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  "path": "/uses/75575/white-fungus-no-18",
  "publishedAt": "2026-03-06T08:28:19.000Z",
  "site": "https://fontsinuse.com",
  "tags": [
    "White Fungus",
    "Söhne",
    "Sometimes Times",
    "Athelas",
    "Bell",
    "Letter Gothic",
    "Corinthia",
    "DF Kai SB",
    "Lo-Res",
    "Snell Roundhand",
    "Fonts In Use"
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  "textContent": "Contributed by Johnny Hu\n\n\n _Johnny Hu. License: All Rights Reserved. _\n\n\n\n\n\n\n\n\n\n\n\n\n_White Fungus_ is an art magazine and project based in Taichung City, Taiwan.\n\nFounded by brothers Ron and Mark Hanson in Wellington, New Zealand, in 2004, as a quasi-political manifesto, copies of the first issue were produced on a photocopier, wrapped in Christmas paper and hurled anonymously through the entrances of businesses throughout the city. Now a magazine featuring interviews, writing on art, new music, history and politics, _White Fungus_ takes a dialogical approach to the work it covers. The name of the publication comes from a can of “white fungus” the Hansons found in their local supermarket in the industrial zone of Taichung City. Each cover of _White Fungus_ is derived from a scan of the can.\n\nThe 18th issue of _White Fungus_ features an 80-page interview with New York poet and novelist Eileen Myles. The conversation traces several chapters of their life, including becoming a poet in 1970s New York, reading at CBGB, and writing the cult classic _Chelsea Girls_. Myles discusses their mainstream crossover in 2015, their involvement in the hit television show Transparent, overcoming alcoholism, their writing process, and many other topics.\n\nThe issue also includes an epic feature on Hilma af Klint and the suppressed occult roots of modernist art. Taipei artist Yao Jui-Chung contributes a photo essay documenting animatronic depictions of the Chinese concept of hell, as seen in Daoist temples in Taiwan and Singapore. Yan Jun reflects on the life of Taiwanese noise music pioneer Dino (Liao Ming-He), who passed away in 2022. Also featured is an interview with artist Pavel Pepperstein on the influence of children’s literature and hallucinogenics in conjuring his surreal futuristic landscapes—a style he calls “psychedelic realism.”\n\n\n\n\n _Johnny Hu. License: All Rights Reserved. _\n\n\n\nTable of contents, set in **Söhne** , **Sometimes Times** and **Athelas**.\n\n\n\n\n_Johnny Hu. License: All Rights Reserved. _\n\n\n\nOpening spread for an interview with Elein Myles, set in **Bell** and **Letter Gothic**.\n\n\n\n\n_Johnny Hu. License: All Rights Reserved. _\n\n\n_Johnny Hu. License: All Rights Reserved. _\n\n\n\nSlightly modified **Corinthia** introduces the word “Hell”. The title of the artwork is set in the lower left corner set in tiny **DF Kai SB**.\n\n\n\n\n_Johnny Hu. License: All Rights Reserved. _\n\n\n\nOpening spread for “Through the Prism of the Looking Glass”, pairing **Lo-Res** with **Snell Roundhand**.\n\n\n\nThis post was originally published at Fonts In Use\n\n* * *",
  "title": "White Fungus, no. 18"
}