Hong Kong zine librarian Samantha Chao on the importance of keeping an accessible archive
Hong Kong Free Press
Zines come in a wide array of shapes and sizes. Among the extensive collection curated by Samantha Chao, a zine librarian at the Asian Art Archive (AAA) in Hong Kong, certain zines were smaller than palm-sized, while others were about as large as ring binders.
To properly accommodate the expanding collection within the city’s first formal zine archive, Chao selected three customised shelves to house the self-published medium that often had thin spines. Inspired by the layout of vinyl record stores, the archive features pull-out drawers filled with alphabetically arranged zines, providing readers with a seamless browsing experience through a selection of nearly 900 pieces of work.
These zines, sourced from art practitioners, galleries, book fairs, and bookstores across Asia, were previously embedded within the extensive collection of over 120,000 records maintained by the non-profit art organisation. It was only in 2019 that approximately 200 zines, initially categorised as “grey publications,” were extracted from the archive and established as a distinct collection on their own.
“At that time, there were a lot of community spaces and grassroots alternative ways of making art. It wasn’t just to be in exhibitions, it was to collaborate with your community and use your own resources, so we wanted a more focused category,” Chao said in an interview with HKFP last month.
The zine librarian, who studied art in Chicago, US, is not alone in collecting zines, as many have established “alternative libraries” in Hong Kong. However, the archive at the AAA, which also presents their collection online, is likely the city’s first official zine catalogue, she said.
At present, around 70 percent of the zines stored in the archive were created by artists based in Hong Kong. Among the collection, the oldest zine dates back to 1986 and focuses on an independently produced road film titled Blackbird: A Living Song.
Chao told HKFP that although the zines included in the archive must adhere to the collection’s scope and reflect the AAA’s overarching mission of documenting contemporary art in Asia, she had sought zines from “alternative spaces” to expand the archive’s otherwise “rigid system.”
A diverse collection
To ensure that the AAA archive isn’t limited to Chao’s personal favourites, she collaborates with colleagues in mainland China, India, and Taiwan. They work together to source and coordinate the collection, expanding its diversity and representation.
According to Chao, zines produced in earlier years were predominantly text-based and contained a significant amount of editorial content, reflecting the backgrounds of their creators who often worked in magazines. However, in recent years, there has been an increasing trend of exploring different paper textures and printing techniques, adding a new dimension to the artistic expression found within zine culture.
As a curator, it is essential for Chao to maintain a well-balanced collection that encompasses both text-based zines and the more experimental and visually inviting ones.
“They all signify some type of micro narrative, and they are all documenting their experiences. I guess the categories are not as divided, the content and the visuals all serve the same purpose,” she said.
Code of ethics
While sourcing new zines for the archive, librarians like Chao adhere to stringent guidelines to ensure they have the author’s consent before incorporating their work into the system.
According to the Zine Librarians Code of Ethics which Chao refers to during her work, zines are often produced by “marginalised communities.” These works are described as being “beautifully and wonderfully varied” as well as “weird, ephemeral, magical, dangerous, and emotional.”
The ethics code emphasised the importance of granting creators the right of refusal, particularly if they wished to keep their work under the radar.
“Because of the often highly personal content of zines, creators may object to having their material being publicly accessible… to some, exposure to a wider audience is exciting, but others may find it unwelcome,” the guidelines read.
Ethics also play a role in the process of archivists acquiring zines, with the most ideal approach being to purchase directly from the zinester or publisher. This method ensures that profits, although often minimal, go straight to the creator.
Zine residency
Last year, the AAA initiated the Try Try Zine Residency program with the aim of encouraging artists to engage with their digital and physical collections. Two residents were chosen based on their proposal and were invited to conduct research both onsite and online. They also received funding of up to HK$5,000 each, along with a HK$3,000 honorarium designated as a production fee for their zine.
Chao, who assisted the zinesters during the approximately two-month-long program, said residency opportunities abroad often come with high costs and intense competition. At the AAA, Chao helps creators navigate the vast resources available to them and ensures that they stay on track with their original proposals.
“I think sometimes you forget the vision of your proposal, or you compromise. Then I remind them that we can stick to your proposal,” she said.
In addition to the residency program, Chao participates in workshops held in schools with the aim of introducing zines to a wider audience. This is important because the resale of zines is not common and they can be challenging to access.
Through collaborating with other artists such as Pat Wong, better known as Flyingpig, and print-making specialist Jay Lau, Chao has presented various printing formats and provided critiques and feedback on the zines created by participants.
When asked about the AAA’s plans for enhancing the zine-making ecosystem in Hong Kong and supporting aspiring artists, Chao said the key lies in maintaining a publicly accessible zine library. By storing zines in such an archive, readers are no longer constrained by limited quantities or the need to personally know someone in the community to obtain a copy. This accessibility fosters a thriving environment for zine enthusiasts and allows artists to reach a broader audience.
“Zines want to be accessed, they don’t want to be treated like a valuable object. They want people to just see it and circulate it,” she said.
This interview is the finale in a four-part series on Hong Kong’s zine scene.
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