Aaron Fabian
Aaron Fabian is a graphic designer, publisher, and editor-in-chief of innen. He founded the independent publishing house innen in Budapest in 2006. He lives and works in Zurich and offers unconventional, unique perspectives on art and contemporary trends through his zines. In 2010, he launched Zug Magazine, a series of books featuring carefully selected contemporary artworks. In 2020, he co-founded innen Japan with Hiroshi Iguchi, through which he releases zines of Japanese artists.
www.innenbooks.com
Instagram: @innenbooks

innen, an independent publisher from Zurich, Switzerland, has published over 400 zines and books, offering unconventional perspectives on art and subcultures. We have received news from the publisher, Aaron Fabian, that they are releasing an anniversary book summarizing their activities over the past 18 years (innen became adult). Published by P.A.M. / Perks and Mini and supported by Carhartt WIP, fashion brands with which he has been in a close relationship, the approximately 500-page hardcover is packed with past publications and unpublished materials from the archives. A launch event was held at “The Community Centre” in Paris from April 29 to May 14 to celebrate its publication. In addition to the zines published so far, rare and original materials, rare goods, and works by artists who have been friends with “innen” were exhibited. We asked Aaron, who had just returned to Zurich from Paris after the opening, about his encounter with zines, the launch of “innen,” and the secret story behind his work with artists.

I was drawn naturally into the world of ZINE.

–First of foremost, congratulations on the launch of your anniversary book! How was the event in Paris?

Aaron Fabian (Aaron): Thank you! Having so many people there was fun, and we got great feedback. And Will Bankhead from the London music label The Trilogy Tapes did a great job DJing.

–Why did you make an anniversary book this time?

Aaron: We wanted to do it for our 15th anniversary but kept postponing it, so we finally made it happen for our 18th anniversary. Once again, I’m impressed that 18 years have passed, and innen has grown up – became an adult (laughs). It was challenging to put together all the past publications and unpublished material from the archives, but I’m glad I could cast my ideas into shape. Hans Ulrich Obrist wrote a preface to it, and American graphic designer Edward Fella did the cover design.

–I wanted to ask you a lot about yourself and innen. First of all, please tell us about your encounter with zines.

Aaron: I’m from Budapest, Hungary. My mother is an artist and art history teacher, and my father is a book designer and typographer. My grandmother worked in publishing. I grew up in an artistic family, so the printing and publishing culture was very close to me, and I first encountered photocopy-style fanzines at a local anarchic bookstore when I was 8 or 9 years old. Then, as a teenager, I created a punk culture fanzine with my elementary school friends. I was really into grayscale and black-and-white photocopying back then.

–Who did your zines feature back then?

Aaron: My stepfather was fond of punk. Partly because of his influence, we featured evergreen classic punks like The Exploited and Nina Hagen. That was the first zine I ever made, a funky punk fanzine I made with friends purely for fun.

–What is the zine culture like in Budapest, Hungary?

Aaron: I have some friends who create and publish zines, and in the last few years, there have been zine and book fairs.

Communication tools for connecting artists and the scene

–And you founded innen in 2006, but what motivated you to start it? 　

Aaron: Everything just happened naturally. I was studying graphic design in Budapest back then after in Prague, and I had to design a magazine for my final exam. I wanted to give the magazine a unique name. So when having drinks with some friends at a bar, I told them I was looking for a cool name, and one of them came up with innen. I liked it right away. I said, “It’s so cool!” and we had a few beers for that. By the way, innen means “inside to outside.”

Then, when I was in the first year of college, I started innen. The first zine I released was “F – Fotos” by my friend Füredi Tamás from Budapest. He is a very creative painter and graphic designer, and I love the photos he takes. Even after that, I made another zine for another friend, and so on. Finally, after publishing about 10 to 15 works, I found myself becoming a publisher.

I was surrounded by creative people and art through family and friends. I wanted to connect in some way or another with those people and scenes and produce something new. Zines are an easy way to communicate with them and become friends.

–Zine is a communication tool for you. So why and how are you particular about the 13 x 19 cm size of the zine?

Aaron: Benjamin from “Nieves” started five years before innen, and he used a 14 x 20 cm format, so I wanted a different size. B5 size was just too big, and I wanted to make zines pocketable, so it ended up with this size, and I will hold onto it.

–How do you find artists, and from what perspective do you select them?

Aaron: I simply choose artists I like. innen is an open platform, and it doesn’t matter how old they are, how well-known they are, or what genre they are in, as long as they have something unique to offer. It’s friendly and open and creates a conversation between culture and people. Well, I mean, it’s just real (laughs). How I look for artists depends on the situation. I might find someone online, in libraries, bookstores, and galleries, or even ask friends for recommendations.

I started innen Japan with Hiroshi (Iguchi) in 2020, and I’m a big fan of Japanese culture, so I always get a lot of information about Japanese artists from him. He is ninja and reliable.

The miraculous collaborations created through human connections

–You have worked with many prominent artists for their zines, and I would like you to share some of the stories behind the zine production process with them. For example, what was the work process with Yoko Ono like?

Aaron: “Franklin Summer” is the drawing project she has been working on since 1994. I wanted to make a zine of this series of works. The curator, Hans Ulrich Obrist, introduced me to her assistant, who gave me high-resolution scans to make it happen. I was fortunate, and I am very grateful to Hans and Yoko.

— The production takes time, right?

Aaron: The work with Yoko was completed surprisingly quickly, but sometimes it takes 5 to 6 years. For example, the work with photographer Nobuyoshi Araki took five years. I first talked to Taka Ishii Gallery, but my proposal was rejected. Brett Ratner who works as a producer in Hollywood had a collection of his Polaroids. I was amazed at how extensive the archives were. With that, I contacted the gallery again, and we managed to make it happen. It was another lucky situation. The title on the cover is handwritten by the artist himself.

I have some mutual friends with Jun Takahashi, the designer of Undercover, and when I asked him about publishing his zine, he readily agreed. I usually edit, but he did all the layouts this time. So what I did was just print. It was a luxurious situation, which I am so thankful for.

–Speaking about international celebrities, you have also worked with Chloë Sevigny.

Aaron: Her zine is a collection of photos of her exes and other men she has loved in her life, as well as articles about her in the New York Post. It was actually one of innen’s best sellers sold out quickly. I didn’t know she had a big fandom.

–I’m also looking forward to your upcoming zine releases! What do you think is good about the zine as a medium?

Aaron: Zines are one of the easiest and cheapest publications to make. There are no advertisements, and it’s a platform where you can edit freely. Printing is also affordable and fast, and we can share them easily. Today, I produce zines with offset printing, but we usually used black-and-white and grayscale photocopying back in the day. Don’t you think black-and-white and grayscale are very simple and powerful color combinations?

–Lastly, do you have any message for people fond of making zines?

Aaron: Be unique, don’t stress yourself out, and enjoy the time you spend making zines!

Photography innen

The post Eighteen Years of Connecting Artists and the Scene:<br>Aaron Fabian of innen Talks about ZINE Culture appeared first on TOKION - Cutting edge culture and fashion information.

Collect them, produce them, exchange them: zines are still loved all over the world as a communication tool that anyone can easily reach as long as you are determined and passionate about them.  With that level of freedom as their weapon, Zurich-based independent publishing company “innen” has been releasing many unconventional works. innen’s publisher Aaron Fabian takes pride in his original and unique selection, featuring artists and fashion designers from different genres, from influential figures to up-and-coming young talents, such as Helmut Lang and Vivienne Westwood, to actress Chloe Sevigny.

For this article, Aaron chose Tokyo-based graphic designer Hiroshi Iguchi as his conversation partner. After seeing his artwork from his collection “CULT JAM (2009),” Aaron contacted him, and they naturally hit it off. This summer, he started the “innen Japan” project through TOKYO CULTUART by BEAMS, planning to release an issue per month featuring carefully selected artists. I asked Aaron and Hiroshi to share seven volumes from innen they particularly liked, and by listening to their conversation, I even found out the original way zines were supposed to be enjoyed.

Holes / Hiroshi Iguchi

Hiroshi Iguchi: “Holes” is a broad interpretation of one of the pieces contained in “BIG VALUE DUB,” a collection of works in various styles based on a single concept, which was first released on innen in 2005. I have been working on this dot-based technique for over ten years, but this was the first time a whole anthology featured only this style.

Aaron Fabian: I like this dotted style. I have no idea how it’s drawn, but it’s super cool.

Hiroshi: It took a lot of time to hand-pick the good ones, but it was very important to me. I guess it felt like selecting the songs for a DJ mix.

Aaron: When I’m making the layout, I also value the story and flow. I’m usually in charge of the zine’s layout, but in Hiroshi’s case, I just print it at the end. It’s because I really believe in you.

Hiroshi: It’s a profoundly memorable zine for me. Thank you for the good opportunity.

Aaron: It’s me that should be thanking you.

Hiroshi: Ehron’s (Aaron’s nickname) style is a little different in texture from mine, but I feel like our attitude is similar.

Aaron: Haha! Yeah? Hiroshi has a very particular taste, and above anything else, it’s fun to work with him.

If I see You in My Dreams / Joji Nakamura

Aaron: I’d say it’s the first memorable volume of “innen Japan.” I met Joji once or twice at the Tokyo Art Book Fair last year. His artwork is simple and interesting; the painting is naive but colorful.

Hiroshi: I like the primitive dynamism of Joji-Kun’s work.

Aaron: I’m happy that Hiroshi always introduces me to Japanese artists I didn’t know about, like Joji. With “innen Japan,” we put our best efforts into research, focusing on real and high-quality art. At the end of the day, we go for what we like and enjoy, though.

Hiroshi:  We didn’t choose Joji-Kun because we’re on good terms, but rather because I’m hoping it becomes a good influence on innen. So, if I think Ehron might like an artist, I’ll suggest them to him, even if I’ve never met them in person. Right, I just went to see Joji-Kun’s exhibition, where he released his piece for “innen Japan” too; it was very good. I especially liked the piece on the last page (picture of a Mohican).

Aaron: It’s a good ending, right?

Sari (Dogod #3) / Akiko Watanabe

Aaron: This is the third work in the “Dogod” series by Berlin-based photographer Akiko Watanabe. She’s been a friend of mine since I met her in Berlin eleven years ago, and she started this series ten years ago. Rather than just art, this zine uses dogs to show personal, family-like experiences. The previous two entries of this series presented a collection of various dogs, but this time it focuses on Sari, Akiko’s beloved dog. I’ve never met Sari, but they’re really cute.

Hiroshi: I also loved it since I lived with three dogs so far. Although, Fufu, my Maltese, used to get mad at me and bite me on the nose (laughs). The order of authority in my family used to be my parents, Fufu, and then me and my siblings (laughs). When I was the only one at home, Fufu would really fawn on me, but as soon as my mom would come home, she would suddenly start barking at me. Girls’ feelings are so complicated (laughs).

Aaron: Haha! That’s funny. I also love dogs; I’ve had two so far. The previous one was my ex’s family’s dog, Rino. It was a mixed dog, so cute. By the way, I like dogs better than cats. Aren’t dogs more honest? If I had a cat, the bed would be covered with hair, and the furniture would be all scratched.

Hiroshi: Yeah, dogs are important to us.

The Edge of Hell  /  Sean Pablo

Aaron: I wanted to make a zine with NY skater Sean Pablo, so we made this. I’ve put together all the photos of his travels, personal life, and friends that he sent me. I was in charge of the layout, and Supreme helped us print it, although they didn’t put their logo in it.

Hiroshi: It’s so “innen.” I thought it was exactly the kind of atmosphere that Ehron likes.

Aaron: It connects to DIY and youth culture. Streetwear, skaters, music, and graffiti, these cultures are part of my origins too. I used to skate back in the days, but I don’t anymore. Sometimes I snowboard, I guess. Recently I’ve been swimming every day from Monday to Friday; I’m like a dolphin. But I haven’t been able to swim since the period of self-quarantine started.

Hiroshi: I admired Mike Vallely when he was under Powell Peralta, but I wasn’t very good myself. But I loved drawing, so I was really influenced by the graphics on skateboard decks and used to copy them a lot. Thinking about it, I often used to draw skulls. There are some pieces with skulls in “BIG VALUE DUB.” I also like them for their philosophical meaning. Oh yeah, last Saturday, I received a pint glass with the Powell Peralta logo on it from my senior from SKATETHING.

Aaron: Woah, that’s cool!

Selected Works From 2001 To 2009 / Dash Show

Aaron: This is the second zine from a collection of works by American artist Dash Snow. We co-published it with “Nieves,” another independent publisher based in Zurich. He passed away in 2009, but I got the copyrights for his installations and photos from the CFA gallery in Berlin to collect them. I’ve never met him in person, but I heard from a common friend in NY that he was a pretty radical person. The first edition was white, so for the second edition, I went for a punk-ish red.

Hiroshi: I love his works too.

Aaron: The first time I saw his works was around ten years ago. He was also producing his zine. zines are more exclusive and unique than books. Production and shipping costs are affordable, and it’s easier and faster to sell and spread than books, right?

Hiroshi: It feels as affordable as a sticker or a badge.

Aaron: Do you remember 90’s basketball cards? Every card is different, and sometimes you can find rare ones. It’s the same as zine culture. Each has its own characteristic, and when they’re sold out, their value goes up. More than anything else, it makes you want to collect them, right?

Hiroshi: I love Topps trading cards. Yeah, I understand how it makes you want to collect them.

I am a Blue Whale / Joe Roberts

Aaron: San Francisco-based artist Joe Roberts’ second piece. He’s a great artist who also designs for GX1000, a skateboard crew/label based in San Francisco.

Hiroshi: His style is nice. He uses motifs like Ninja Turtles and the Disney movie “Fantasia” for his art. Wait, I should have this zine somewhere. Let me look for it.

Aaron: I met Joe in Zurich last year. He loves nature and was hiking around Switzerland at the time. That’s why you can see the element of nature in his works, as well as Mickey Mouse doing LSD and drugs, Ninja Turtles eating pizza, etc.

Hiroshi: I found it (inside a mountain of zines). Every time Ehron comes to Japan, he brings a lot of zines in his hand-carry bag. At book fairs, his suitcase is always full.

Aaron: I wonder how much stuff I sent after last year’s Tokyo Art Book Fair. I think it was more than 100 kilos. I wanted to come back to Japan in November this year too, but it’s canceled due to the pandemic. Do you remember when we went to “Grand Fathers” together?

Hiroshi: Oh, that mellow rock bar in Shibuya. You really like that place, especially those big, triangular ashtrays they had there. The next day, I found it on Yahoo! Auctions and sent it to you.

Aaron: Yes, that one! Wait for a second! (Goes to get an ashtray) Right now, I only have this banana-shaped one. I have the triangular one at home, but they’re actually made by the same company. Izakayas were fun too. Hiroshi is the best guide.

Hiroshi: Last time we had a home party at Kensei Yabuno’s, our friend who released his zine through innen. Didn’t you make a lot of Japanese friends?

Aaron: Yeah. I also wanted to do something with Hiroshi for my gallery this year, but I guess it’ll be postponed too.

Hiroshi: It’s a little hard this year, but I want to make it happen next year.

efflorescence / VIRGIL ABLOH

Aaron: It’s a zine made by Virgil Abloh, “Off-White” designer, currently working as the men’s’ artistic director for Louis Vuitton. I love his fashion, and I thought it’d be interesting to produce a zine with him. I don’t know him directly, but I contacted him through a friend. It’s a collection of exclusive photos of his studio.

Hiroshi: Looking at his work, I feel like he knows a lot of universally good things. I met him only once, at a party four years ago. Just by coincidence, he was going to DJ right after me, but I don’t think he remembers that (laughs). 

Aaron: Huh, I didn’t know that. That’s cool! I guess it’s pretty common to connect through culture.

Aaron Fabian
Born in Hungary. Graphic designer, publisher, and editor-in-chief of “innen,” an independent publishing company he founded in 2006. Currently based in Zurich, this company provides an unconventional perspective of art and contemporary trends through zines. In 2010, he launched “Zug Magazine,” a carefully selected collection of contemporary artworks. In 2020, he founded “innen Japan” with Hiroshi Iguchi, with the prospect of releasing one zine every month.
www.innenbooks.com

Hiroshi Iguchi
Founder of the graphic team Illdozer, he started his own work production activity in 2001. He released different collections of works, such as “CULT JAM” (BARTS), “BIG VALUE DUB” (innen), and “Holes” (innen). In “innen Japan,” which he founded with Aaron Fabian, he is mainly in charge of curating and editing artists.
hiroshiiguchi.com

Translation Leandro Di Rosa

The post “innen Japan’s” Aaron Fabian and Hiroshi Iguchi’s hand-picked seven zines appeared first on TOKION - Cutting edge culture and fashion information.