Jodorowsky recently finished work on a two-volume Taschen monograph, Art Sin Fin. That’s another rebirth, he says, although it also serves as an archive, a repository, a bulging bestiary of counter-cultural weirdness. Naturally, Art Sin Fin covers Jodorowsky’s brief 70s reign as the “king of the midnight movie”, the creator of the head-scrambling cult classics El Topo and The Holy Mountain, beloved by Dennis Hopper and John Lennon alike. But the retrospective roams much farther afield, leading us through riotous stage shows, outlandish comic-book panels and designs for grand productions (such as his long-cherished adaptation of Dune) that never saw the light of day.