Live and recent posts from across the Fediverse tagged #fanzines, aggregated by home.social.
📣 La collection de #fanzines s’enrichit pour traiter des sujets majeurs :
➡️ le #feminisme avec Olympe de Gouges
➡️ le #capitalisme avec un petit guide inédit pour renverser le système
➡️ l'exploitation au travail avec une adaptation de "Working Sucks"
➡️ l' #ecologie avec un petit manuel d' #écorésistance qui traite à la fois de #jardinage et de #sabotage ! 😉
Imprimé et fabriqué artisanalement à #avignon
Dispo sur le shop toujours à #prixlibre ! 🤑
Hey Tooz, @[email protected]
about thirty-five copies of EVERYDAY METALHEAD ZINE #10 found their way to interested readers this evening. The people all seemed relaxed and open to a wide range of musical styles. I hope Banners Of Extinction get a good response. The gig by Thronehammer—a doom-death band—was really great.
#undergroundacts #bannersofextinction #fanzinemusique #printmagazin #fanzines #everydaymetalheadzine
Por cierto, este finde es el oh comics fest y está guay como evento por si coincide que os podéis pasar https://ohcomicsfest.com/bcn/2026/es/ #barcelona #comics #zines #fanzines
Exploration Log 17: Interview with Loïg J. F. Pascual on 1970s-1980s Feminist Science Fiction Fandoms
Over the last few years, I have highlighted a few curated pieces of science fiction scholarship in my Exploration Log series that I’ve found memorable, historically important, and worth sharing.1 Today I have an interview with SF scholar (and friend) Loïg J. F. Pascual, author of the recently published article “The Collective Memory of 1970s-1980s Feminist Science Fiction Fandoms: A Case in Reflexivity and Historiography for fan Studies Practices” (2025). The article appeared in Transformative Works and Cultures, Vol. 49 (2026) You can read a translated version in English and in the original French. The French version includes multiple Youtube video interviews with important figures in the movement.
More than just an interview about his specific area of research, Loïg dives into the larger history of feminist fanzines and the vital role of fan culture in the creation and memorialization of genre. Enjoy!
1. Thank you so much for agreeing to this interview. Please introduce yourself and your interest in feminist SF fandoms in the 70s and 80s.
My name is Loïg J.F. Pascual, and I am a Ph.D. student at the Université du Québec À Montréal. I started reading science fiction (SF) with the books my father bought—collections of Philip K. Dick stories, Hard to Be a God (1964) by the Strugatsky brothers, and Robert Charles Wilson’s Spin (2005), Axis (2007), and Vortex (2007) series. We would spend hours looking for new SF reads in used bookstores.
When I attended university, I launched the Gravof Corp channel with my friend GovanifY, where I talked about science fiction. My first videos were about Philip K. Dick’s Ubik (1969) and William Gibson’s Neuromancer (1984). I had stopped reading regularly then and did not know how to write consistently outside of my coursework; the quality of those first commentaries was bad. One day, I stumbled upon a book that belonged to my father—probably a gift from his father: A. E. Van Vogt’s The World of Ā (1948), translated into French by Boris Vian. That was the first time I really tried to conduct my own research, reading about Golden Age SF fandoms and general semantics.
After a period of depression, I started reading again, borrowing Ursula Le Guin’s The Left Hand of Darkness (1969) and Kurt Vonnegut’s The Sirens of Titan (1959) at the library in Chicoutimi, Canada. Martin Nadeau, the instructor for a course titled “Cyberculture,” asked me to present Donna Haraway’s article “Cyborg Manifesto” (1985). It was through her list of cyborg writers (Monique Wittig, Joanna Russ, Samuel Delany, Vonda McIntyre, Suzy McKee Charnas, etc.) that I discovered (the academic canon of) feminist SF.
Lynn Randolph’s cover art for the 2018 1st editionIn 2021, I read an essay by ïan Larue titled Libère-toi Cyborg! (Free yourself cyborg!) (2018). She mentioned Jeanne Gomoll’s 1986 Open Letter.2 Gomoll, a feminist fan, denounced the way conventions and books—primarily by male fans and authors—rewrote SF history by omitting the role of women and feminists (or reducing them to marginal “mother earth” ramblings). Not only were authors like Alice Bradley Sheldon (James Tiptree, Jr.) omitted, but also the role of feminist readers—those who invented new ways of reading, who politicized conventions, and who created zines and awards—was erased. It was a sense of rebellion that drove my research: the feeling that I had helped perpetuate a simplistic narrative of SF centred on authors.
I decided to read these fanzines: Janus (1975-1980) by the Madison group, edited by Jeanne Gomoll and Janice Bostad; New Moon (1981-1987) by Bogstad; Aurora (1980-1990) by the Madison group, mainly edited by Diane Martin; and the Canadian fanzine The Witch and the Chameleon (1974-1976) by Amanda Bankier. I started with a naive student question: “Where does feminist science fiction come from?” Then, I found myself in the middle of a complex and rich universe.3
2. For any readers interested in exploring feminist fanzine communities from this era, is there a specific issue/article that’s a must read?
I think everyone should read Jeanne Gomoll’s “An Open Letter to Joanna Russ”4 and Susan Wood’s “People’s Programming,”5 both of which cover the creation of the first feminist spaces leading up to the feminist convention WisCon. After that, I would browse through any fanzine on Fanac, the Fan History project, to grasp the diversity of the (historical) SF fanzine community. I suggest the readers check out the July 1977 issue of Janus because it features an academic review by Marleen Barr, a call to support Suzy McKee Charnas by Gomoll, and a major debate surrounding Marion Zimmer Bradley’s so-called feminism; the 1978 issue 2-3 to read the letters addressed to Harlan Ellison because this is a significant case in the reception of a mainstream feminist topic, the Equal Rights Amendment, within the fandom (Ellison’s position is explained in the 1977 issue 4, pp. 32–33).
From an academic perspective, I recommend reading the first feminist critiques of SF published in the 1970s: “The Image of Women in Science Fiction” by Joanna Russ,6 “Virgin Territory: Women and Sex in Science Fiction” by Beverly Friend,7 “Women and Science Fiction” by Susan Wood,8 and “A Feminist Critique of Science Fiction” by Mary Kenny Badam.9 It’s very important to take a step back to appreciate the monumental work these writings accomplish: female readers—from various academic and/or fan communities—introduced feminist concepts into the realm of science fiction. It’s also worth reading the early anthologies by women writers or feminists, such as Aurora: Beyond Equality (1976), Women of Wonder (1975), and especially Amazons! (1979) (more heroic fantasy, but one that sparked a great deal of debate).
3. Before we examine the various arguments you make in your article, two concepts come to the fore in your analysis: “collective narrative” and “memory activism.” How are they related? How are they useful?
Why talk about a collective narrative? The central idea of my work is that we underestimate the role of fans and readers in general. We often look for a founding figure or a seminal book (a pioneer among writers or a Big Name Fan), especially once feminist SF becomes an autonomous, almost-mainstream narrative that transcends its fandom. In doing so, we engage in the reinterpretation of its collective narrative and reinforce the literary illusion—the idea that literary genres are “natural” and that distinctions between genres are a pure reflection of readers’ interests. A genre is the product of a continuous, discrete work of indexation, of selecting its shelf in a library or a bookstore, of teaching literary history in school and university and, most of all, in learning how to write any specific genre. Samuel Delany,10 Mark Angenot,11 and Richard Saint-Gelais12 show that SF requires its readers to learn to postulate a form of background scientific realism supporting all of the authors’ inventions. The New Wave and Hollywood movies played a major role in spreading this way of reading to a mass audience. We also tend to forget that the division between genres is also the product of political struggles, which is why we must pay attention to the political work of fans.
Being a fan of a genre, a series, or a fiction universe is, first and foremost, a labor of memory. Fan memory cements the fandom, consolidates the specificity of the fan experience (“fans are slans,” after all), builds common interpretations of cultural products, and generates a proper vocabulary for that fandom. It requires what sociologist Camille Bacon-Smith13 called an attention to the most insignificant details of stories—details that nonetheless matter for discussions among fans—as well as ongoing archival work. This labor of attention and archiving is the fundamental condition for the existence of an autonomous space, a subculture if you want to call it that. That labor is also an act of resistance that enables future generations of fans to have a history at their disposal, to claim it, and, doing that, to claim a place for themselves in SF as both a genre and a fandom. Researcher Abigail de Kosnik14 goes further and claims that this continuous memory work, especially the archiving practices, is a space where fandoms and queer subcultures converge, insofar as these communities are sensitive to the fragility of their collective memory, to the lack of institutions to transmit it, and to the social forces of erasure that surround them. This memory work is therefore inherently activist, as it is part of the struggle to gain recognition for the ongoing presence of minorities in SF—a constant fight against social norms that identify the technological and scientific themes as hard, and therefore, naturally masculine (naturalized as places exclusively for men).
4. At first glance, for the uninitiated, fanzines can be a bit daunting. There’s an entire invented vocabulary. Readers often respond to each other, and larger genre scandals and debates, over the course of many issues. In addition to reviews, artwork from the amateur to professional, and news, fanzines often include poetry and stories that might not be publishable elsewhere. What is the role of a fanzine?
Fanzines are complex objects. The word “fanzine” encompasses a wide range of cultural productions: trekzines (Star Trek fanfiction), personal zines, comics fanzines, poetry fanzines, online zines, and letterzines (consisting solely of letters between fans). The Corflu convention, for example, has historically been dedicated to SF fanzines. What sets Janus—one of the first feminist fanzines—apart is that it was originally a “clubzine” (since it was the fanzine of the Madison SF club) and a “genzine” (meaning “general”). It features essays along with fiction, poetry, drawings, letters, and more… This is a rarer form, as most zines are vehicles for fanfiction.
The French philosopher Michel de Certeau15 used the metaphor of “poaching” to talk about reading—a metaphor taken up in one of the founding works of fan studies, Henry Jenkins’s Textual Poachers. De Certeau criticizes the formalist (and dominant) definition of reading, which treats texts as deterministic machines, as if we all read attentively, mechanically, line by line, sitting at a desk. Reading is an activity with an extremely diverse range of functions, and most of the time, it is oblique and subverts the author’s intent. The same is true of a fanzine: it can serve to convey stories, create a work of art, reinterpret a canon, suggest an interpretation, preserve memories, secure a booth at a convention, win an award, and so on. Fanzines are living entities, the active memory of fandom, and feminist fanzines are laboratories for experimenting with feminist critiques of SF, for chronicling the history of women writers, and for creating a space at the intersection of fandom, literature, and the feminist movement.
Journals such as 13th Moon, Frontiers, Pandora Feminary, and Chrysalis—which sit at the intersection of literature, poetry, academia, and the feminist movement—are referenced by the authors of the fanzines Janus and Aurora. Author Samuel Delany16 proposed to distinguish between the formal criticism found in academic journals and the older tradition of informal criticism that emerged in the fanzine. For the feminist fans, academic journals, magazines, and fanzines formed a continuum; along with novels and anthologies, they were all part of the same countercultural space.
Uncredited art for Blatant #15 (1985)5. What were the most important feminist SF fanzines (and their editors) that helped shape the community and form the narrative in the 70s and 80s?
It can be said that feminist fanzines, as such, emerged in the 1970s, since it was at that time that the word “feminist” took on the meaning given to it by the “second wave” in North America: the personal is political, and gender inequalities are not exclusive to the public sphere. Sexism structures all social relations, and the feminist struggle must especially include the realm of cultural productions. There seems to be a consensus that the first SF fiction fanzines to identify as feminist appeared in the mid-1970s. The first was the Canadian The Witch and the Chameleon by Amanda Bankier, and soon after appeared Janus by Wisconsin fans Janice Bogstad and Jeanne Gomoll, supported by the Madison club. We can also point to the special issue of Khatru published in 1975, the fanzines Aurora and New Moon from the 1980s, and Susan Wood’s short-lived Room of One’s Own (1981). There were other fanzines addressing feminist or queer themes at the time: Blatant (1980-1989) by Avedon Carol, Harlot (1981-1983) by Carol and AnneLaurie Logan, Windhaven (1977-1979) by Jessica Amanda Salmonson, the Australian zine WeberWoman’s Wrevenge (1981-2001), Suzette Haden Elgin’s The Lonesome Node (1980-1990), and perhaps also Denys Howard’s fanzines, among others. The list is long; we could also include the reviews written by Elisabeth Vornarburg in the Quebec fanzine Requiem/Solaris.
6. What was the historical genesis of feminist fanzines?
That’s the impossible question, isn’t it? Feminist fanzines appeared at the intersection of the SF New Wave, the success of SF TV series Star Trek, the spread of roneographs and other printing machines—fueling the exponential growth of activist magazines—and, of course, the social movements shaking up North America: civil rights and Black Power, feminism, environmentalism, pacifism, anti-ableism… When writing history, it is important not only to remember the material conditions but also to recognize how events present themselves as contingent to the people whose writings we study—it is important not to erase the feeling of uncertainty. The first feminist fanzines were tentative and experimental; they initially referred to “fem-fans,” then “feminist fans,” and the expression “feminist SF” appeared rarely at the beginning.
Shulamith Firestone’s The Dialectic of Sex (1970)I will quickly identify four historical origins of feminist fanzines: the democratization of universities, the student movements, the popularity of SF after the New Wave, and the spread of feminist essays. First, it is important to remember that those are the early decades of women’s widespread access to higher education. The editors of Janus, Jeanne Gomoll and Janice Bogstad, mention the influence of Professor Fannie LeMoine, who decided to organize a seminar on science fiction in 1973 at UW-Madison. Next, feminist and student movements played an important role; Students for a Democratic Society (SDS) is regularly mentioned in the interviews. Furthermore, SF was becoming more mainstream as a literary genre in the 1960s. Those fanzines would not have existed without the numerous local reading groups, which provided them with material to print and connections within the fandom. Finally, it is important to consider the spread of feminist essays: Kate Millett’s Sexual Politics (1970), Shulamith Firestone’s The Dialectic of Sex (1970), and, later, writings of Adrienne Rich, Marilyn Frye, and others.
7. What were the defining social and political issues debated within their pages?
My article shows a gradual evolution of themes in feminist fanzines. The early issues are dominated by texts primarily focused on fandom, sometimes with a feminist “ethical angle.” They feature letters from fans and authors, essays on current events in science and technology, convention reports, and so on. It is easy to fall into the teleological trap and focus solely on feminist content, forgetting that the fanzine is first and foremost a publication intended for the fandom, one that allows readers to engage in it.
However, I noted the presence of a few essays on feminist anthropology and critiques of sociobiology, lively discussions about the Equal Rights Amendment, and numerous comments on sexism in fandom and lesbophobia within the feminist movement. I also found it interesting that fans used the fanzine to support feminist authors, for example, by helping Suzy McKee Charnas publish Motherlines (1978) or by self-publishing the first version of the Làadan dictionary—a language devised by linguist Suzette Haden Elgin to better express women’s experiences.
8. Your analysis focuses on “memory activism” within Janus and Aurora. One of the common types of acts of memory activism are “epiphany” accounts. How do these stories allow “fans [to] inscribe their individual stories in the ‘grand history’ of fandom”?
Epiphany stories are an excellent way to understand why collective memory is a vital issue for feminist SF. An epiphany is a story of discovery: “The book or the author that made me an SF fan” (I just gave my own version in the first answer of this interview). These stories serve as gateways into fandom, allowing people to present themselves as “true” fans by recounting their individual memories in accordance with fandom conventions. This is how collective memory works: it provides frameworks through which one reinterprets their experience, demonstrates their belonging, and, in doing so, forges a fan identity and, in turn, reinforces the identity of the fandom itself.
For example, Jeanne Gomoll recounts how Monique Wittig’s Les Guerillères (1969) was a turning point for her. Jessica Amanda Salmonson mentions Elgin’s At the Seventh Level (1972) as “one of the earliest feminist SF” because it contained strong female characters despite having a male protagonist.17 Epiphany stories show how the self-narratives and collective memory of feminist fans both sustain their presence in fandom (as other SF fans) and their presence as feminist SF fans. The existence of a specific SF feminist fandom depends on their ability to sustain a collective memory of the continuous presence of strong female characters, the exploration of gender relations in SF novels, known female fans, and female authors. This memory is stronger when it is institutionalized, with women/LGBTQ+ spaces in conventions, feminist conventions, and awards. Reciprocally, the disappearance of this memory would be, to borrow L. Timmel Duchamp’s words, a “sentence of exile”18 from one of the few places where these fans can feel welcomed as feminists and as readers of SF.
9. Part of your analysis explores the tensions between fan communities and academic analysis of genre. What were the points of contention?
It has been suggested that I was pitting female authors—primarily academic feminists—against fans. The truth is, many of them occupy multiple roles at the same time. Yet it is at the heart of the literary illusion to believe that female SF authors were the vanguard of feminist SF because they had a natural inclination to create feminist SF. To be honest, at that time, Ursula Le Guin clearly did not identify as feminist, and writers such as Anne McCaffrey, Andre Norton, and Katherine McLean were explicitly wary of the label. The few to claim this label did so primarily as fans and activists; I am thinking of Vonda McIntyre, Joanna Russ, Jessica Amanda Salmonson, and Suzy McKee Charnas. There is always a tension between readers as fans, as academics, and as writers. In the 1970s and 1980s, female authors were reluctant to call themselves feminists, for fear that their fiction would be reduced to politics, and academics disliked science fiction—a genre perceived as masculine—and did not want to risk their institutional standing for such a secondary interest. It continues today; most authors do not like political labels for fear that they would negate their craft of worldbuilding. Academics sometimes use the label “feminist SF,” but the majority of them do so while replacing the fan-driven history of feminist SF with a literary, author-driven—in a word, legitimate—canon. Fans (sometimes also being authors or academics) are the only ones with a clear incentive to champion feminist SF because it is their history, their place in SF conventions, their panels, and so on, that are at risk of being canceled when the history of women/feminists in SF is overlooked.
10. In your rendering, the 1975 “Women in Science Fiction” special issue of Khatru takes on almost mythic community status. What was the issue about? How was it interpreted later?
Khatru is a fascinating archive. It was a fanzine published by Jeffrey Smith. In 1975, he sent letters to writers (not exclusively women—he included Samuel Delany and James Tiptree Jr., the latter known at the time as a man). Joanna Russ and Vonda McIntyre turned the issue into a symposium reflecting on women and feminist issues in science fiction. There were also writers Chelsea Quinn Yarbro and Suzy McKee Charnas, who identified as feminists but were pessimistic about the movement’s future; Kate Wilhelm, whose stance was ambiguous and whose analysis seems closer to a pessimistic marxism; Raylyn Moore and Ursula Le Guin, who denied being feminists or belonging to any particular camp.
This 1975 issue, titled “Women in SF,” predates the appearance of The Witch and the Chameleon and Janus and could, in a sense, lay claim to the status of the first “issue” of a feminist SF fanzine. And indeed, while it did not enjoy a wide diffusion at first print, it has achieved cult status within feminist SF fandom and has been reprinted several times by the Madison group (which published Janus and Aurora). It is viewed in retrospect as a defining moment in the collective memory of feminist fandom: a gathering and discussion on gender, sexuality, and the place of women led by women science fiction writers. The 1993 edition includes commentary from fans and authors. This clearly illustrates the fluidity of roles and positions (authors, fans, scholars, editors, readers): they have all contributed to carving out a space for women in science fiction and for feminist issues, and feminist science fiction is their story. As one of them puts it, the reissue of the fanzine “is a re-claiming of history.”19
11. What struck me the most in your analysis is the role of the fanzine (and the larger feminist fan movement connected to them) in “periods of backlash.” For example, the political and social backlash in the 1980s to earlier 70s activism. Simultaneously within science fiction, cyberpunk and its proponents attempted to define themselves in relation to the past. How did it challenge the collective memory of the feminist fanzine? How did they respond?
Cover for Joanna Russ’ How to Suppress Women’s Writing (1983)In her Open Letter, Gomoll cites Joanna Russ’ How to Suppress Women’s Writing (1983), which lists common strategies for downplaying the role of women writers (their originality, contributions, and presence). Gomoll draws a parallel with the way Cyberpunk authors, with their glorified history of SF, reproduced these omissions by claiming an exclusively male lineage of SF authors and by opposing “soft” and feminine SF. Her observation goes further: these mechanisms of omission are institutionalized within the SF fandom, and she notes how some retrospective panels always seem to overlook the existence of feminists (and downplay the presence of women fans and authors).
The main lesson taught by the feminist fans is the power of narratives. Some categorizations act as drawers; you can store “second-wave feminism” in the “1960s–1970s” drawer or feminist SF in the “short period of 1970s extreme activism” drawer. Then, it is possible to close them off: feminists played a small role in the past, for problems now solved and outdated. However, what the paper is arguing, and what other researchers have shown, is that it did not take a lot of feminists in fandom. Their very presence sent shockwaves that affected the entire SF community. Feminist fans served as the driving force behind a social revolution that affected all aspects of gender practices, whose full impact on our lifestyles and social relationships is still unraveling.
Thus, I use Verta Taylor’s concept of “abeyance structures.”20 The feminist SF fandom—like other feminist organizations during periods of backlash—continues to operate within the interstices of the patriarchal order, preserving a network of readers, authors, and publishers; a repertoire of tactics and goals; all cemented by a collective memory and a continuous work of archiving.
13. What are your next projects?
In 2022, I submitted a thesis proposal to be admitted to the Ph.D. program at the University of Ottawa. This involved expanding my research on feminist fanzines and magazines from the 1980s in North America and more interviews. However, I decided not to pursue the PhD and took a break from SF studies in 2024. I was affected by the passing in 2023 of Suzy McKee Charnas, a central figure in the feminist SF fandom, and by that of Darrah Chavey in 2024, who had built an extraordinary collection of fanzines edited by women. Furthermore, rising tuition costs at the University of Ottawa forced me to leave. Finally, the political climate surrounding the co-optation of historical radical feminism by reactionary, transphobic groups made me reluctant to continue in that field. This does not mean that the work on feminist SF is done. On the contrary, it is an ongoing effort that extends to all minority voices in SF to underline their contribution to the development of new ways of reading and to the exploration of “gender-bending themes” (to use the Otherwise Awards presentation). There is a vast field ahead for ethnographic and archival research, and I hope that new generations of SF students will include readers and fans, as well as conventions and literary institutions, in their study of SF history.
14. Thank you so much for your answers. I look forward to your future work on science fiction–in whatever form it might take–and discussions!
Notes
For book reviews consult the INDEX
For cover art posts consult the INDEX
For TV and film reviews consult the INDEX
#1970s #1980s #avantGarde #bookReview #bookReviews #books #fanzines #feminism #fiction #history #sciFi #scienceFiction #writing
August is over. Time for a little look at the zines that joined the Hannover Zine Library this month:
https://hannoverzinelibrary.de/2026/08/31/august-2026-new-zines-in-the-library/
📚 ZINES4QUEERS, Zine Machine, Zine a Month, Munich Zine Library, @Bearina 📚
We are live with The Warlock Returns, Issue #15!
A fanzine/prozine for lovers of Fighting Fantasy, Advanced Fighting Fantasy, and Stellar Adventures, the solo gamebooks & ttRPG version of the same.
This issue has: Desert Island Books with Jon Green. An adventure crafted with the ACS. Reviews. A Stellar Adventures solo game. Hero Races Revisited. Plus much more!
https://cutt.ly/TheWarlockReturns-Issue15
#fanzines #fightingfantasy #AdvancedFightingFantasy #stellaradventures #ttrpg #fightingfantasyfest6
Roberto Rossa – A Immagina / Koka Kola Freiheit – Sturm Café / Der Mottek – Der Menschliche Mottek / Farbe Plakate – Hausverbot
(#Electronic, #Rock, #Synth-#Pop, #Synthwave, #NDW, #EBM, #Darkwave, #Minimal, #NewWave / Nancy Records)
by Lagartija Nick
#NancyRecords erinnert damit an jene Zeit, in der #Musik noch über #Fanzines, #Mailorder-Kataloge und persönliche Empfehlungen verbreitet wurde.
…//…:kompromissloser Underground.
Mark your calendar! On August 21 and 22, @javierarce and I will be selling our books, zines, prints, postcards and stickers at Flyleaf Festival in Neukölln, Berlin. Come say hi!
Flyleaf festival
WIRWIR, Stuttgarter Str. 56
Friday 21, 16-20h
Saturday 22, 13-19h
https://flyleaf-festival.org
Kinder, frohlocket und leutet alle Glocken, heute war der neue & erste Katalog von "Aus Daffke Zines" im Briefkasten. @chrizmagic hat es tatsächlich getan, Hefte gesammelt und einen Old-School-Katalog incl. Interview veröffentlicht. Wer #Fanzines (#Fußball, #Punk, #Hiking,...) liebt, sollte sich hierhin wenden. Natürlich ist auch meine letzte Erzählung dort zu finden und um die Frage zu beantworten: September kommt ein neues Heft, das es dann hoffentlich in die zweite Ausgabe schafft. #fanzine
Atizapán reunirá a más de 60 artistas en «Punto de fuga», encuentro de gráfica mexicana
PUNTO DE FUGA reunirá a más de 60 artistas, ilustradores, grabadores y editoriales independientes los días 1 y 2 de agosto en Atizapán de Zaragoza. El acceso será gratuito y habrá exposiciones, talleres, música y actividades para toda la familia.
Por Brenda Aguilar | Reportera
Más de 60 artistas, ilustradores, grabadores, diseñadores y proyectos editoriales independientes participarán en PUNTO DE FUGA, encuentro de gráfica mexicana que se realizará los días 1 y 2 de agosto en la Explanada Municipal de Atizapán de Zaragoza, con acceso gratuito para el público.
El evento busca acercar la gráfica contemporánea a nuevos públicos y ofrecer un espacio de convivencia entre creadores, coleccionistas, estudiantes y personas interesadas en el arte impreso, la ilustración, el cartel, el grabado, los fanzines y la edición independiente.
Durante dos jornadas, los asistentes podrán conocer el trabajo de artistas provenientes de distintas entidades del país, recorrer áreas de exposición y adquirir obra original directamente de sus autores.
Espacio para la gráfica contemporánea
Los organizadores informaron que PUNTO DE FUGA surge como una plataforma para fortalecer la comunidad de artistas gráficos y generar un punto de encuentro que impulse la difusión del trabajo creativo desarrollado en México.
La muestra reunirá propuestas de creadores emergentes y de artistas con trayectoria, quienes presentarán piezas originales y proyectos editoriales independientes.
El encuentro también pretende ampliar el vínculo entre los productores culturales y el público mediante actividades abiertas que promuevan el interés por la gráfica contemporánea.
Talleres, intervenciones y música
Además de la exposición y venta de obra, el programa contempla talleres, intervenciones artísticas en vivo, presentaciones musicales y espacios de convivencia dirigidos a personas de todas las edades.
Estas actividades buscan ampliar la experiencia de los visitantes y fomentar el conocimiento de las distintas disciplinas relacionadas con la producción gráfica.
Los organizadores consideran que este tipo de encuentros también contribuyen al fortalecimiento de la economía creativa mediante la promoción y comercialización del trabajo de artistas independientes.
Cultura y economía creativa
Con la realización de PUNTO DE FUGA, Atizapán de Zaragoza incorpora un nuevo espacio dedicado a la difusión del arte gráfico y la producción editorial independiente.
La convocatoria está dirigida a artistas, estudiantes, diseñadores, coleccionistas y público en general interesado en conocer la diversidad de propuestas que conforman la gráfica mexicana contemporánea. –sn–
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#NoticiasMX #PeriodismoParaTi #PeriodismoParaTiSociedadNoticias #arteGráfico #artistasMexicanos #AtizapánDeZaragoza #Cdmx #Diseño #economíaCreativa #editorialesIndependientes #estadoDeMéxico #exposiciónDeArte #fanzines #grabado #gráficaMexicana #ilustración #Información #InformaciónMéxico #México #Morena #noticia #noticias #NoticiasMéxico #NoticiasSociedad #PUNTODEFUGA #SN #Sociedad #SociedadNoticias #SociedadNoticiasCom #sociedadNoticias #SociedadNoticiasCom #talleresCulturales
Tertulia de Fanzines
Casa Cultural El Convento, sábado, 15 de agosto, 17:00 GMT-3
Dos tertulias nuevas en Agostooo🥳
Sábados 15 y 22 de Agosto de 17:00 a 19:00 hs
Talleres presenciales
Cupo de 5 personas (capacidad limitada)
Av. Hipólito Yrigoyen 7030, Banfield
Casa Cultural El Convento
Sábado 15/08 - Fanzines y activismos
Sábado 22/08 - ESI y Fanzines
Materiales incluidos
Merienda incluida
1 encuentro $15.000 (x persona)
2 encuentros $25.000 (x persona)
Inscribite a través del formulario que figura en la biografía.
¡Te espero para fanzinear!
https://vagancio.partidopirata.com.ar/event/tertulia-de-fanzines
CICLO MALÓN VOL.3
Cooperativa Cultural Qi, domingo, 26 de julio, 14:00 GMT-3
💥CICLO MALÓN VOL.3
Les traemos una nueva edición de este hermoso ciclo, en un lugar dónde están convergiendo tantos proyectos y eventos, @qivillacrespo
En esta oportunidad nos acompañan:
@dead_film_
@lesfleursdelaviergemarie
@jorobada.juventud
@lavenganzaseraterrible_
@lacaaasita
@daseinzine
¡Link de la anticipadas en la descripción!
https://vagancio.partidopirata.com.ar/event/ciclo-malon-vol3
Cápsulas Travestis “Añoranzas”
Centro Cultural Batacazo, domingo, 2 de agosto, 20:00 GMT-3
El domingo 2 de Agosto en el @culturalbatacazo nos juntamos en las Cápsulas Travestis “Añoranzas” para cantarnos y contarnos todo lo que nuestro corazón extraña ❤️🩹🥺
Música en vivo
@_lu.ciferr Cantante degenerada, compositora entusiasta, guitarrista atrevida, curiosa, polirrubro, cyborg sensible
@tomillancafil cantante, guitarrista, compositor e intérprete trans de folklore y música popular latinoamericana. Estudió Música Popular en la Universidad Nacional de La Plata y desde los 12 años recorre escenarios con su música. Actualmente se encuentra grabando su primer disco de canciones propias, próximo a estrenarse luego de la primera mitad del año.
Poesía
@linter_bardo : Activista trans. Poeta,cronista. Militante de los enojos y por sobre todo activo por las personas en situación de calle. Antiyuta ... Y gediento siempre
Feria a cargo de @hipersticion.zine
📍 Medrano 627, CABA
📅 Domingo 2 de Agosto
⏰ 20 hs
Entrada Libre
…🎶 Los años ni las distancias jamás pudieron lograr
De mi memoria apartar y hacer que te eche al olvido …. 🎶
https://vagancio.partidopirata.com.ar/event/capsulas-travestis-anoranzas
RE: https://neopaquita.es/@pichifest/116914034259413232
Una recopilación maja por aquí para quien le interese. ^^
poetas y fanzines: no me toques + kill flora
Club Cultural Matienzo, jueves, 30 de julio, 15:00 GMT-3
30.7 MATIENZO @kllflora y @nometoques____ 🫀🫀🫀🫀🫀
La velada estará completamente acompañada x poetas , ellas son :🫀🫀🫀
❤️@skelectricaa
❤️@rxnlnd
❤️@tatipawlowicz
❤️@sua.aingeru
Y al mismo tiempo feria de fanzines y amuletos
🫀x @fulanarevista
🫀 @mamarracho____
🫀@danaaap
🫀 @unchispero y varias de las poetas ya nombradas
Y ropa x @neon.witches
❤️❤️❤️❤️ quedan poquitas entradas , a precio mega amiguero❤️❤️❤️❤️
Ya que nos hablaron muchísimas fanzineras decidimos preparar unas mesas largas semi eternas para hacer feria de fanzine y que cada una lleve el suyo y tengo la posibilidad de feriarlo , venderlo , regalarlo, exponerlo o intercambiarlo 🫀
Así que si tenes tu fanzine tráelo y te hacemos un lugar
O háblanos
X orden de llegada el lugar será más cómodo claramente
Saludos , besos y amores , las no me toques y kill flora , vengan a vernos 👩❤️💋👩🫀❤️
https://vagancio.partidopirata.com.ar/event/poetas-y-fanzines-no-me-toques-kill-flora
EEH Festival: Esto es una historieta - Feria de historietas y fanzines
La Paz Arriba, sábado, 25 de julio, 19:00 GMT-3
Se viene una nueva Invasión! Feria de historietas y fanzines de la mano del festival @eeh.estoeshistorieta
Agenden el sábado 25/7 de 19 a 23 hs en @lapazarriba
Me voy de tour con WWW & Seggs Tape, vamos a estar por España, Francia y Alemania... si te encuentras en uno de los siguientes lugares, ven a vernos, pasar el rato o intercambiar fanzines. ｡◕‿◕｡
I'm going on tour with WWW & SEGGS TAPE, we'll be in Spain, France and Germany... if you're in one of the following places, come see us, hang out or exchange fanzines.(◕ᴗ◕✿)
De nuevo dejando #fanzines por doquier, me encanta imaginar a que manos llegarán :unarist:
Si querés alguno podés verlo gratis en mi ko-fi está en la bio.
Drööhn des Tages
Holy Fuck, die Jungs von Night Laser gehen auf der Bühne ab wie ein zu hoch getunter Bolide, der mit Vollgas eine Leitplanke touchiert. Ihre Mixtur aus Glam und Heavy Metal knallt bissig und groovy aus den Boxen, dass selbst hartgesottene Thrasher in den Circlepit flitzen. Die Youngsters sind auf der Bühne immer in Bewegung. Sie sind komplett aufeinander abgestimmt und hämmern breitgrinsend das Publikum in den Boden und holen es wieder heraus. Auf Konserve tönt die Musik etwas gesitteter. Ihr Glam ist knackig produziert, die geilen Melodien und die catchy Chöre sind so nachhaltig komponiert, dass man häufig Bock hat, die Platten wieder aufzulegen. Ach, habe ich eigentlich gesagt, dass die Jungspunde verdammt sexy sind?
Holy fuck, the guys from Night Laser go off on stage like a souped-up supercar hitting a guardrail at full throttle. Their mix of glam and heavy metal blasts from the speakers with such biting, groovy energy that even hardened thrashers are sprinting into the circle pit. These youngsters are constantly in motion on stage. They're perfectly in sync, grinning from ear to ear as they pound the audience into the ground and then back out again. On record, the music sounds a bit more tame. Their glam is crisply produced, the killer melodies and catchy choruses are so memorably composed that you often feel like putting the records on again. Oh, and did I mention that these young guys are damn sexy?
#nightlaser #everydaymetalheadzine
#drööhndestages #printmagazin #undergroundacts #metalheads #fanzinemusique #undergroundmetal #fanzines #rockandroll #metal #glam #glamrock #heavymetal
Nathalie Douillard animera un atelier gravure sur Tetra Pak pendant le marché, le dimanche de 14h à 16h.
Ouvert aux adultes et adolescents.
L'atelier est gratuit.
Les inscriptions se feront à la buvette Substrates, à partir de 14h le samedi.
Attention, le nombre de places est limité.
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@nathalied.art
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SUBSTRATES 8
11 & 12 juillet 2026
Quai 9 (docks 1 et 2)
Lanester
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#bretagne #morbihan #lorient #lanester #docks #quai9 #substrates #marchedartistes #papierimprime #petiteedition #microedition #graphisme #graphicdesign #typographie #typography #serigraphie #screenprinting #gravure #linogravure #linocut #risographie #risoprint #fanzines
After social media, the usenet, the forums, the blogs and IRC are dead, let's go back to #fanzines.
SUBSTRATES 8
artiste participant au marché
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☆ OttoGraphic ☆
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SUBSTRATES 8
11 & 12 juillet 2026
Quai 9 (docks 1 et 2)
Lanester
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#bretagne #morbihan #lorient #lanester #docks #quai9 #substrates #marchedartistes #papierimprime #petiteedition #microedition #illustration #graphisme #graphicdesign #typographie #typography #serigraphie #screenprinting #gravure #linogravure #linocut #risographie #risography #risoprint #riso #risograph #fanzines #objets #k7 #ceramique
SUBSTRATES 8
artiste participant au marché
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☆ Benjamin Grafmeyer ☆
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Benjamin Grafmeyer est graphiste et sérigraphe, il cherche à tisser des liens entre le graphisme et les arts visuels, autour de la lettre, de l’image, du lisible et du visible.
Il aime à créer des jeux visuels mêlant lettres et formes dans de grandes sérigraphies colorées parfois avec des encres spéciales.
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SUBSTRATES 8
11 & 12 juillet 2026
Quai 9 (docks 1 et 2)
Lanester
____
#lorient #lanester #substrates #marchedartistes #petiteedition #microedition #serigraphie #screenprinting #gravure #linogravure #linocut #risographie #risoprint #fanzines #objets #k7 #ceramique
Programa Segundo encuentro del fanzine anarquista
Kiosko Tropical de plaça de las Palmeras, diumenge, 5 de juliol, a les 11:30 CEST
Programa de la Segona trobada del Fanzine Anarquista
11.00 Muntatge de distris
11.45 Presentació de l'activitat
12.00 Presentació fanzines "Artefactes GEA" a càrrec de Juanra
12.30 Presentació fanzines "Carne: Colección de ensayos literarios" a càrrec d' Olasobreola edicions
13.15 Presentació fulletó: "Genealogía incompleta de la tecnoindustria de las comunicaciones (clables, satèl.lits, CPD's, IA..)
14.00 Dinar a càrrec de l'Ateneu Llibertari del Palomar
15.00 Espectacle: Salut, Circ i Fanzinisme!!
15.30 Música: Ester sin axe
16.00 Presentació: “Arde Barcelona. Fanzine de"investigación histórica y visual” a càrrec de Nadia Garcia
16.45 Presentació: "Autogestión y resistencia desde la imagen" El projecte anàrquic del "Frente Fotográfico"
17.30 Presentació fanzines: "Guerras y extractivismo: debates desde el antimilitarismo anarquista"
18.15 Actualització situació del compa anarquista Abel
18.30 Tancament activitat
Tintes als carrers: Serigrafia en viu i dissenys a càrrec de Tosco/ Dsnts i Pr3za/ Ptn
Plaça les Palmeres
https://bcn.convoca.la/event/programa-segundo-encuentro-del-fanzine-anarquista
Soluciones Parciales: performance sonora en Muito radio
Muito radio, jueves, 2 de julio, 18:00 GMT-3
Presentamos por segunda y última vez 👀 la performance de Flor Curci (@f.kurch) y Fede Gloriani (@fedeglorian), una reunión tan inédita como necesaria para el campo internacional de las telecomunicaciones﹙˓ᯤ˒﹚ Con un delicadísimo diseño sonoro, Soluciones Parciales es el resultado de una exploración como parte del programa de residencias de creación de muito.
Además, desde las 18.00 hs el grupo de investigación @posnaturalismos presenta el fanzine Composición progresiva para un mundo común, realizado en colaboración con Pedro Sartorio, a partir del libro Políticas de la naturaleza de Bruno Latour.
Entrada libre y gratuita > Bar abierto desde las 18.00 hs;
💌 dirección x mensaje privado al instagram de @muitoradio
capacidad limitada (っ˶ ˘ ᵕ˘)
Transmisión en vivo y en directo en muitoradio.com
https://vagancio.partidopirata.com.ar/event/soluciones-parciales-performance-sonora-en-muito-radio
Y'all help is it weird (in a bad\creeo) way to make a RP fanzine? I've binged a bunch yt vids on zines and really want to do one but have no idea for what until now. I've a fave YouTuber I wanna make one for. It's all for shiggles, and no one's gonna see it Like his yt persona is just a character right? No worse than when we had locker and notebook shrines to our favorite drummer or singer?? Why am I so insecure I feel so old 😭
#zines #fanzines #YouTubeRPF
SUBSTRATES 8
artiste participant au marché
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☆ Brice Postma Uzel ☆
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Brice Postma Uzel gribouille, imprime et raconte des histoires.
Illustrateur, auteur et sérigraphe, il aime transformer quelques feuilles de papier avec de l'encre et un peu de patience en images qui voyagent.
Le reste du temps, il cherche encore la couleur parfaite.
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SUBSTRATES 8
11 & 12 juillet 2026
Quai 9 (docks 1 et 2)
Lanester
____
#bretagne #morbihan #lorient #lanester #docks #quai9 #substrates #marchedartistes #microedition #serigraphie #screenprinting #gravure #linogravure #linocut #risographie #risoprint #fanzines #objets
SUBSTRATES 8
artiste participant au marché
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☆ Annabel Foucaud ☆
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Annabel Foucaud vit et travaille, un peu.
Elle grave des trucs mignons sur du cuivre pour les multiplier sur du papier parce que ça lui fait plaisir.
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SUBSTRATES 8
11 & 12 juillet 2026
Quai 9 (docks 1 et 2)
Lanester
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#bretagne #morbihan #lorient #lanester #docks #quai9 #substrates #marchedartistes #papierimprime #petiteedition #microedition #illustration #graphisme #graphicdesign #typographie #typography #serigraphie #screenprinting #gravure #linogravure #linocut #risographie #risography #risoprint #riso #risograph #fanzines #objets
Drööhn des Tages
Ich bin dabei die von @[email protected] sehr coole Website zu porträtieren.
Wer auf #undergroundmetal, #oldschooldeathmetal und #heavymetal steht sollte auf diese Webseite schauen.
Wie gesagt dies ist ein Prozess, der Text kann noch Veränderungen erfahren.
Nihilistic – Webseite
Gabriel betreibt die Nihilistic-Webseite. Er muss ein riesengroßer Fan des 80er-Jahre-Metals und des 90er-Jahre-Deathmetals sein. Und dazu ein Underground-Metalfreak oberster Güteklasse.
Wenn du auf der Nihilistic-Webseite landest, ist dein erster Eindruck, als hätte sich ein 80er-Jahre-Fanzine in die Gegenwart gerettet. Old School ist das Design und old-school-orientiert ist die Auswahl an Bands wie auch die Thematiken, welche auf dieser Webseite behandelt werden.
Mich hat das sofort angesprochen. Du liest Reviews von Bands mit einem Plattenvertrag oder mit einem DIY-Ethos. Aus den musikalischen Schattierungen des Heavy Metals oder aus dem sehr breitgefächerten Bereich des Extremmetals präsentiert Gabriel dem Leser in kompetenter Art haufenweise tolle Bands. Er schreibt nicht nur über solche Mörteltruppen, sondern er vertickt für kleines Geld CDs, Cassetten und Zines auf seiner Homepage https://nihilistic-webzine-distro.fr aus dem Genre.
Als Underground-Fan ist die digitale Reise nach Frankreich (https://nihilistic-webzine-distro.fr/cadre2.htm) wirklich lohnenswert.
Nihilistic - Website
Gabriel runs the Nihilistic - website. He must be a huge fan of 80s metal and 90s death metal. And on top of that, a top-notch underground metal fanatic.
When you land on the Nihilistic - website, your first impression is that an 80s fanzine has somehow survived into the present day. The design is old school, and the selection of bands and the topics covered on the website are equally old school.
This immediately appealed to me. You read reviews of bands with record deals or those with a DIY ethos. From the various musical shades of heavy metal or the very broad realm of extreme metal, Gabriel expertly presents the reader with a ton of great bands. He not only writes about these kinds of underground bands, but he also sells CDs, cassettes, and zines from the genre for a small price on his website https://nihilistic-webzine-distro.fr.
As an underground fan, the digital journey to France (https://nihilistic-webzine-distro.fr/cadre2.htm) is definitely worthwhile.
#everydaymetalheadzine #drööhndestages #undergroundmusic #fanzinemusique #printmagazin #undergroundmetal #metal #undergroundmetal #fanzine #punk #bandsofmastodon #fanzines #heavy #heavymetal #nihilistic
SUPPORT THE UNDERGROUND
Este sábado 27 de junio me encontrarás en el Festival de fanzines de Zaragoza bien surtida de ejemplares de Erica a diario, fanzines, postales y dos novedades:
https://www.ericafustero.com/2026-06-novedades-fanzineras
¡Nos vemos en el Centro cívico Delicias de 11 a 14h y de 17 a 20h! ✨
SUBSTRATES 8
artiste participant au marché
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☆ Johanne Deffarges ☆
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Johanne Deffarges dessine et imprime en sérigraphie des images qui tapissent un univers enfantin doux-amer inspiré par des récits montagnards.
Elle poursuit actuellement son roman graphique Marie, enquête menée sur les pas d’une tisserande féministe suisse aujourd’hui disparue, et crée des ateliers d’arts plastiques pour les enfants.
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SUBSTRATES 8
11 & 12 juillet 2026
Quai 9 (docks 1 et 2)
Lanester
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#bretagne #morbihan #lorient #lanester #substrates #microedition #serigraphie #screenprinting #gravure #linogravure #linocut #risographie #risography #risoprint #fanzines
Spotted in my RSS feeds: a one page zine-making utility called Dirty Little Zine. From the “Who made this?” popup: “I’m Rick. I love zines. The DIY kind especially — stapled, photocopied, cheap, alive. That’s why this tool exists: a free, fast way to make one without opening InDesign.”
https://rbfirehose.com/2026/06/19/zine-making-utility-dirty-little-zine/
🌿 Mujer,migrante y alma libre.
🎭 Busco la poesía en el teatro, el punk y los fanzines.
🐾 Amante de la naturaleza y de todos los felinos (con debilidad por los jaguares y los michis).
🚀 Abrazando la libertad en este rincón del fediverso. ¡Nueva por aquí!
#Punk #Fanzines #Naturaleza #teatro #poesia #CatsOfMastodon #Migración #presentación
He empezado a subir mis fanzines antiguos a @internetarchive para que puedan leerse y descargarse y no desaparezcan en el olvido.
I've started uploading my old fanzines to the Internet Archive so they can be read and downloaded and don't disappear into oblivion.
https://archive.org/details/@ericafustero
Give me five, 2015
¿Hay alguien ahí?, 2015
Caracola, 2016
Diario de lo que aconteció..., 2023
We have always been like this.
(From Generation Mechs, a history of analogue Transformers fandom.)
Mañana sale un nuevo fanzine x 404. ｡◕‿◕｡
Un virus, un carta de amor, un zine por el acceso libre a internet. (ﾉ◕ヮ◕)ﾉ*.✧
☆ SUBSTRATES 8 ☆
marché d'artistes
papier imprimé, petite édition, fanzines, objets...
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Quai 9 (docks 1 et 2)
Lanester
Morbihan
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11 & 12 juillet 2026
samedi : 14h > 20h
dimanche : 10h > 18h
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entrée gratuite
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#bretagne #morbihan #lorient #lanester #docks #quai9 #substrates #marchedartistes #papierimprime #petiteedition #microedition #illustration #graphisme #graphicdesign #typographie #typography #serigraphie #screenprinting #gravure #linogravure #linocut #risographie #risography #risoprint #riso #risograph #fanzines #objets #ceramique
Ya salió el newsletter de mayo (*˘︶˘*).｡*♡
