Zines

Steak Zine is the new issue of Cake Zine. Cake Zine is a literary print magazine exploring art, history, and pop culture through food.

For this pocket-sized special issue, Cake Zine is setting off into carnivorous territory. Serving up 208 pages of non-fiction and fiction exploring the cultural impact of red meat, including:

The last days of Acropolis, Portland’s beloved strip club-steakhouse, by Sophia June

A profile on the women going viral by eating raw meat online by Ella Quittner

A night at a fictionalized steakhouse kaleidoscoped through the roles of maître d’, bartender, server, chef, and guest, by Leah Abrams, Isle McElroy, Lillian Fishman, Stephanie Wambugu, and Hannah Kingsley-Ma

Examinations of the enduring escapism of Outback Steakhouse and Fogo de Chão by Ruby Robina Saha and Adam Dalva

A trip through Nebraska to trace how historic stockyard closures in the late 1990s have affected those serving up beef in the Beef State, by Jamal Dauda

A wistful look back at a romance fueled by ribeye and red leather booths, by Emma Specter

NDA-risking testimony from a lab tech at a plant-based food start up who went from vegetarian to carnivore in the noble name of research, by AUTHOR REDACTED

Tracing the roots and uncertain future of Hong Kong’s sizzling steak by Madeline Leung Coleman

Plus the steak heists prompting retailers to put meat behind lock and key, the body horror of cannibalist cinema, revisiting molecular gastronomy’s embrace of meat glue, the social tensions behind ordering well-done meat, the trauma of growing up on an Australian cattle ranch, and much more.

For the Love of Cookie Mueller attempts to capture some of our favorite aspects of Cookie Mueller, mostly her good humor and absurdity. A girl who just stumbled onto wildness, Cookie became a counter cultural icon, a writer, a mother, a victim of Governmental negligence but she never let a thing get her down. Cookie Mueller is a guru of the 20th century. In today’s era of war and political instability, her writing feels more important today than ever. This is for hardcore Cookie fans and novices alike.

Dans l’imaginaire collectif, l’œuf évoque la fragilité et la promesse de vie, tandis que la pierre renvoie à la permanence et à la disparition. Cette édition tente de déplacer cette opposition à travers une forme fragmentaire. Il rassemble des notes écrites au fil du temps. Sa production suit cette logique : imprimé en offset, le projet prend en compte les formats de papier afin d’en optimiser l’usage. Les chutes sont utilisées dans un cahier complémentaire, rassemblant textes et images laissés en marge. La reliure, cousue à la main au fil de coton, reste simple et légère. L’objet se conçoit comme quelque chose à manipuler et découvrir, entre publication et transmission plus intime. 

« J’ai donc cherché une forme simple, en évitant tout formalisme superflu. Le projet repose sur une question : est-il nécessaire de produire ce type d’objet, et pourquoi ? » 

In the collective imagination, the egg suggests fragility and the promise of life, while stone evokes permanence and disappearance. This edition seeks to move beyond this opposition through a fragmentary form. It gathers notes written over time. Its production follows the same logic: printed in offset, the project takes paper formats into account in order to optimize their use. Offcuts are used in a supplementary section, gathering texts and images left aside. The binding is hand-sewn with cotton thread, remaining simple and lightweight. The object is conceived as something to handle and discover, between publication and a more intimate form of transmission. 

“So I sought a simple form, avoiding unnecessary formalism. The project rests on a question: is it necessary to produce this type of object, and why?”

Ce jeu memory invite à découvrir la symbolique de l’ours à travers l’Histoire, et plus précisément à travers l’histoire de l’ours en peluche. L’animal n’a pas toujours eu bonne réputation chez les humains. Comment un jouet à son effigie a-t-il pu devenir un emblème de l’enfance ? Le jeu se compose de 54 cartes numérotées (27 paires) et d’un poster explicatif imprimés en risographie. 

This game of memory is an invitation to discover the symbolism of the bear through history, more specifically, through the history of the teddy bear. The animal didn’t always have such a good reputation among humans. How could a toy in his likeness become an emblem of childhood ? The game is made of 54 numbered cards (27 pairs), and an explanatory poster printed in risography.

Culottes est une édition qui retrace l’histoire de ce sous-vêtement à travers différentes matières textuelles et visuelles. Elle interroge sa symbolique dans un milieu artistique et explore le rapport des femmes à cet objet de leur quotidien. Le tout est accompagné d’images emblématiques de pub et de goodies !! 

Culottes is a publication that traces the history of this underwear through different textual and visual materials. It questions its symbolism in an artistic context and explores women’s relationship to this everyday item. It comes with iconic images from advertisements and goodies!!

The 24h Book is a series of artist collaborations in book form. Each book is developed and produced according to a rigid schedule and with a clear set of rules and limitations.

Each artist is placed in a space with Studio The Future for 24 hours, during which time all content (including narrative, images, graphic design etc.) is conceived, produced, and printed.

Ant Mag is an independent zine publisher located in Ghent, Belgium publishing zines showcasing artists interests and practice.

Founded in 2023, A4 is a poetry review which showcases and explores contemporary writings practices. Run by Littérature Supersport collective, the object is seen as the extension of their events. The review takes the form of 4 postcards which, when placed side-by-side, form an A4-sheet. A light (even precarious) format for literature that slips into the back pocket of pants and hangs on fridge doors. Each issue features unpublished texts by 4 authors. Wrapped in colors, A4 is distributed by post and available in good bookshops, in Brussels, Liège, Paris and Marseille. 

This fourth issue presents texts by: Gorge Bataille, Marc Buchy, Samy Manga, Elke de Rijcke.

Featuring the photography of BENJAMIN FREDRICKSON 👅 

This issue of SISSY ANARCHY brings together an incredible cohort of sissies; who give up their environment, their daily encoded stances, to define with me here — in what has become such a tender edition of SISSY ANARCHY — a world where boundaries are stretched and obliterated.

Contributions featuring Imogen Cleverley, Joel Dixon, Donna Marcus Duke, Benjamin Fredrickson, Jordan Hearns, Misha Honcharenko, Ian Ivey, Hesse K, Mayah Monet Lovell, Sam Moore, D Mortimer, Barney Pau, L Scully, Pissed Off Trannies, Ailo Villan, Lee Rae Walsh

Founding Editor: Pierce Eldridge
Design: Caitlin Mcloughlin

This zine is the result of the research residency "Plotting with the archive" that took place at Komplot between September 2025 and January 2026. The publication contains a subjective timeline of Komplot — its strategies, relations and projects — with the aim of organising them and at the same time speculating on possible future developments. The material was produced during a collective workshop in which the archive was explored and activated.

This publication brings together a text by Dagmar Dirkx and reproductions of Ot Lemmens' installation Going Virile. 

Prior to starting to work on their public installation Going Virile, two of the eight display windows were vandalized and cracked. Having intended to work around the idea of passing in a trans-masculine context, Ot turned their gaze to the relationship of masculinity to violence, questioning the reproduction of ideas around masculinity through transmasculine embodiment. They designed and screenprinted 6 patterns of which a few are reproduced in this publication. 

During that process they invited Dagmar Dirkx to experiment with writing a text in parallel to their work. The text Ten Non-Binary Hertz arose from a conversation between the Dagmar and Ot about trans-masculinity in relation to desire, violence and the idea of passing.

Text by Dagmar Dirkx
Translation by Titane Michiels
Design by Ot Lemmens
Made possible by VGC Brussel and Nadine vzw

A zine exploring the body as a bookbinding tool.

Concept and graphic design: Maya Strobbe
Models: Celine Aernoudt and Maya Strobbe
Photographer: Julia Cesnulaityté
Editorial feedback: Linus Bonduelle
Set in Overused Grotesk

First edition of 250 copies
Brussels

Real Estate Portfolio by Claire Barrow
7 panel concertina + covers / total of 16 pages 
9.6 × 14 cm folded / 98 cm extended
Riso 250gsm recycled offset exterior, litho 135gsm recycled offset interior 
Glassine sleeve, digitally printed on the front & back

Self-published edition of 300, signed by the artist
Constructed in the UK (£0.016 per cm²)

The zine was drawn in one session using the right wrong hand.

What do you worship? What claims your time, your faith, your silence? What are the icons you carry, the relics you protect, the devotions that define you?

For our inaugural issue, we invite you to reflect on the objects, ideas, rituals, and obsessions that shape your devotion. Worship is not confined to temples or texts, it flickers in longing glances, whispered prayers, silent routines, and fervent beliefs. It can be sacred or profane, communal or solitary, chosen or inherited.

We encouraged our writers and artists to interpret this theme freely, critically, emotionally, playfully, or abstractly. Whether they explored worship through fiction, nonfiction, poetry, visual art, or hybrid forms, we were looking for work that comforts, commands, or consumes.

This issue features art and writing from: Triinu Silla, Michel Krysiak, Anna Tracey, Antonina Anna Kubicka, Ari Wentz, Jonathan David Sijl, Renacuajo Sánchez, Florence Hutchinson, Marta Calero Segura, Eden Ridout, Artémis Toumi, Simone Viola, Zoe Pappouti, Laura Soto Sánchez, Autumn Anderson, Woodkern, Cathal McGuire, Nena Pawletko, Ignacio Aguilera, Marine Victoria Lobos Garay, Andreea Luță, Isabel Ferreras González, Rafael Torrubia, Emilia Tapia, KC Willis, Simon Jin, Jacky Weerman, Róisín Gallagher, and Rin Anishchanka. 

the eighth issue of mnemotope is full of sharp, vivid worlds that feel like when google maps zooms in from the satellite to street view. these pieces aren’t necessarily moralistic or allegorical, but instead simply insist that you enter into the moment and place that they conjure sharply into being. each cover is hand-stamped, so graphic placement varies.

Sore is a serial anthology that brings together authors whose writing practices oscillate between the genres of diary keeping and fiction. For the second issue of Sore, ten contributors – both authors and visual artists – were invited to collectively develop their work through a series of informal critiques over the course of five months.

With contributions by Adriana Lasheras Mabanta, Billy Morgan, Damien Troadec, Kate Tyndall, Kea Bolenz, Inka Hilsenbek, Milo Christie, Louis Mason

The seventh issue holds longer stories alongside the poems we’ve always so dearly loved. there’s less fantasy than in previous issues and more direct observations of the times we’re living in today; at times fearful, at times angry, at times joyful and warm. we might be predisposed to the slightly woowoo, but it does seem somewhat like a miraculously-timed message to us - this issue reminds us not to turn away from the things that are hard to face but to be uplifted by noticing the wonder around us, sharing both with community wherever we can.

Wikipedia is not:
A paper encyclopedia
A dictionary
A publisher of original thought
A soapbox or means of promotion
A mirror or a repository of links
A memorial site
A manual or scientific journal
A dictionary
A crystal ball
A newspaper
An indiscriminate collection of information

¶#1 consists solely of texts and images found on the online collaborative platform Wikipedia. This publication contains many authors and we’d like to thank every one of them. ¶#1 is assembled by Annosh Urbanke. And includes a numbered print of her work Wadi Rum (2018).

Annosh Urbanke works as an artist and in the areas of art writing and curating. In her personal work she explores nostalgic and contemporary forms of tourism. While considering personal and collective experiences she looks at today’s consumption and performative elements of tourism. For ¶#1 she travelled through Wikipedia, looking for imaginary landscapes and fictitious cities. It is a critical and inspirational reading along all kinds of travelling that reach out to nowadays problematic (meta) realities of consumer tourism.

Size: A2, folded to A4
Page run: 12
Edition: 150 + 250
Published: November 2020, reprint December 2024
Editor: Jan-Pieter 't Hart
Design: Tjobo Kho

A mark in time, grabbed from the ever-changing constant
A movement from observation to attraction
A want to collect – not to own an entirety, but to accentuate the parts
An attempt at molding the infinite
A crystallization of clicks

¶#0 consists solely of texts and images found on the online collaborative encyclopedia Wikipedia. This publication, which is the first in the series, has many authors and we’d like to thank every one of them. It is assembled by Jan-Pieter ‘t Hart.

Jan-Pieter 't Hart (he/him) is an artist and art worker based in Amsterdam, working mostly in the fields of writing, sound, publishing and organizing. He co-runs a publishing platform called OUTLINE and a music community called corecore.

Size: 27,5 *18 cm
Page run: 16
Edition: 150 + 250
Published: May 2020, reprint December 2024
Design: Tjobo Kho

Taking the shape of an accordion-folded A3 poster, “Under The Sea” investigates the political economy of global internet infrastructures, whose material reality has temporarily become visible during fibre optic network expansion works in The Hague and other Dutch cities.

As internet users, we spend a lot of time underwater. Contrary to popular belief, satellites play a negligible role in beaming our intimate messages, cat footage and work emails across the globe.

99% of all intercontinental internet traffic travels through one of over 550 fibre optic cables criss-crossing our oceans. Despite its scale, complexity and many interlinkages with global systems of power, this network of cables and landing points commonly remains invisible.

Printing: Risograph, Stencilwerck Den Haag; English text and Photography: Livio Liechti; Dutch translation: Minke Havelaar; Design: Apsara Flury. 
Edition of 250. Co-funded by Oxfam Novib.

As our streets become ever more securitised and visually sanitised, and as most forms of everyday communications are shifting to the digital realm, homemade missing posters are one of the few remaining forms of paper-based citizen expression still found in public spaces.

Drawing on a collection of several hundred missing animal posters collected over the last 10 years, “MISSING” brings seemingly isolated text fragments into conversation to weave a narrative of loss and hope. 

Featuring exaggerated duotone images, the publication explores the link between the weathering of physical posters and the fading away of cherished memories. While looking through these visual artefacts, one is left to wonder how many of these animals have been reunited with their families. 

Printing: Risograph, Grafische Werkplaats Den Haag; Photography and colour separations: Livio Liechti; Design: Apsara Flury. 
First print run (Blue) – Dec 2024: 40 copies.
Second print run (Teal) – May 2025: 50 copies.

Infrastructural systems define our ways of seeing and responding to the world around us. Today, our everyday lives and visual cultures have become saturated by digital communications systems whose physical footprint has been rendered largely invisible from the public sphere.

In an age of ever-expanding computation and a foolish believe in AI’s utopian potential, resistance can seem futile. But if we detach our gaze from increasingly narrow realm of digital imaginaries, a new world of radically different infrastructural opportunities opens up in front of our eyes.

Street libraries, or Minibiebs, as they are called in Dutch, are an under-appreciated piece of urban technology. Part manifesto, part research note, this mini publication dives into the radical potential of public book sharing structures and what they might tell us about our broken information ecosystem. 

Printing: Risograph, Grafische Werkplaats Den Haag; Research and Photography: Livio Liechti; Design: Apsara Flury. 
First print run – May 2025: 35 copies.

Issue 01 is an A5 collection of essays, journalism, poetry, illustrations, and photography by Dyke contributors all over the world.

With contributions by Louise Dalgleish, Ráitseach (Alyssa Delahan Meade), Hex Coles, Kenoya Musa, Megan O’Driscoll, Olive Franklin, Inés Pesado Catrufo, Karla Lamb, Eva Kelly, Celina Jiménez, and others.

I am not deep, although my eyes are, like a black sea that has been forgotten, as many have told me.

Noura Alsouma’s zine “Nawar’s Sketchbook” is a liquid lament by the Berlin-based Syrian visual artist and printmaker, riveted to eyes that see and therefore shed tears, channeling the heartfelt exposure of the sketchbooks Noura fills to the bleed.

With a moving text by the artist in the original Arabic, reproduced in her handwriting, as well as in English translation by Suja Sawafta.