery + Studios.

The Horse and The Rider

I have written a new book, The Horse and The Rider, which “brings together many reflections on thinking about and experiencing art, and alternative ways of seeing and understanding artistic values. The artist's self-reflective writing moves between disciplines, chronologies and geographies. This pocket-sized volume collapses worlds of understanding by linking Ursula K. Le Guin and Napalm Death’s expositions of truth, and the cosmic universality of Giorgio Morandi’s paintings. Elsewhere, Sun Ra’s abandonment of knowing is related to the lost meaning of ancient Irish artefacts such as the Corleck Head carved stone.”

The Horse and The Rider is published as part of Fergus Feehily’s exhibition, Fortune House at Temple Bar Gallery + Studios, December 2024 – February 2025. 

All proceeds go to Dublin Simon Community.

Temple Bar Gallery + Studios, 2024.
160 x 111 mm
Paperback
80pp.
Designed by Michael Hill.

Purchase

The Year in Review

Highlights 2024:

Memories of the year are sketchy but here are some things: Listening to Sway of the Verses on NTS; reading John Banville’s Benjamin Black novels, something I began in the warmth of the summer; talking to my son about gaming, ethics and the world; Mike Kelley at K21, lunch at Kushi-Tei of Tokyo, Düsseldorf; Jochen Lempert’s mysterious photographs at BQ, Berlin; Paul P at KW, Berlin and coffee with Scott Treleaven, as was outdoor conversations with Alexander Gorlizki and Aino Lintunen; visiting the amphitheater at Trier; Khanate’s brutal and beautiful set at Berghain, Berlin; Rebecca Warren at Max Hetzler, Berlin; Hallie Rubenhold’s deeply humane The Five: The Untold Lives of the Women Killed by Jack the Ripper; walking on Shooter’s Hill in London with Michael Hill; Matt Connors at Goldsmiths, London; having time to look at Inge Mahn’s drawings over an extended period of time and the hours spent at the Bibliothek Günther Förg in Weidingen; Portals, Art and Spirituality at the Swedenborg Society, London; Annie May Demozay’s Cry Boy Cry’s echoes were felt through my year; Tommy Tiernan being interviewed on the Bill Burr podcast; Trails Of Uncertainty: Mark Buckeridge & Vivienne Dick at the Complex, Dublin; Séance at House, Berlin; Tal R at Max Hetzler, Berlin; Akihiko Okamura: The Memories of Others at the Museum of Photography, Dublin; Mark Swords and Alan Phelan at the Casino Marino, Dublin and seeing the echo of Paul McKinley’s Casino show at the Rotunda in Dublin and wishing I had seen it in situ and John Graham at Highlanes in Drogheda and the vegan sausage roll eaten on the much delayed train journey home; Matt Marble’s The American Museum of Paramusicology; walking on Sandymount Strand on a cold Sunday; Bonnie ‘Prince’ Billy at Pierre Boulez Saal, Berlin; delving Stephen Ellcock’s ever changing image collection which makes the internet a better place; Sinéad Gleeson’s Hagstone; Zia Mohiuddin Dagar & Zia Fariduddin Dagar’s 1968 Bombay recordings on Black Sweat Records, Decoy and Joe McPhee and an equally beautiful set by Marilyn Crispell in Berlin;  the music of Meredith Monk; the Sacred Harp Singers, Berlin; B Wurtz’s You Know, This Is How He Is, published by Tutto, making its way from Australia to my bookshelf; The Wire magazine; The Sacred podcast and a weird dive into the world of Catholic podcasting, offering both highlights and several lowlights of my year, which relates to a bleak but also hopeful conversation with the artists Bergman & Salinas; St. George’s Bookshop, Berlin; looking at Nicolas Poussin at the National Gallery, Dublin; Frans Hals, Gemäldegalerie, Berlin; the Panta Rhei blog; walks through the little gardens near to where I live; cafés; my friend Jay Hōdo Roche giving a talk at Temple Bar Gallery + Studios; seeing the Messthetics and James Brandon Lewis deal with the room as it is at the Lido, Berlin; apologies received and given; Alan Moore’s The Great When and Alan Moore and Steve Moore’s Bumper Book of Magic; Blood Incantation, Absolute Elsewhere; Rotting Christ’s work, discovered through the lecture Black Metal By Fenriz; Marian Balfe’s playing cards and the replica of Austin Osman Spare’s Tarot Deck, published by Strange Attractor; Niamh O’Malley at Shtager&Shch, London; Robyn Denny, Vardaxoglou, London; getting to see some Carpaccio paintings at the Stastsgalerie, Stuttgart; John Rogers The Lost Byway films on Youtube and that medium has thrown up so much that I have enjoyed, including Stefan Milo’s pre-history channel and Simon Roper’s videos on linguistics, which are endlessly fascinating, Emma Thorne, Atomic Shrimp, the Majority Report and Novara Media; Aileen Murphy’s generosity in public conversation with me at Temple Bar Gallery + Studios and the breadth of Indian classical music, which has been my constant companion throughout the year. 

Lowlights: 

Many people died this last year, and many in the art world, I was particularly sad at the passing away of Terri Thornton, artist, and former Curator of Education at the Modern in Fort Worth; obviously the ongoing wars in Palestine and Ukraine and the growing right-wing lunacy of much of the aforementioned Catholic podcasting, the delusion of many of those tuning into Joe Rogan and the obscene rise of Elon Musk.

Winter Solstice and the Turning of the Wheel with Jay Hōdo Roche

Temple Bar Gallery + Studios, Dublin

Friday 20 December 2024, 11:30 am

Taking place in the street-facing Gallery at Temple Bar Gallery + Studios, this talk takes advantage of the incoming morning light on the occasion of the Winter Solstice. Based on a longstanding friendship with exhibiting artist Fergus Feehily and themes and conversations they have shared over the years, the talk will reflect on the surrounding environment of Fergus’s solo exhibition Fortune House.

Fortune House is situated in deep winter, taking place on both sides of the solstice, continuing into brighter days. This changing context draws on ideas of illumination, making associations with places as far-reaching as the megalithic site of Newgrange and the neon streets of Shinjuku, Tokyo. These locations have personal significance to the artist, bridging time and memory through the exhibition.

The title, Fortune House, conjures a vision of a site where luck, prosperity, or a glimpse into the future might be found. Feehily states an increasing reticence to explain his work, allowing ideas around the art-making process to be puzzled out and questioned. He seeks an experience of looking without the need to pin down or impose a fixed meaning.

Jay Hōdo Roche was born in Dublin in 1968. He studied fine art painting in what is now IADT, graduating in 1990. He works professionally as an artist and runs a design and craft company based in county Wicklow. He was ordained as a Zen Priest in 2018 and is now a teacher at the Dublin Zen Centre in Temple Bar. He lives in Greystones, county Wicklow with his wife and children.

Tickets

Jay Hōdo Roche