A new book of Gestalten Publishing about Self-Publishing Culture is out now. The Zines are self-sufficient, everlasting objects, printed pages that can be turned with your fingers, vehicles for expressing alternatives to mass culture... and perhaps even interactive media, for you can go back to them as often as you like and they are open to different levels of interpretation, creating a personal bond with the reader, offering visual, tactile and olfactory sensations. In many cases, their periodicity is erratic and extended, and some only come out once a year. The Zines operate independently of market demands. They offer a space for freedom and explore the full graphic and artistic potential of the physical format.
Twenty-volume folios will never make a revolution. It’s the little pocket pamphlets that are to be feared.
—Voltaire
Social networks are dominating today‘s headlines, but they are not the only platforms that are radically changing the way we communicate. Creatives such as designers, photographers, artists, researchers, and poets are disseminating information about themselves and their favorite subjects not via predefined media such as Twitter or blogs, but through printed or other self-published projects—so-called zines. Those who publish zines are mostly interested in sole authorship, namely that all components including text, images, layout, typography, production, and distribution are firmly in the hands of one person or a small group. At their best, the results convey a compelling and consistent atmosphere and push against the established creative grain in just the right way. They provoke with surprising and non-linear food for thought. In short, zines are advancing the evolution of today‘s media.
With a cutting-edge selection of international examples, Behind the Zines introduces the broad range of zines that exists today. These include zines that function as a new kind of project-oriented portfolio to showcase a self-profile or document an exhibit. While some act as (pseudo) scientific treatises to call the reader‘s attention to a specific topic, others serve as playrooms for creatives to run riot and express themselves and communicate with each other in a space that is free from editorial restrictions.
The book examines the key factors that distinguish various zines. It introduces projects in which the printing process significantly influences aesthetics or in which limited distribution to a small, clearly defined target audience becomes part of the overall concept.
Behind the Zines not only documents outstanding work, but also shows how the self-image of those who make zines impacts the scene as a whole. Through interviews with people involved in zine production and distribution, the book sheds light on various strategies for this evolving media form.
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From time to time comes into your hands a delicious project as Woodland Recordings. A music label with records 100% handmade, taking care to the detail, making each of their records in an object, retrieving the thrill of buying a record before the mp3 era. Founded in Brighton in the south of England but now based in Berlin, they release music and arrange concerts for musicians in Europe. They have been recording and releasing music since 2007 and have organised over 300 concerts in England, Germany, Switzerland, Denmark, The Netherlands, Belgium and Spain. Woodland Recordings release music that they love in very limited, handmade editions -often less than a hundred. These take time and a lot of effort from them and the artists they work with.
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