Showing posts from September, 2013

The Creation of a Now

"Cities (...) believe they are the work of the mind or of chance, but neither the one nor the other suffices to hold up their walls, You take delight not in a city's seven or seventy wonders, but in the answer it gives to a question of yours Or the question it asks you, forcing you to answer"

The Black Duck

From what I remember about ducks in classic iconography back at uni, ducks appear in pairs as a symbol of life-long love and thus faithfulness. With faithfulness or fidelity in play we are within the terminology of power, which has rather fittingly been given the personification of a certain duck lately.
In Danish cartooning ducks have their own storyline of peaceful beings not quite adapted to modern times, as drawn by Jørn Villumsen. He constantly puts mother duck and her ducklings into new shocking situations and we eagerly follow what is happening to them every day in the paper Politiken.
As it turns out, even Jørn Villumsen's drawings of al-Assad fits very much into his main storyline. The mail accounts of the Assad-couple were hacked in February last year, revealing that her nickname for her husband was duck. From then on his symbol was a given, as drawn from Egypt by Doaa Eladl:

"The Walls Got Their Freedom Before We Did!"

Tarek Alghorani was imprisoned in 2005 in Syria for blogging and was released right before the protests began. He became an important voice in organizing imagery as a means of protest. He is now in Tunisia where he has worked for the Centre de Tunis pour la Liberté de la Presse. He is no less an important analytic voice on street art all over the Middle East and the words below are his, first published at Istituto Euromediterraneo del Nord Ovest:

"Walls have ears"

A few corners from me you will find what was once the butchers' central market in Copenhagen from where meat was distributed all over town. Today art galleries have edged themselves into many parts of this stark white enclave of buildings erected 1931-34. A stark hygienic white with lines so sharp it almost hurts.

Thus the perfect place for the imagery of the humiliation and butchering of man as given us by a graffiti artist around 2009. Possibly an Iranian, judging from the woman's scarf, as suggested by the Syrian Tarek Alghorani.

Tarek was a writer, blogger, imprisoned 2005-11 by the Assad-regime and he is now in Tunisia, encouraging the use of graffiti as an activist art form and documenting the voice of the street. His own voice has the poetic precision of the artist, and below are fragments of our discussions of walls - the very symbol of the power that had them built and how they were consequently the first to be conquered. They had to be conquered.

The drawings below …

Kontraster savnes og haves



Den fredfyldte salafist har haft en travl uge. Han blev forbudt endnu en gang på Facebook - han blev også slettet på min væg - og denne gang fik hans tegner, Kianoush Ramezani, desuden karantæne i 12 timer.

The Serene Salafist has had a busy week. He was deleted once again from Facebook - he was also deleted from my wall - and this time his cartoonist, Kianoush Ramezani, was banned for 12 hours.

An Eye on Every Finger


"For no good reason"

Ralph Steadmans atelier har en overflade som hans tegninger. Blækklatter i rundhåndet fordeling, som set i nærblik i et interview lavet af The Economist, rundsendt af The Daily Cartoonist:

The studio of Ralph Steadman has the same surface as his drawings. Ink blots distributed lavishly, as seen up close in an interview made ​​by The Economist, circulated to us all by The Daily Cartoonist:

En salafist i harmoni med sig selv



Vi har mødt ham et par gange her på bloggen, men han er værd at se igen. Især fordi salafisterne ikke er så glade for ham. De har senest klaget til Facebook, som straks adskilte ham fra sin tegner og slettede ham.

Hermed antitesen til det vrede skæg. Lidt usikkert, let skeløjet i sit udblik på verden og derfor en stilhed, som vi ikke skal ødelægge med flere ord:

We have met him a couple of times on this blog, but he is worth seeing again. Especially since Salafists are not quite happy about him. They complained to Facebook, which immediately separated him from his cartoonist and deleted him.
May we present the antithesis of The Angry Beard. A little insecure, slightly cross-eyed in his view on the world and thus a silence that we will not destroy with any more words:

I arven efter Farao Akhenatons datter


English translation in italics:

Ovenstående tegning er en af Doaa Eladls seneste. Hendes hjemmebane er Egypten, men der er næppe mange kvinder verden over, som ikke genkender fornemmelsen af grotesk synlighed, der betyder udsathed og at være sat i en position, der kræver konstant vagtsomhed.
Som vi skal se, sætter Doaa Eladl fokus på problemstillinger, der rammer kvinder, men som vi også skal se, er det ikke det kvindelige element heri, som interesserer hende. Uanset emnet er hun politisk tegner og nagler vores normer, især når dobbeltmoralen får lov at trives i dem:

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