Fashion brand matohu designer  Horihata founded a fashion brand matohu with his partner Sekiguchi since 2005. He has have been making the case for the inclusion of Japanese aesthetics in contemporary fashion.

Born in Hyogo Prefecture in 1960, Hiromichi Hosoma is a professor at the Faculty of Letters, Arts and Sciences at Waseda University. His research into everyday voice and body movements is combined with an interest in audiovisual culture. He has authored several books, including “Idatenbanashi” (“Idaten Stories”), “Kyo no Ama-chan kara” (“From Today’s ‘Ama-chan’”), both published by Kawade Shobo; “Elan Nyumon” (“Introduction to Elan”) by Hitsuji Shobo; “Futatsu no Kono Sekai no Katasumi ni” (“Two ‘In This Corner of the World’s”), “Ehagaki no Jidai” (“The Age of Postcards”), “Asakusa Junikai” (“Asakusa Twelve-stories”), all by Seidosha; “Kaigo suru karada” (“The Caring Body”) by Igaku-Shoin; “Uta no shikumi” (“How Songs Work”) by Pia; “Mickey wa naze kuchibue wo fukuka” (“Why Does Mickey Whistle?”) by Shincho Sensho; and “Ehagaki no naka no Hikone” (“Hikone in Postcards”).

Contemporary Art Curator
Born in 1967 in Tokyo, lives and works in Vancouver, Canada. Moved to Vancouver at her appointed to the Chief curator at Centre A, Vancouver International Centre for Contemporary Asian Arts in 2007, and has become independent curator on 2013. Since the late 90s, Hara has curated numerous exhibition, and organized art projects in Asia Pacific Rim, in bridging the two continents with collaborative contemporary art practices. Recent curatorial projects include: Scotia Bank Nuit Blanche, (Toronto, Canada, 2009), AIR YONAGO, Tottori Geijyu Art Festival (Yonago, Japan, 2014-15), Fictive Communities Asia-Koganecho Bazaar (Yokohama, Japan, 2014), 105Chrysanthemum-Cindy Mochizuki Solo exhibition (Wakayama Museum, Ginza, Japan, 2016), Rock Paper Scissors, (Yonago City Museum of Art, Tottori, Japan, 2018) . Hara has appointed to the Advisory on International Exchange Center, Akita University of Arts, since 2017.

Writer/editor, mainly active in the field of Japanese art. Deputy director of Eisei-Bunko Museum. Provides entertaining, easy-to-understand introductions to Japanese art. Publications include, next to many others, Bijutsu de tadoru Nihon no rekishi (3 volumes, Chobunsha), Kyoto de Nihon bijutsu wo miru (Kyoto National Museum Collection) (Shueisha Creative), Kawarikabuto – Sengoku no COOL DESIGN (Shinchosha), as well as the co-authored books SHUNGART and 100% Art Museum – HOKUSAI 100! (both Shogakukan). Was also involved as an editor and writer in Nihon bijutsu zenshu (20 volumes, Shogakukan).

Music critic, producer for the rings label, and director and DJ at dublab.jp, the Japan branch of the LA-based nonprofit online radio station. Interested in matching cities and music in new ways. Author of “Jazz Thing”, a book on “Something called jazz – the sound that jazz has pursued”.

Born 1971 in Ibaraki. Architect. Graduated from department of Architectural Engineering of the School of Engineering, Osaka University. Principal of Hino Architects since 2002. Works include a viewing room for Gallery Koyanagi, F.I.L., and exhibition space design for the Yokohama Triennale 2014. Publications include Hakunetsu Kogi – Kore kara no Nihon ni toshi keikaku ga hitsuyo desu ka (co-author, Gakugei Shuppansha, 2014), Arata Isozaki Interviews (co-author, LIXIL Publishing, 2014), and Real Urbanism (co-author, Architectura & Natura, 2018). Directed and supervised the ”Struggling Cities” traveling exhibition.

Music journalist and critic. He was editor of　Ongaku No Tomo, and Record Geijutsu, the most famous classical music magazine in Japan, from 1989 to 2000. From 2007 to the present, he has been a regular performer on OTTAVA, a prominent Japanese classical music internet radio station. He has written articles and books on a wide range of arts, with a focus on classical music.

Writer and music critic, born 1989. After completing Atsushi Sasaki’s critic training program Gips, he commenced his activities as a writer in 2013, and has since contributed to publications including ele-king, JazzTokyo, Jazz The New Chapterand Eureka. Essays include “New wave of improvised music – a disk guide for first encounters or initial thoughts” and “Towards the inevitable ’non-being of sound’ – The concrete and real music of Asian Meeting Festival.” Since May 2018, he has been hosting the “Explorations in post-improvisation” event series at M’s in Kokubunji.

Born 1983 in Tokyo. Next to performing live with his own “Shuta Hasunuma Philharmonic Orchestra” in Japan and abroad, his diverse activities include contributing soundtracks to stage productionsand movies, and producing and creating music that is mainly based on environmental and electronic sounds. In recent years he has been applying the methods of musical composition to various media such as video, sound, sculpture and installation, the results of which he has been showcasing at domestic and international exhibitions and projects. Recent projects include the album “ANTHROPOCENE” (Shuta Hasunuma Philharmonic Orchestra, 2018), and the exhibitions “Compositions” (Pioneer Works, New York, 2018) and “ ~  ing”(Shiseido Gallery, Tokyo, 2018). shutahasunuma.com