Benutzerspezifische Werkzeuge

Fellows und Mitarbeitende des ZI sowie Gastwissenschaftlerinnen und Gastwissenschaftler berichten über laufende Arbeiten. Die offene Form des Workshops ermöglicht eine intensive Diskussion.

The word 'graphzine' began to circulate in France in the 1980s, particularly after its introduction by André Igwal in 1984 in the magazine Zoulou. Disseminated in a limited environment in very limited edition, graphzines became testimonies of alternative culture during the 1970s and 1990s, allowing us to reconstruct the history of the French underground scene of that time.

Today, since the graphzine scene, the graphzone, has expanded considerably. It is no exception to attempts at definitions and theories, such as those of Lise Fauchereau, curator of the Bibliothèque nationale de France: “Graphzine is a graphic book without text, usually made in photocopy, silk-screen printing, or offset. It is hand-crafted, in a workshop, in a living room, or on the kitchen table, which often explains its low print run and low price” (Lise Fauchereau, “Le graphzine”, dans L’autre de l’art, LaM – Lille Métropole Musée d’art moderne, d’art contemporain et d’art brut, 2014, p. 211).

The French graphzine scene began to take shape in the 1980s around the Les Yeux Fertiles bookstore, APAAR editions and later thanks to independent artists' collectives such as Le Dernier Cri and the Un Regard Moderne bookshop. At the same time, we note the existence of similar graphic scenes in several countries of the world, and very quickly links are forged between artists around the world through publications such as Graphic Production (1983), produced by Bruno Richard, highlighting this international graphic scene.

During the last two decades, graphzine have become part of the collections of the National Library of France (BnF), the Fanzinothèque de Poitiers, the Forney library, and the library of the Zentralinstitut für Kunstgeschichte – ZI of Munich, which helps to preserve some of these art objects that have been weakened by time. 
Working with the archives of the Zentralinstitut für Kunstgeschichte – ZI of Munich aim to examine the origin of this new graphic form, to draw parallels between graphzine, underground comics (comix) and fanzines to examine the beginnings and the evolution of this autonomous graphic scene. 

[Image caption: Stéphane Blanquet, HARR, graphzine, Conflans: Editions Chacal Puant, 1994 mixed media (entirely hand-drawn, gouache and pastel illustrations on kraft paper), 17.3 26.4 cm 12 pages, 12 numbered copies, Copyright: Stéphane Blanquet. This graphzine is part of the collection of the Library of Zentralinstitut für Kunstgeschichte.]