World Food Books' programme is largely produced on Kulin Nation land. We acknowledge the Wurundjeri people of the Kulin Nation as the first and continuing custodians of this land, and pay respect to their Elders past, present, and emerging.
World Food Books is an arts and special interests bookshop in Naarm / Melbourne. Founded in 2010, World Food Books is devoted to the presentation of a rotating, hand-selection of international art, design, literary and counterculture publications with an emphasis on the anti-traditional, the experimental, the avant-garde, the heretic, the marginal.
Presenting new titles alongside rare and out-of-print books, catalogues and journals spanning the fields of modern and contemporary art, design, photography, illustration, film, literature, poetry, cultural theory, philosophy, sexuality, popular and underground culture in its many radical forms, World Food Books wishes to encourage adventurous, thoughtful and open-minded reading, looking, writing, and exchange of publishing and ideas, both current and historical.
As well as our bookshop, located in Melbourne's historical Nicholas Building, all of our inventory is available internationally via our online mail-order service.
World Food Books semi-regularly co-ordinates "Occasions", a programme of exhibits and events at the bookshop and in partnership with other hosts (such as museums and art galleries) that develop out of the activities, relationships and content of the bookshop itself.
World Food Books
The Nicholas Building
37 Swanston Street
Room 5, Level 6
Melbourne 3000
Australia
SHOP HOURS:
BOOKSHOP CLOSED FOR BREAK UNTIL NOV 10.
WEB-SHOP OPEN 24/7.
ORDERS CAN STILL BE PLACED AND WILL BE PROCESSED AFTER NOV 10.
World Food Books
Postal Address:
PO Box 435
Flinders Lane
Victoria 8009
Australia
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All prices in AUD (Australian dollars)
Pick-Ups
Please note: The bookshop is closed until February 1, 2024.
Pick-up orders can be collected in our bookshop during opening hours after this date. Please collect any Pick-up orders within 3 weeks of ordering as we have limited storage space. Orders will be released back into stock if not collected within this time. No refunds can be made for pick-ups left un-collected.
Return Policy
All sales are final. We do accept returns (for refund, exchange) for items received in error. All our orders are packed with special care using heavy-duty padding and cardboard book-mailers or bubble mailers (for smaller books), using reinforcement where required. We cannot take responsibility for any lost, stolen or damaged parcels.
Insurance
Should you wish to insure your package, please email us directly after placing your order and we can organise this at a small extra expense. Although all standard/express tracked packages are very safe and dependable, we cannot take responsibility for any lost, stolen or damaged parcels. We recommend insurance on valuable orders.
Interested in selling your old books, catalogues, journals, magazines, comics, fanzines, ephemera? We are always looking for interesting, unusual and out-of-print books to buy. We only buy books in our fields of interest and specialty, and that we feel we can resell.
We base these prices on desirability, market value, in-print prices, condition and our current stock levels. We offer cash, store credit, and can take stock on consignment. All
about 25% of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Sell your books any day of the week. You can drop them off and return later. If you have a lot of books, we can visit your Sydney home.
We buy books that we feel we can resell. We offer about 25 % of the price we expect to get when we sell them, or 30% in store credit. We base these prices on desirability, market value, in-print prices, condition and our current stock levels.
Philadelphia Wireman
03 August - 01 September, 2018
World Food Books is proud to announce our next Occasion, the first presentation of sculptures by Philadelphia Wireman in Australia.
The Philadelphia Wireman sculptures were found abandoned in an alley off Philadelphia’s South Street on trash night in 1982. Their discovery in a rapidly-changing neighbourhood undergoing extensive renovation, compounded with the failure of all attempts to locate the artist, suggests that the works may have been discarded after the maker’s death. Dubbed the "Philadelphia Wireman" during the first exhibition of this work, in 1985, the maker’s name, age, ethnicity, and even gender remain uncertain. The entire collection totals approximately 1200 pieces, all intricately bound together with tightly-wound heavy-gauge wire (along with a few small, abstract marker drawings, reminiscent both of Mark Tobey and J.B. Murry). The dense construction of the work, despite a modest range of scale and materials, is singularly obsessive and disciplined in design: a wire armature or exoskeleton firmly binds a bricolage of found objects including plastic, glass, food packaging, umbrella parts, tape, rubber, batteries, pens, leather, reflectors, nuts and bolts, nails, foil, coins, toys, watches, eyeglasses, tools, and jewellery.
Heavy with associations—anthropomorphic, zoomorphic, and socio-cultural responses to wrapped detritus—the totemic sculptures by Philadelphia Wireman have been discussed in the context of work created to fulfil the shamanistic needs of alternative religions in American culture. Curators, collectors, and critics have variously compared certain pieces to sculpture from Classical antiquity, Native American medicine bundles, African-American memory jugs, and African fetish objects. Reflecting the artist’s prolific and incredibly focused scavenging impulse, and despite—or perhaps enhanced by—their anonymity, these enigmatic objects function as urban artefacts and arbiters of power, though their origin and purpose is unknown. Philadelphia Wireman, whatever their identity, possessed an astonishing ability to isolate and communicate the concepts of power and energy through the selection and transformation of ordinary materials. Over the course of the past two decades, this collection has come to be regarded as an important discovery in the field of self-taught art and vernacular art.
Presented in collaboration with Fleisher-Ollman Gallery, Philadelphia, and Robert Heald, Wellington.
Susan Te Kahurangi King
02 February - 10 March, 2018
Susan Te Kahurangi King (24 February 1951 - ) has been a confident and prolific artist since she was a young child, drawing with readily available materials - pencils, ballpoint pens and felt-tip markers, on whatever paper is at hand. Between the ages of four and six Susan slowly ceased verbal communication. Her grandparents William and Myrtle Murphy had developed a special bond with Susan so they took on caring responsibilities for extended periods. Myrtle began informally archiving her work, carefully collecting and storing the drawings and compiling scrapbooks. No drawing was insignificant; every scrap of paper was kept. The King family are now the custodians of a vast collection containing over 7000 individual works, from tiny scraps of paper through to 5 meter long rolls.
The scrapbooks and diaries reveal Myrtle to be a woman of great patience and compassion, seeking to understand a child who was not always behaving as expected. She encouraged Susan to be observant, to explore her environment and absorb all the sights and sounds. Myrtle would show Susan’s drawings to friends and people in her community that she had dealings with, such as shopkeepers and postal workers, but this was not simply a case of a grandmother’s bias. She recognised that Susan had developed a sophisticated and unique visual language and sincerely believed that her art deserved serious attention.
This was an unorthodox attitude for the time. To provide some context, Jean Dubuffet coined the term Art Brut in 1945 to describe work created by self-taught artists – specifically residents of psychiatric institutions and those he considered to be visionaries or eccentrics. In 1972 Roger Cardinal extended this concept by adopting the term Outsider Art to describe work made by non-academically trained artists operating outside of mainstream art networks through choice or circumstance. Susan was born in Te Aroha, New Zealand in 1951, far from the artistic hubs of Paris and London that Dubuffet and Cardinal operated in. That Myrtle fêted Susan as a self-taught artist who deserved to be taken seriously shows how progressive her attitudes were.
Susan’s parents Doug and Dawn were also progressive. Over the years they had consulted numerous health practitioners about Susan’s condition, as the medical establishment could not provide an explanation as to why she had lapsed into silence. Dawn educated herself in the field of homeopathy and went on to treat all twelve of her children using these principles – basing prescriptions on her observations of their physical, mental and emotional state.
Doug was a linguist with an interest in philosophy who devoted what little spare time he had to studying Maori language and culture. To some extent their willingness to explore the fringes of the mainstream made them outsiders too but it was their commitment to living with integrity and their respect for individuality that ensured Susan’s creativity was always encouraged.
Even though Susan’s family supported her artistic pursuits, some staff in schools and hospitals saw it as an impediment to her assimilation into the community and discouraged it in a variety of ways. Her family was not always aware of this and therefore did not fully understand why Susan stopped drawing in the early 1990s. However, rather than dwell on the challenges that Susan faced in pursuit of her artistic practice, they prefer to highlight her achievements. In 2008 Susan began drawing again in earnest, after an almost 20 year interruption, and her work is now shown in galleries around the world.
Susan grew up without television and has been heavily influenced by the comics she read as a child. She is absolutely fearless in the appropriation of recognizable characters, such as Donald Duck and Mickey Mouse, in her work. She twists their limbs, contorts their faces, compresses them together, blends them into complex patterned backgrounds - always imbuing them with an incredible energy. Although Susan often used pop culture characters in her work they are not naive or childlike. These are drawings by a brilliant self-taught artist who has been creating exceptional work for decades without an audience in mind.
Mladen Stilinović
"Various Works 1986 - 1999"
02 February 16 - September 10, 2016
Various works 1986 - 1999, from two houses, from the collections of John Nixon, Sue Cramer, Kerrie Poliness, Peter Haffenden and Phoebe Haffenden.
Including: Geometry of Cakes (various shelves), 1993; Poor People’s Law (black and white plate), 1993; White Absence (glasses, ruler, set square, silver spoon, silver ladel with skin photograph and wooden cubes), 1990-1996; Exploitation of the Dead (grey and red star painting, wooden painting, black spoon with red table, red plate), 1984-1990; Money and Zeros (zero tie, paintings made for friends in Australia (Sue, John, Kerrie), numbers painting), 1991-1992; Words - Slogans (various t-shirts) - “they talk about the death of art...help! someone is trying to kill me”, “my sweet little lamb”, “work is a disease - Karl Marx”; Various artist books, catalogues, monographs, videos; Poster from exhibition Insulting Anarchy; "Circular" Croatian - Australian edition; Artist book by Vlado Martek (Dostoyevsky); more.
Thanks to Mladen Stilinović and Branka Stipančić.
Jonathan Walker
Always Will Need To Wear Winter Shirt Blue + Ochre Small Check Pattern
21 August - 21 September, 2015
Untitled
I am not a great reader of poetry but I always return to the work of Melbourne poet, Vincent Buckley (1925- 1988). Perhaps I find his most tantalising piece to be not a finished poem but a fragment left on a scrap of paper discovered on his desk after the poet’s death.
The poetry gathers like oil
In the word-core, and spreads
It has its music meet,
Its music is in movement.
This fragment is more the shell left behind from a volatile thought than a finished poem. I find the last two lines honest but awkward whereas the first two lines work like an arrow. Most likely he could not find a resolution so it was left. Still, in its present form, it remains an eloquent testimony to the ultimate failure of a medium to express mobile thought and sensation, in Buckley’s case, through verbal language. It’s an important matter because this is something all artists have to deal with regardless of the medium.
I have never written a poem, however, I am forever copying fragments from books on paper scraps in a vain effort to fix certain notions in my head. At first, they function as bookmarks that are sometimes returned to when I open the book. But before long, as they accumulate, they fall out littering the table interspersed with A4 photocopies, bills, books and medications.
To return to Buckley’s fragment, the first two lines very much evoke how I paint nowadays. As you age, detail diminishes and patches of light become more luminous and float. I feel the most honest way of dealing with this is by smearing the oil paint on the canvas with the fingers and working close-up, blind. Only if the patches coalesce into an approaching image can the work gain a life.
-
Jonathan Walker was born in Melbourne, Australia and brought up on a dairy farm in Gippsland. In the 1970’s he studied painting at RMIT and won the Harold Wright Scholarship to the British Museum, London. During the 1980’s he exhibited at Pinacotheca Gallery, Richmond and had work shown at the NGV and Heidi City Art Gallery. Over the same period he designed the cover for the “Epigenesi” LP by Giancarlo Toniutti, Italy and conducted a mail exchange work with Achim Wollscheid, Germany. The work with artists through the post resulted in an article published in the bicentenary issue of Art and Australia 1988. He showed in artist run spaces such as WestSpace in the 90’s and 2000’s, and until 2012, taught painting at Victoria University, which is where we (Colleen Ahern and Lisa Radford) as organisers of the exhibition, among many others, had the privilege of being his student.
Walker’s knowledge was imparted to students through the careful selection of music, literature, and artists found in books that he himself had ordered for the library. Walker’s strategy was the generosity of sharing his vast knowledge with references specific to each student and their context.
Walker’s paintings share a similar focus and intimacy.
This exhibition presents a small selection of recent paintings alongside a publication that includes Walker’s writing. Observational and analytical, Walker’s work is a type of material notation — the time of day, colour and how it is blended, the both specific and fleeting location of a reflection on lino or the question of whether a chair leg should be included in a painting.
Please join us on Friday August 21 between 6-8pm to celebrate the opening of the exhibition.
Curated by Colleen Ahern and Lisa Radford.
B. Wurtz
Curated by Nic Tammens
March 26 - April 4, 2015
B.Wurtz works from a basement studio in his home on Manhattan’s Lower East Side.
This local fact is attested to by the plastic shopping bags and newsprint circulars that appear in his work. As formal objects, they don’t make loud claims about their origins but nonetheless transmit street addresses and places of business from the bottom of this long thin island. Like plenty of artists, Wurtz is affected by what is local and what is consumed. His work is underpinned by this ethic. It often speaks from a neighborhood or reads like the contents of a hamper:
“BLACK PLUMS $1.29 lb.”
“Food Bazaar”
“USDA Whole Pork Shoulder Picnic 99c lb.”
“RITE AID Pharmacy, with us it’s personal.”
“H. Brickman & Sons.”
“Sweet Yams 59c lb."
Most of the work in this exhibition was made while the artist was in residence at Dieu Donne, a workshop dedicated to paper craft in Midtown. Here Wurtz fabricated assemblages with paper and objects that are relatively lightweight, with the intention that they would be easily transportable to Australia. This consideration isn’t absolute in Wurtz’s work, but was prescriptive for making the current exhibition light and cheap. Packed in two boxes, these works were sent from a USPS post office on the Lower East Side and delivered to North Melbourne by Australia Post.
Wurtz appears courtesy of Metro Pictures, New York.
Thanks to Rob Halverson, Joshua Petherick, Sari de Mallory, Matt Hinkley, Helen Johnson, Fayen d'Evie, Ask Kilmartin, Lisa Radon, Ellena Savage, Yale Union, and "Elizabeth".
John Nixon
"Archive"
December 15 - January 20, 2014
The presentation of John Nixon's archive offered a rare showcase of this extensive collection of the artist's own publications, catalogues, posters, ephemera, editions and more, from the mid 1980s onwards, alongside a selection of his artworks.
Organized by John Nixon, Joshua Petherick and Matt Hinkley.
"Habitat"
at Minerva, Sydney (organised by Joshua Petherick and Matt Hinkley)
November 15 - December 20, 2014
Lupo Borgonovo, Janet Burchill & Jennifer McCamley,
Lewis Fidock, HR Giger, Piero Gilardi, Veit Laurent Kurz,
Cinzia Ruggeri, Michael E. Smith, Lucie Stahl, Daniel Weil, Wols
Press Release:
“...It contained seven objects. The slender fluted bone, surely formed for flight, surely from the wing of some large bird. Three archaic circuitboards, faced with mazes of gold. A smooth white sphere of baked clay. An age-blackened fragment of lace. A fingerlength segment of what she assumed was bone from a human wrist, grayish white, inset smoothly with the silicon shaft of a small instrument that must once have ridden flush with the surface of the skin - but the thing’s face was seared and blackened.”
William Gibson, “Count Zero”, 1986
"Autumn Projects Archive"
Curated by Liza Vasiliou
March 6 - March 15, 2014
World Food Books, in conjunction with the Virgin Australia Melbourne Fashion Festival 2014, presented the Autumn Projects archive, consisting of a selection of early examples in Australian fashion with a particular interest in collecting designers and labels from the period beginning in the 1980’s, who significantly influenced the discourse of Australian Fashion.
Curated by Liza Vasiliou, the exhibition provided a unique opportunity to view pieces by designers Anthea Crawford, Barbara Vandenberg, Geoff Liddell and labels CR Australia, Covers, Jag along with early experimental collage pieces by Prue Acton and Sally Browne’s ‘Fragments’ collection, suspended throughout the functioning World Food Books shop in Melbourne.
H.B. Peace
presented by CENTRE FOR STYLE
November 14, 2013
"Hey Blinky, you say chic, I say same"
Anon 2013
H.B. Peace is a clothing collaboration between great friends Blake Barns and Hugh Egan Westland. Their pieces explore the divergences between 'character’ and ‘personality’ in garments....etc
Special Thanks to Joshua Petherick and Matt Hinkley of WFB and Gillian Mears
and a Very Special Thank you to Audrey Thomas Hayes for her shoe collaboration.
Janet Burchill & Jennifer McCamley
"Aesthetic Suicide"
May 10 - June 8, 2013
The first of our occasional exhibitions in the World Food Books office/shop space in Melbourne, "Aesthetic Suicide" presented a body of new and older works together by artists Janet Burchill & Jennifer McCamley, including videos, prints, a wall work, and publications.
During shop open hours videos played every hour, on the hour.
1984, Japanese
Softcover (w. dust jacket), 98 pages (w. fold-outs), 42 x 30 cm
1st Edition, Out of print title / used / very good
Published by
Treville / Tokyo
$190.00 - In stock -
First Japanese edition of H.R. Giger's Necronomicon from 1984. Beginning with a hommage from Salvador Dali and introduction by Clive Baker, the first in this series of oversized and visually overwhelming Giger-designed volumes takes us through the early history of one of the most brilliant fantasy artists of the century. From his "Passegen" series, his work for theatre, posters, album artwork, environments, personal works, is designs for Alejandro Jodorowsky's DUNE, and much more, all beautifully reproduced in full-colour and black and white, full-bleed spreads, including fold-out pages. These Giger folio books have become very desirable, collectable editions in their various printings around the world, the series encompassing the work of one of the world's most unique and influential visionaries of the macabre. This is volume 1 of 2 of "HR Giger's Necronomicon" where Al Azred's legendary magical book of the most wonderful abominations and perversions, "Necronomicon" (made infamous in the pages of HP Lovecraft's "Cthulhu" mythology), becomes a visual reality!
With an introduction by Clive Baker and numerous texts by HR Giger as well as texts by Fritz Billeter and Simon Vinkenoog and a tribute from Salvador Dali. Note: Japanese language edition.
First Japanese edition, published by Treville, Tokyo, in 1984. Very good copy throughout with Very Good dust jacket. Some edge wear with fragile, oversized edition.
1981, English
Softcover, 48 pages, 40 x 28 cm
1st Edition, Out of print title / used / very good
Published by
Charles E. Tuttle / Tokyo
$170.00 - In stock -
Scarce first Japanese edition (entirely in English language), published in Tokyo by Charles Tuttle, of this beautifully produced over-sized 1981 book by H. R. Giger. Foreword by Timothy Leary.
In 1981, a year after being awarded the Oscar for Best Achievement for Visual Effects for Alien, the book H.R. GIGER N.Y. CITY was published. This series of post Alien works, the result of an intense period of non-stop painting, literally day and night, were inspired by Giger's trip to New York City and a template which his colleague Cornelius de Fries, brought back from one of his excursions into the electronic industry. The stencil was actually a sheet of scrap metal from which electrical components had been punched out. Alongside these incredible works are drawings, articles, press clippings, posters and polaroids from Giger's time in New York City.
Fantastic Swiss surrealist painter, sculptor and set designer Hans Rudolf “Ruedi” Giger was born in 1940, the son of a chemist. He spoke of a father who viewed art as a "breadless profession", and strongly encouraged his son to enter into pharmaceutics. Despite this, in 1962, he moved to Zürich, where he studied Architecture and industrial design at the School of Applied Arts until 1970. Giger's style and thematic execution have been hugely influential. His design for the Alien was inspired by his painting Necronom IV and earned him an Oscar in 1980. His books of paintings, particularly Necronomicon and Necronomicon II (1985) and the frequent appearance of his art in Omni magazine continued his rise to international prominence. Giger is also well known for artwork on several music recording albums. His most distinctive stylistic innovation is that of a representation of human bodies and machines in a cold, interconnected relationship, he described as "biomechanical". His paintings often display fetishistic sexual imagery. His main influences were painters Ernst Fuchs and Salvador Dalí. He was also a personal friend of Timothy Leary. Giger suffered from night terrors and his paintings are all to some extent inspired by his experiences with that particular sleep disorder, making his first paintings as a means of art therapy. In 1998 Giger acquired the Château St. Germain in Gruyères, Switzerland, and it now houses the H. R. Giger Museum, a permanent repository of his work.
Good copy, tight binding with some corner cover wear, tanning to page edges and foxing to preliminary pages.
1979, Japanese
Hardcover (w. dust jacket), 236 pages, 20.4 x 20.3 cm
1st Edition, Out of print title / used / average
Published by
Self-published / Kobe City
$65.00 - Out of stock
First and only edition of this stunning privately-issued 1979 Japanese hardcover collection of erotic fantasy art, edited and written by Yoshiki Yamamoto. Upon retiring from the Sanyo Electric Railway Company in 1976, Yamamoto devoted himself to the art that he loved and to complete an intimate book study that traces an important lineage of artists of "eros fantasy", focussing on 16 key artists through profusely illustrated chapters, linking artists of the fin de siècle, symbolism, surrealism, and their descendants. A total labour of love. There is no other book like it. "Artists Who Decorate My Secret Room" features profusely illustrated full chapters on Gustave Moreau, Félicien Rops, Gustav Klimt, Franz von Bayros, Egon Schiele, Paul Delvaux, Hans Bellmer, Felix Labisse, Pierre-Yves Trémois, Leonor Fini, Paul Wunderlich, Ernst Fuchs, Tomi Ungerer, H.R. Giger, Raymond Bertrand, Gilles Rimbault, including profiles, many artworks, portraits and texts by Yamamoto, closing with a chronology of further artists and authors through the centuries.
Average—Good copy due to the back hardcover board being reattached. Good dust jacket with the usual wear and tanning of this title, otherwise the book block is VG throughout — crisp and clean.
2020, English / Japanese
Softcover (w. dust-jacket, poster, stickers), 108 pages, 26.5 x 36.5 cm
1st Edition, Out of print title / as new
Published by
PARCO / Tokyo
Kaleidoscope Press / Milan
$200.00 - Out of stock
First edition, now out-of-print.
With a first edition sold out in Japan in one week, this super book published by Italian art publisher KALEIDOSCOPE accompanies a two-artist exhibition co-curated by Alessio Ascari and Shinji Nanzuka, bringing together for the very first time the work of Japanese artist Hajime Sorayama and Swiss artist HR Giger. Touring from PARCO Museum in Tokyo to PARCO Event Hall in Osaka between December 2020 and February 2021, the exhibition coincides with the 80th anniversary of Giger’s birth and features over 50 works ranging from the late 1960s to the present day.
The catalogue, designed by Swiss-based art direction firm Kasper-Florio with Samuel Bänziger, features a foreword by co-curator Alessio Ascari, a critical essay by Venus Lau, an interview with the late HR Giger by Hans Ulrich Obrist and Patrick Frey, and a recent interview with Sorayama by Ascari.
Lavishly illustrated throughout, this beautiful edition also comes with a 50 x 70 cm two-sided poster, and two 20 cm die-cut stickers.
Born and trained at opposite ends of the world, Sorayama and Giger are apparently at odds—one’s bright colors are swallowed by the other’s dark chiaroscuro; one’s enthusiastic outlook on technology borders with the other’s nightmarish dystopia; one’s “super-realism” challenges the other’s surrealism—yet they share more than meets the eye. Both emerged in the 1970s and 1980s, becoming acknowledged masters of airbrush painting and influential creators beyond the boundaries of the traditional art world, blurring the relationship between commercial and personal work. But more importantly, at the very core of their practice lies a similar concern: an obsessive investigation of AI, eternal life, and the fusion of organic and apparatus. Gynoids (female androids) are predominant subjects, conjuring the post-human and the apotheosis of the woman to reveal an underlying tension between life, death, power and desire.
Hajime Sorayama (b. 1947 in Imabari, Ehime prefecture) has established his position as a legendary artist, both within Japan and internationally, for his extensive oeuvre that centers upon an ongoing pursuit for beauty in the human body and the machine. Best known for his precisely detailed, hand-painted portrayals of voluptuous women, obtained through an astoundingly artful use of a wide array of realistic expressional techniques, most prominently airbrush painting, the artist’s international recognition is inextricably tied to his signature series titled “Sexy Robot” (1978-) featuring erotic android figures clad in shiny chrome metal, and to AIBO, the award-winning robotic pet he designed for SONY in 1999.
Hans Ruedi Giger (1940–2014) was a Swiss surrealist painter, sculptor, and set designer known for his biomechanical creatures, extraterrestrial landscapes, and disturbing sexual machines. In a career that spanned more than five decades, he employed a staggering variety of media, including furniture, movie props, prints, paintings and sculptures, often creating exhibition displays and total environments with the immersive quality of a wunderkammer—including, most notably, the HR Giger Museum in Gruyères. In 1979, his concept design for Ridley Scott’s Alien (1979) won an Academy Award for Best Achievement in Visual Effects and catapulted to fame his daunting vision of death and futurism.
2022, English
Softcover, 142 pages, 24 x 33 cm
1st Edition, Out of print title / as new
Published by
Tina Kim Gallery / New York
$200.00 - Out of stock
First edition, quickly out-of-print. Published to accompany an exhibition bringing together the worlds of the late Swiss visionary Hans Ruedi Giger (1940–2014) and South Korean artist Mire Lee, at The Schinkel Pavillon, Berlin, September 18, 2021–January 2, 2022, this book beckons towards the darkest aisles of the human body and psyche. Both artists deal in biomechanical phantasmagorias of human and machine forms combining in an indissoluble whole, a constant metamorphosis between the stages of decline and resilience, hopelessness and power, lust and revulsion, male and female – thus emblematic of the polarities of our own existence. With texts by Agnes Gryczkowska, Charlie Fox, and McKenzie Wark and conversations between the artists and Hans Ulrich Obrist.
1987, Japanese
Softcover (w. dust jacket), 98 pages (w. fold-outs), 42 x 30 cm
1st Edition, Out of print title / used / very good
Published by
Treville / Tokyo
$190.00 - Out of stock
First Japanese edition of H.R. Giger's Necronomicon II, the second oversized and visually overwhelming Giger-designed collection that takes us further through the incredible history of one of the most brilliant fantasy artists of the century. Reproducing Giger's award-winning work for the film ALIEN, his paintings, environments, sculptural works, his work for never shot film "The Tourist", collaborations with Blondie's Debbie Harry, his "New York City" series from the late 1970's and much more, all beautifully reproduced in full-colour and black and white, full-bleed spreads, including fold-out pages. Also includes interviews, texts, biography. These Giger folio books have become very desirable, collectable editions in their various printings around the world, the series encompassing the work of one of the world's most unique and influential visionaries of the macabre. This is volume 2 of 2 of "HR Giger's Necronomicon" where Al Azred's legendary magical book of the most wonderful abominations and perversions, "Necronomicon" (made infamous in the pages of HP Lovecraft's "Cthulhu" mythology), becomes a visual reality!
First Japanese edition, published by Treville, Tokyo, in 1987. Very good copy throughout with Very Good dust jacket. Some edge wear with fragile, oversized edition.
2021, English
Softcover, 300 pages, 17 x 24 cm
Published by
Edition Patrick Frey / Zürich
$175.00 - In stock -
Thanks to his work on the iconic creature for the film Alien (Ridley Scott, 1979) – a detailed account of which is given in his Alien Diaries (2013, first edition, Edition Patrick Frey) – H. R. Giger was firmly established in Hollywood’s supernatural horror and science fiction genres. Giger went on to design all the ghosts for Poltergeist II: The Other Side (Brian Gibson, 1986). Unlike his work on Alien on the set at Shepperton Studios in England, Giger collaborated on the movie remotely from Zürich, basing his creatures on Michael Grais and Mark Victor’s screenplay and airmailing the airbrushed designs to Los Angeles.
Due to his absence as well as misunderstandings with the director and the studio and a meagre production budget, the dark inscrutability and amorphous plasticity of Giger’s initial shape-shifting sketches ended up falling flat on celluloid, coming to resemble cheap-looking monsters in a campy B-movie. Giger’s in some cases psychedelic sketches were designed as sequences showing the metamorphosis of a worm-like ghost into a grotesque dwarf that ultimately morphs into a soul-devouring Gorgon-like monster called 'The Great Beast'. Poltergeist II – Drawings 1983–1985 is a facsimile edition of Giger’s original sketchbook, containing 135 of his remarkable drawings as well as drafts of letters expressing doubts and suggestions to director Brian Gibson.
2023, English / German
Hardcover, 240 pages, 35 x 26 cm
Published by
Scheidegger und Spiess / Zürich
$190.00 - In stock -
A unique visual foray into the fantastic worlds of artist H.R. Giger.
The art of H.R. Giger (1940-2014), Swiss-born creator of the legendary monster in Ridley Scott's movie Alien, is currently experiencing a renaissance and is featured in exhibitions as well as in magazines around the globe. This lavish large-format volume offers never-before-seen insights into Giger's private house and garden, both of which are populated by biomechanical sculptures, airbrush paintings, Alien furniture, objects, prints, and self-portraits. French photographer Camille Vivier—best known for her work for Stella McCartney and Cartier—enjoyed exclusive access to the artist's Zurich home and studio for this book, where she worked on her own as well as with models in a series of photo sessions.
Vivier's around 200 photographs form an atmospheric tribute to the arguably most distinguished representative of Fantastic Realism. In addition to images of Giger's studio and his life-size sculptures, Vivier has also documented some hundred objects and artworks, as well as his famous Alien-style garden railroad.
An essay by French publicist Farbrice Paineu places H.R. Giger's art in the wider context of pop culture and the genre of horror movies.
Edited by Beda Achermann.
Text in English and German.
1977, French
Softcover (staple-bound), 100 pages, 27 x 21.5 cm
1st Edition, Out of print title / used / good
Published by
Les Humanoïdes Associés / Paris
$50.00 - Out of stock
Metal Hurlant No. 21, May 1977 issue featuring comic stories/art by H.R. Giger, Moebius, Jacques Lob, Alain Voss, Jean-Michel Nicollet, Serge Clerc, Chantal Montellier, Michel Jakubowicz, Jean-Pierre Dionnet, Hervé Tanquerelle, Marc Duveau, and many more, plus the usual fare of sci-fi, movies, music... Cover art by H.R. Giger. Original French editions, very scarce outside Europe.
Métal Hurlant (literal translation: "Howling Metal") was a French comics anthology of science fiction and horror comics stories, created in December 1974 by comics artists Jean Giraud (better known as Mœbius) and Philippe Druillet together with journalist-writer Jean-Pierre Dionnet and financial director Bernard Farkas. The four were collectively known as "Les Humanoïdes Associés" (United Humanoids), which became the name of the publishing house releasing Métal Hurlant. English, German and Italian editions were also licensed, including Heavy Metal, published in the US by National Lampoon. Métal hurlant was originally released quarterly with contributors including Moebius and Druillet, depicting such iconic characters as Arzach and Lone Sloane for the first time, as well as work by Richard Corben, Guido Crepax, Alejandro Jodorowsky, Enki Bilal, Caza, Serge Clerc, Alain Voss, Berni Wrightson, Nicole Claveloux, Milo Manara, Frank Margerin, Masse, Chantal Montellier, and many others.
1967, German
Offset poster (double-sided), 83.5 x 59 cm
1st Edition, Out of print title / used / very good
$600.00 - Out of stock
Where it all started.... H.R. Giger's first ever poster! Rare vintage original and never reprinted.
Published in a limited edition to accompany the The-Telllife-No-mads-presents: Poëtenz happening/exhibition, organized by young Giger's friend and collaborator, Swiss writer, artist and publisher Urban Gwerders. Gwerders was the publisher of Swiss underground counterculture magazine Hotcha (1968—1971), to which Giger was also a contributor. The poster folds-down into a catalogue/program for the event with original cover artwork by Giger and collage contents, poems, photographs (including pics of Giger, Li, et al) and Poëtenz information, all designed in the montage style of Hotcha, and the "poster" side entirely reproducing Giger's incredible early "Astreunuchen" masterpiece, pre-dating ALIEN by over ten years.
A stunning collector's item and piece of Giger history, ready to frame.
Dimensions : 83.5 x 59 cm
Very Good condition, never mounted/pinned, well preserved in folded state as issued.
1984, Japanese
Softcover, 96 pages, 20 x 22.5 cm
1st Edition, Out of print title / used / very good
Published by
Cinefex / California
$70.00 - Out of stock
Rare early (no. 3) Winter 1984 issue of the mighty Cinefex journal, the Japanese edition, the in-depth cover feature of the publication is dedicated to the making of ALIEN, profusely illustrated throughout with the creature development of artist H.R. Giger, alongside the work of concept artists Ron Cobb and Chris Foss, drawings, paintings, behind-the-scenes and on-set photography, film stills, etc. of Ridley Scott and Dan O'Bannon's 1979 science fiction horror masterpiece, accompanied by text by Cinefex editor Don Shay (translated to Japanese). The second portion of the book dedicated to Twilight Zone The Movie, the 1983 film based on Rod Serling's 1959–1964 television series of the same name, featuring four stories directed by Landis, Spielberg, Joe Dante, and George Miller. One of the most collectible early issues, for obvious reasons.
Cinefex, founded by Don Shay in 1980, was a bimonthly journal covering visual effects in films. Each issue featured lengthy, detailed articles that described the creative and technical processes behind current films, the information drawn from interviews with the effects artists and technicians involved. Each issue also featured many behind-the-scenes photographs illustrating the progression of visual effects shots – from previsualization to final – as well as the execution of miniatures, pyrotechnics, makeup and other related effects.
Very Good copy with only light wear/age.
1986, Japanese
Softcover, 98 pages, 30 x 21 cm
1st Edition, Out of print title / used / very good
Published by
V-Zone / Japan
$100.00 - Out of stock
November 1986 issue of V-Zone, the wild, short-lived cult horror/sci-fi/fantasy movie magazine from Japan, published between 1985-1987. Profiles/reviews/articles on the history of Troma, Guzoo: The Thing Forsaken by God, Highlander and director Russell Mulcahy, El Topo, Critters, The Horror Films of Byron Orlok, Lewis Carroll, Dreamchild (and Jim Henson), Night of The Comet, Creature, The Last Wave, Poltergeist 2, Texas Chainsaw Massacre 2, Breeders, Pleasure Planet, Mutant Hunt, Day of The Woman, Eyes of Fire, Oracle, Dario Argento, Thou Shalt Not kill, Evils of The Night, Aurora Encounter, Roller Blade, Raiders of the Living Dead, Planet of Dinosaurs, Big Trouble in Little China, Giger/Alien, Halloween, and so much more!
At the height of the home video revolution of the 1980s, V-Zone committed it's graphic-saturated pages to the explosion of horror, fantasy, and science fiction films that came with it. V-Zone's coverage of American horror is unparalleled in the world of Japanese magazines, but they also focused attention on historical and underground western science fiction and cult cinema, whilst also playing an important role in fostering the new wave of Japanese gore and V-Cinema (direct-to-video splatter films). Heavy with film features, interviews, stills, ads and reviews, each issue has amazing behind-the-scenes reportage from industry conventions and sfx fan parties, content you would not find anywhere but Japan, including a regular column by legendary Godzilla special effects artist Shinichi Wakasa on how to make your own SFX makeup, gore, and even craft realistic squibs with dimestore prophylactics. Needless to say, V-Zone is a must for any 1980s video collector or lover of gore.
1997, Japanese
Softcover (w. dust jacket), 104 pages, 21 x 29.5 cm
1st Edition, Out of print title / used / very good
Published by
Treville / Tokyo
$150.00 - Out of stock
Scarce copy of the now out-of-print Biomannerism book, first edition, published in Japan by Treville in 1997. An incredible selection of international artists linked through their exploration of new aesthetics of erotic metamorphosis between the organic and synthetic compiled with texts by Stéphan Lévy Kuentz. Features lavishly illustrated chapters dedicated to the works of artists Daniel Ouellette, Michel Henricot, Sibylle Ruppert, Joe Hackbarth, Tsutomu Otsuka, Beksinski, Yoshifumi Hayashi, Jean-Marie Poumeyrol, H. R. Giger.
"The erotic Biomannerism movement is a creature of the cyberage, an expression of technophobia and fear of mutation. The artists represented here come from the U.S., France, Germany, Japan, and Switzerland, but they share a Kafkaesque view of the human condition, which they express in twisting, writhing, bulging, disintegrating images of the human form. Inspiration flows from Michelangelo, Dali, da Vinci, Rubens, and Duchamp, as well as Blade Runner, Frankenstein, and Intel."
Very Good in VG dust jacket.
1979, Japanese
Softcover (staple-bound), 28 pages, 29.5 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Toho / Tokyo
$80.00 - Out of stock
Wonderful, rare Japanese souvenir photo booklet for Ridley Scott and Dan O'Bannon's 1979 science fiction horror masterpiece, Alien. Based on a story by O'Bannon and Ronald Shusett, the film stars Tom Skerritt, Sigourney Weaver, Veronica Cartwright, Harry Dean Stanton, John Hurt, Ian Holm, and Yaphet Kotto. With iconic design by the Swiss artist H.R. Giger, and concept artists Ron Cobb and Chris Foss, Alien changed science fiction film forever. Heavily illustrated throughout with glossy colour and b/w stills from the film, behind-the-scenes, alongside texts in Japanese about the film, cast, and production information.
Very Good copy. Some pinching to spine.
1979, Japanese
Softcover (w. dust jacket), 76 pages, 29.7 x 29.7 cm
1st Edition, Out of print title / used / very good
Published by
Treville / Tokyo
$85.00 - In stock -
First Japanese edition of the 1979 classic "Giger's Alien", a visually stunning and wonderfully insightful book for any fan of the art of H.R. Giger, Ridley Scott and Dan O'Bannon's Alien film or in the production of science-fiction/horror/special effects in any way. A must.
"Giger's Alien provides a complete record of the months and months of painstaking work that resulted in two hours of terrifying celluloid. Sketches, original paintings, photographs of scenery and the Alien under construction and scenes from the film are linked by Giger's detailed diary of his thoughts and actions at the time".
Very Good copy in VG original dust jacket. Only light wear/age. First edition.
1992, English
Softcover, 94 pages, 30 x 23 cm
1st Edition, Out of print title / used / very good
Published by
Taschen / Cologne
$45.00 - Out of stock
"The more famous I get, the more I am tolerated, albeit with some head-shaking."H.R. Giger
1992 printing of A Rh+, the English edition, collecting Giger's multi-faceted career in one place: From surrealistic dream landscapes, to album cover designs, and sculpture. Lavishly illustrated with over 100 images with detailed captions, this monograph forms a detailed chronological summary of the life and oeuvre of the most leading fantasy artist and ALIEN master, H.R. Giger, covering his cultural and historical importance and a concise biography.
Very Good copy with light cover wear.
1974, German
Softcover, 128 pages, 25.5 x 18.5 cm
1st Edition, Out of print title / used / good
Published by
Bündner Kunsthaus / Chur
$200.00 - Out of stock
Very rarely seen, first and only edition of Giger's Passagen: Werkkatalog 1971-1974, designed entirely by Giger himself and published in a limited edition in 1974 as the continuation of the first oeuvre catalog, 'A Rh +' published in 1971. Packed with amazing content, much not documented elsewhere), this book first and foremost features a fully illustrated catalogue of Giger's iconic Passagen works in colour and b/w. Alongside texts by various critics, writers, and colleagues, including Sandro Fischli, H. Hartmann, Fritz Billeter, and Sergius Golowin, the book traverses many different projects, exhibits, happenings and social gatherings, mostly photographed by Giger himself, including the work of (and/or his collaborations with) Walter Wegmüller, Li Tobler, Claude Sandoz, Timothy Leary, Friedrich Kahn, Wolfgang Hausamann, and more. Also catalogued in colour and b/w are Giger's magnificent landscape works dating from 1972-1974. Includes a biography, bibliography, full work listings and photo credits, closing with a lovely portrait of Swiss stage actress, gallerist, partner and model for many of Giger's paintings, Li Tobler (30 November 1947 – 19 May 1975).
Good copy.
1989, Japanese
Softcover (w. dust jacket), 96 pages, 42.5 x 30.5 cm
1st Edition, Out of print title / used / very good
Published by
Treville / Tokyo
$180.00 - Out of stock
Rare first 1989 Japanese edition of H. R. Giger's Biomechanics. In his classic series of oversized and visually overwhelming early art volumes, this book comprises a retrospective showcase, from 1964—88, of Giger's work, designed by and with running commentary by Giger himself, with over 200 drawings, paintings, and sculptures, and including concept art for the film Poltergeist II, and design paintings for Emerson, Lake, and Palmer albums. With a foreword by legendary Science Fiction author and longtime Giger fan Harlan Ellison, who dubs him "out latter-day Hieronymus Bosch."
Note: the Japanese editions of these books often had better reproductions from the original plates than the German and English language editions.
Very Good copy some light wear.
1997, English
Softcover, 116 pages, 21 x 29 cm
1st Edition, Out of print title / used / good
Published by
Morpheus International / US
$80.00 - Out of stock
First 1997 edition of H.R. Giger's Retrospective 1964-1984, presenting over 150 artworks, spanning 20 years in the career of the world's most renowned fantasy artist, gathered chronologically in this one rich and detailed volume. Carefully rendered reproductions of Giger's paintings, drawings, designs, videos, sculptures, costumes and furniture are accompanied by his own commentary and portraits of the artist at work and with Dali, Fuchs, Harry and other colleagues.
Fantastic Swiss surrealist painter, sculptor and set designer Hans Rudolf “Ruedi” Giger was born in 1940, the son of a chemist. He spoke of a father who viewed art as a "breadless profession", and strongly encouraged his son to enter into pharmaceutics. Despite this, in 1962, he moved to Zürich, where he studied Architecture and industrial design at the School of Applied Arts until 1970. Giger's style and thematic execution have been hugely influential. His design for the Alien was inspired by his painting Necronom IV and earned him an Oscar in 1980. His books of paintings, particularly Necronomicon and Necronomicon II (1985) and the frequent appearance of his art in Omni magazine continued his rise to international prominence. Giger is also well known for artwork on several music recording albums. His most distinctive stylistic innovation is that of a representation of human bodies and machines in a cold, interconnected relationship, he described as "biomechanical". His paintings often display fetishistic sexual imagery. His main influences were painters Ernst Fuchs and Salvador Dalí. He was also a personal friend of Timothy Leary. Giger suffered from night terrors and his paintings are all to some extent inspired by his experiences with that particular sleep disorder, making his first paintings as a means of art therapy. In 1998 Giger acquired the Château St. Germain in Gruyères, Switzerland, and it now houses the H. R. Giger Museum, a permanent repository of his work.
Good—Very Good copy of the first 1997 English edition with light general corner/cover wear.
1988, German
Softcover, 96 pages, 42.5 x 30.5 cm
1st Edition, Out of print title / used / very good
Published by
Edition C. (Edition Crocodile) / Switzerland
$500.00 - Out of stock
Very rare, very first 1988 Swiss edition of H. R. Giger's Biomechanics, published by Edition C. (Edition Crocodile). In his classic series of oversized and visually overwhelming early art volumes, this book comprises a retrospective showcase, from 1964—88, of Giger's work, designed by and with running commentary by Giger himself, with over 200 drawings, paintings, and sculptures, and including concept art for the film Poltergeist II, and design paintings for Emerson, Lake, and Palmer albums. With a foreword by legendary Science Fiction author and longtime Giger fan Harlan Ellison, who dubs him "out latter-day Hieronymus Bosch."
Very Good copy with light wear and light pinch to spine.
2018, Japanese
2 Volumes, softcover (one w. dust jacket), 195 + 95 pages, 19 x 13 cm
Signed by author,
Published by
Treville / Tokyo
$40.00 - Out of stock
A must-have book for Biblio enthusiasts. Pursuing the ultimate in erotic expression, dismantling the boundaries between pornography and art, and exploring the deepest mysteries of the desires of
This 2-volume set includes the "Erotic Art and Esotericism" (Booster Booklet), which expands on—in full colour—Soma's selections of artists surveyed, featuring hundreds of artworks and associated book-references. Artists include: Hans Bellmer, Pierre Molinier, Jean Benoit, Gérard Gachet, Sybille Ruppert, Jean-Marie Poumeyrol, H.R. Giger, Zdzisław Beksiński, Nik Douglas & Penny Slinger, Bob Carlos Clark, Hajime Sorayama, Seiu Ito, Kazutomo Fujino, Ayako Nakagawa, Petter Hegre, Henri Maccheroni, Jamie MacCartney, Richard Cerf, Gilles Berquet, Trevor Watson, Laszlo, Tony Ward, Laurent Bunaim...
Limited edition signed by the author.
1984, German
Softcover, 78 pages (w. fold-outs), 42 x 30 cm
1st Edition, Out of print title / used / very good
Published by
Edition C / Zürich
$180.00 - Out of stock
With an introduction by Clive Baker and numerous texts by HR Giger as well as texts by Fritz Billeter and Simon Vinkenoog and a tribute from Salvador Dali.
"The "Necronomicon" is a legendary magical book that is kept in inaccessible places only in a few, incompletely preserved specimens because it could have disastrous consequences if it fell into the wrong hands. It was written down around 730 AD in Yemen by the legendary Abdul Al Azred. It is said to tell of things and events that took place in the gray age, and illustrations of uncanny creatures lurking in the depths of the earth and the seas, one day destroying mankind and striking the world.
Al Azred's "Necronomicon" is a kind of museum of the most wonderful abominations and perversions. The well-known writer HP Lovecraft was the first to report in his "Cthulhu" mythology of this work. Many other science fiction and fantasy writers have quoted this fictional work time and again, but it has only become a visual reality in "HR Giger's Necronomicon"!"
"Giger always opens up new approaches to the origins of our psyche," writes Clive Baker in his foreword. "He is planning for us to go, encouraged by the knowledge that others have gone before this path, and only a few artists are able to give such impulses, and if we follow Giger, we are initially afraid of our mental health. And quickly recognize that the supposed new territory has countless stations that are connected with our familiar life. For, after all, we are no strangers: Giger points the direction into the world in which we must return, where we pledge our pledge, to pay the tithes which we owe. Giger's world is the place of our own taboos, and only our own disregard makes him appear frightening, sullen, "alien" (alien). (...) Giger's work calls us to the common ground of the unconscious, where, though we sometimes alienate ourselves from it, we are never really strangers. In other words, HR Giger's fantastic art is calling us home."
Beginning with a hommage from Salvador Dali, the first in this series of oversized and visually overwhelming volumes takes us through the early history of one of the most brilliant fantasy artists of the century. From his "Passegen" series, his work for theatre, posters, album artwork, environments, personal works, is designs for Alejandro Jodorowsky's DUNE, and much more, all beautifully reproduced in full-colour and black and white, full-bleed spreads, including fold-out pages. These Giger folio books have become very desirable, collectable editions in their various printings around the world, the series encompassing the work of one of the world's most unique and influential visionaries.
This is the first Swiss edition, published by Edition C.
Very Good copy.
1971, German
Softcover, 134 pages, 25.5 x 21 cm
1st Edition, Out of print title / used / very good
Published by
Walter Zürcher Verlag / Gutendorf
$500.00 - Out of stock
The very rare first 1971 edition of H.R. Giger A Rh+, Giger's first mythical book, and still the most special (in our opinion). Designed by the young artist himself and published independently in a limited edition in 1971 by Swiss esotericist Walter Zürcher, A Rh+ is Giger's very first oeuvre catalogue — filled entirely with black-and-white documentation of the first major work groups of the fantastic Swiss surrealist painter, sculptor and set designer Hans Rudolf “Ruedi” Giger, spanning his earliest grotesque ink cartoons and introducing his "biomechanical" paintings (while the ghost of Alfred Kubin still looms heavily), along with his early film works including Heim-Killer (1967) and Swiss Made (1968), his early sculptures, furniture pieces, exhibitions, prints, theatre work, the “Poëtenz-Show” work and his collaboration with anarchic collective and political "krautrock" group Floh de Cologne. Accompanied by sketches, clippings and photographs of Giger and accomplices in the studio, posing with works, in the forest, etc. A Rh+ has a very private and occult feel, augmenting the mysterious quality of these wonderful early visions of the macabre. An incredible and scarce document that did not see distribution much further than Giger's own circles. A long out-of-print, collector's item.
Very Good copy.
2022, English
Softcover (w. stickers), 36 pages, 27.5 x 21 cm
First Edition of 50,
Published by
Knowledge Editions / Brighton
$30.00 - Out of stock
H.R. Giger: Heavy Metal Index, an anthology and fanzine in the truest sense, published in an edition of 50 copies by Tim Coghlan's Knowledge Editions in Brighton, Melbourne, it meticulously documents, edits and re-produces the published history of Swiss fantastic artist Hans Ruedi Giger's appearances in the pages of the popular Heavy Metal magazine, an American science fiction and fantasy comics magazine, published beginning in 1977, after the French magazine Métal Hurlant (est. 1974). All Giger's artworks are located and re-produced here from the pages of many lost issues of Heavy Metal, along with all accompanying articles and interviews re-typeset along with newly presented reference imagery throughout, all painstakingly indexed. H.R. Giger: Heavy Metal Index comes with exclusive bootleg stickers.
Published on the occasion of Printed Matter's New York Book Fair 2022 at 548 West 22nd St.
Dedicated to the loving memory of Hans Ruedi Giger.
Knowledge Editions Bootleg 11.
"A fanzine (blend of fan and magazine or -zine) is a non-professional and non-official publication produced by enthusiasts of a particular cultural phenomenon (such as a literary or musical genre) for the pleasure of others who share their interest. The term was coined in an October 1940 science fiction fanzine by Russ Chauvenet and first popularized within science fiction fandom, and from there the term was adopted by other communities."—wikipedia