Go look – Oliver East

oliver east comic books strange ways and prime time rolling stock lanky homesick truant's cumbrian yarn take me back to manchester comic page previews

this is the first post of Oliver East's work I ever shared 6 1/2 half years ago. it's a beautiful rendition of space and experience. rolling stock 186 4 october 2013
Rolling Stock 186 4 October 2013

this is the first post of Oliver East’s work I ever shared 6 1/2 half years ago. it’s a beautiful rendition of space and experience.

 

 

 

 

 

 

 

 

 

 

 

 

Oliver East Rolling Stock 1 I own this comic zine It's a beautiful evocation of space Oliver East has been a hug influence upon my work
I own this comic zine It’s a beautiful evocation of space Oliver East has been a hug influence upon my work

 

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The Short List – Mattias Gunnarrson

Disclosure – I should let you all know that I have worked with Mattias on a contributor copy only zine.

MASU sculpture project, Traces of Movement
MASU sculpture project Halmstad, Sweden Spring 2018 Traces of Movement

Mattias                instagram              MASU

 

ZL – You are an artist often working with groups or on large public pieces – what place do zines have in your work?

MG – Zines and self-published work have its own platform in my practice, and then it plays different roles in different projects. For example, there is one solo track where I draw by myself and collect the drawings on a blog (visual notes) where a constantly changing narrative occurs, one that I can look at for a better understanding of how I am working and what topics or methods interest me at the moment. These drawings are turned in to a type of random collage zines every three months or so like an archive of my drawing work. Another type of zine is the series ”MASU Works” that I do together with my colleague Susanne when we collaborate as MASU and do larger scale sculpture work both in urban public space and as Land Art in the forest.

MASU Works 5

We use MASU Works to collect sketches, try out new types of methods, document projects as well as invite writers or produce exhibition catalogues. MW has an open format, with no specific logo, size, design or purpose but is rather elastic in its framework for whatever is the content. MW is both an ongoing process for us,an artist collective and a way for us to distribute and share our work and we make issues when we have projects.

Besides this I am also part of a few different situations where self-publishing is involved where either zines are produced, traded or lectured about as well as collected, archived and discussed.

So, to conclude your question I think self-publishing is constantly present in my practice in different formats.

 

ZL – Do you remember the first time ?

MG – There are probably many of those moments that I have forgotten, but I think the one moment in recent years that took my breath away was the work of Tadashi Kawamata at Centre de Pompidou in Paris 2010. The actual exhibited pieces, a couple of loosely constructed huts or sheds that hung outside on the building facade, were of course great but what really got me was an image in a book from an older project: Apartment project “Tetra House N-3 W-26” 1983 Intervention in situ. In this project old wooden planks flow around the small house like the wind, almost encapsulating the building. The movement in the wood in relation to the solidness of the house is mindblowing.

Kawamata’s early projects really opened things up for me.

 

ZL – Given an unlimited budget and all the time in the world, what would be the project you’d make to be remembered by?

MG – Oh. It would be a project dealing with education.

I really like the Skateistan-project (www.skateistan.org) which started as a support structure for young girls in Afghanistan where they could go and learn how to skateboard, and once in the spot there was also education and an empowering environment. The project has branched out to more locations, also including boys.

Education for next generation global citizens is key.

So, if I had the means I would do projects like this in a bigger scale than I do now.

 

ZL – You work at a university that seems to have an amazing zine library, if you could suddenly find any one zine, what would be that treasure?

Organisation Is Not Neutral
Organisation Is Not Neutral Published January 2018

MG – 🙂 I am not sure about amazing yet, we are still very much setting it up, with just over 300 titles so far, but let’s hope we get there.

It is a difficult question, about the one great great treasure. I think for me it is mostly about the variety and the differences of the archive, that it holds  both writing and photo essays, screen printed zines and copy machined work, drawings, paintings, collages and poetry from professionals, students and kids. Of course it would be amazing with early works by Basquiat or Patty Smith, but still I believe that the zine world is not so much about stars and collectibles and rather about the possibility to get voices out and bypass the marketplace. So, I think the real gems in a zine collection are the ones where someone just could not resist telling the story, where it just had to be told.

 

ZL – Which one creator you love seeing do you feel the world knows too little about, and what would you like to tell us about them?

As I said before, Tadashi Kawamata is my always go-to artist. His way of working with materials, people and the space is extraordinary. Even though he is now realizing some real grand projects, I feel mostly connected to his smaller scale projects where there is such tactile connection between the different components. Also his drawings and models for the projects are incredible!

 

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Previous Interview – The Short List – mir.and.or

 

all art copyright and trademark it’s respective owners.

content copyright iestyn pettigrew 2019

The Short List – Livor Mortis Zine

Disclosure – I should let you all know that I am currently at work on a collaborative zine with Livor Mortis Zine, release date TBC, and that I once won a competition for issue 3 of LMZ (a set of three beautiful zines).

IMG_7746

Livor Mortis Zine                                                                       stphnrttly

ZL – Why paper and not blogs?

LMZ – Being born in the mid-1980’s, I feel that I owe a lot to analogue in all formats; from VHS to vinyl, practical effects over CGI etc. Even though I use computers daily and understand the great advantages of digital outlets, however, I feel that a physical item is a lot nicer and more human. I specifically started LMZ based on glue, paper, scalpel etc and felt I should keep digital creation to a minimum. We can rely on paper a lot more as digital/technology is a lot more harmful towards us both physically and mentally.

With physical copies of a zine, you can distribute and interact outside, away from a computer. I am sure that most of the population like to touch what they can see, and I feel that adds greatly to the experience. Having physical copies on paper has led to opportunities I would have missed out on if I were to be blog based, like selling zines on a face-to-face basis.

This started with great assistance from Books Peckham (site & instagram) and DIY Space For London (DSFL site & instagram).

Their next zine fair is 17 thMarch 2019 @ 96-108 Ormside St, SE15 1TF.

Anyone that is interested in zines and DIY self-publishing should definitely visit.

One of my favourite zines of recent times was picked up (traded) at a previous zine fair at DSFL. It’s by Olga Writes Things and is titled ‘Body Hair: A Love/Hate Story’. Reading this really made me question how brainwashed our culture is by media. I would suggest reading this zine especially if you are open minded and not a sexist. I also appreciate how personal it is too, I doubt many people would be so direct and honest

 

ZL – Do you remember the first time?

LMZ – The first time I can remember really loving an artistic creation was probably as a 4/5 year old, whilst watching both ‘Ghostbusters’ the film and animated series. However, years later, the 2001 album ‘Mediocre Generica‘ by Leftover Crack really shaped me as a person and actually impacted my life for the better! It opened my eyes and ears to many different genres and styles of music. Before listening to that album, I was strictly into punk music and was quite ignorant and stubborn to entertain anything else.0045778043361.png.925x925_q90The album contains elements of ska, reggae, black metal, death metal and of course punk. It was definitely a great tool for mind expansion and propelled me violently into a world of mixing genres and breaking rules. Plus the lyrical content was perfect for my mentality as a teen; no pop-punk focused girl/boy relation dramas, just real talk and political anger. Without hearing this album, I do wonder if I would have ever spent 10 years running independent death metal record labels and if I would have stayed on a straight path and mixed with healthy society focused individuals. I do not really know many other bands that mix many alternative styles so well! Apart from the pre-fix of ‘Leftover Crack’, which is the band ‘Choking Victim’.
I can still listen to the album today and get wild enjoyment from it. ‘Mediocre Generica’ is not my favourite album, but it is totally an important release in terms of who I am today. I am sure LMZ carries some connection to the crack rock steady beat, away from the ‘INDK’ lyrics inside the front cover of issue 4.

 

ZL – Given an unlimited budget and all the time in the world, what would be the project you’d make to be remembered by?

LMZ – I literally had this conversation just the other day with a film maker friend of mine, we even started a script to be prepared for the day an unlimited budget comes our way! I won’t give away too much in terms of the overall direction, but the aim would be to focus on making a story to make people more aware and involved in stopping child abuse. I am sure I am not the only person who questions why the rich and powerful are always connected to extreme child abuse?! I know it is a nasty and emotionally destroying subject to even comprehend, but it is a vast problem all over the world.  If I could be involved in anything that would expose and shutdown child abusers and sex traffickers in general, I would be very happy. The budget would go on practical special FX (ideally Tom Savini ❤️) and getting really strong and respected actors/actresses involved so people would take notice.

Away from that, I would really like to be involved and remembered for something that would get Tony Blair and George Bush Jr executed for war crimes.
As the budget is unlimited, any leftover would be used to buy and delete Facebook.

 

 

ZL – Your images come from all around the world, where is your favourite place in the world you’ve never visited?

LMZ – Asia, especially the Far East! I would really like to go there and I am sure that I would never leave. In my head, it seems so alien compared to the world I live in, I’m sure it would feel like home. The level of excitement and fear is through the roof!
My passionate feelings towards the continent originated from Eastern cinema and anime. I remember watching films like ‘Urotsukidoji’ and ‘Hausu’ at a young age and being so impressed after getting tired of the typical Hollywood/Western film formula. The imagination and creativity out in the East is so rich, there is even a Japanese horror sub-genre which focuses on cat horror alone.
Another part of Asia I would like to experience is Bali, Indonesia. There is an annual festival that takes places there called ‘Nyepi’ aka ‘Day of Silence’.

nyepi

I do not think Google search results justify this festival, so take a look at the Instagram account @ogohogoh_bali

 

ZL – What single creation [book, zine, film, group, place, whatever!!] would you settle down with and just chill?

LMZ – I really chill with audio commentaries attached to cult Italian films such as Lucio Fulci’s ‘Gates Of Hell’ trilogy or any of Dario Argento’s early works for example. Last night I bulk listened to three commentaries on the early US slasher ‘The Burning’.

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I find it really fascinating to hear all the behind-the-scenes details relating to the production of the final product. It is nice to be able to just listen to something, rather than watch. I guess I should check out some more podcasts!

Zine Love 2019

Hello

This site is here to celebrate things that I or others truly love in the zine, self-publishing and small press world.

We aim to delve into what we love and why, whether it’s people or styles; pages, pictures or panels; storylines or drawing lines this is about describing what we find awesome.

There’ll  be interviews, deep reviews and hopefully discussion.  If you have something you want to talk about, get in touch because this is a community space to share your love. Guidelines are simple, no plot synopsis, minimum 500 words. Tell us WHY YOU LOVE it not what happens.

All the best

iestyn