Showing posts from July, 2017

Art Historian vs. Cartoonist

I was pondering on the lines of the balustrades to the Thielska Gallery in Stockholm.

Built at the time of Valdemar Andersen and seeking the same solution to the use of the line: giving it at once presence and yet delicacy as if it is hardly there by punctuating it by little dots.

Valdemar would use the technique to draw cascades of a dress surrounding the actress Betty Nansen as tragedienne and in the act of posing as a tragedienne.

His architectural equivalent reaches the same effect by way of wringing the iron, removing all sense of solidity.

Suddenly I discovered that we were surrounded by fire engines with blue lights ablaze. The firemen were in fact wrapping up that all was well by the time I turned around.

And that is why the art historian would fail as a cartoonist.

The Imprint of Mankind

Humans have created patterns for as long as they have been in existence. We see patterns as proof of intelligent life, of man's ability to create change. Anything and everything has been decorated with patterns through history and when we hold a tool in our hands taking a closer look at its pattern carved into it a thousand years ago, we nod: this is man. Man was here.

Man was indeed here.

The cartoon shown is courtesy of Fadi Abou Hassan/FadiToOn and must not be reproduced without his permission.

"The Art of the Future"

"In our iconic society we look for meaningful images" in the words of Ramsés Morales Izquierdo, who teaches and lectures on cartooning on top of drawing them.

We were messaging this morning, the day of the trial of Musa Kart in Turkey. Cartooning is seen as a distraction and a danger, when it has the potential of which our day is in dire need. Our time and age will go down in history among those of decline of which everyone of the aftermath will shake his or her head in shame. A sentiment, which tends to encompass its artworks also. Cartoons on the other hand will be an entirely different story for their energy and critique, openly thinking and saying what their contemporaries had no time for or refused to do so.

The Statue of Liberty is one such example. She was laid out in the era of Napoleon III in which sculptures were piled with sugary detailing from wedding cake territory. The Statue of Liberty, however, was to be based upon the principle for all good drawing: The sim…


He would seek out the other at the dinner table, having nothing in common with his allies of which there were aplenty at the recent G20 Summit.

They have no verbal language between them, but then they have no need for any. Putin's translator was at hand that evening.

The serenity of their second meeting of the day, the official one not being enough. Undisclosed till now that it took place, as is it unknown what they exchanged, in full view, but out of earshot of the other dinner attendants.

Those inner secrets from the one, who cannot hold back and the one, who knows how to take advantage of any information he obtains in an hour-long one-on-one+translator.

Bear in mind. Ulay sought out Marina Abramovic during her performance The Artist Is Present at MOMA in 2010, and we were all in tears at the two former lovers sitting across each other in full view. But then, Ulay would go on to sue Abramovic for his share of their royalties from their years together. Ah, love!

The cartoon show…

The Dictator

Erdogan bellowed out recently that we should look up what the word dictator means and with due regret for our tardiness, let us turn to the Encyclopedia Cartooniensa for immediate clarification:

"Dictator" derives from dictare, i.e. laying down authoritatively, or the verbal equivalent of an execution.

Vasco Gargalo lets Erdogan's face mirror itself in the blade, giving it a sculptural dimension, which is one of his fortes as a cartoonist. He creates for the startle of what should be the softness of a human face while the shadowing is in fact a property of the metal. The reflection of which is further set off by the texturing of the wooden structure.

Erdogan's eyes are closed to the consequences of his authoritarianism. Dictators can be recognized on their spinal deficiency. They absolutely refuse to take responsibility for their actions.

So, Vasco Gargalo presents Erdogan with blood on his forehead. Erdogan was and is the one dictating that the cartoonist Musa Kart…

"They should look up what dictator means!"

- Erdogan burst out during die ZEIT's interview with him last week, of which the former answered his own exclamation mark by willfully misunderstanding, rephrasing what he was asked, insisting he was catching the journalist in double standards.
This is what he looks like, a dictator.
A cartoon of the revelatory kind, so clear in thought and yet not seen before of man as the center of the world. The outlook that once was of man as the conqueror and the overwhelmed alike forming the link between the divine and earth, creating possibility by way of aspiration, daring to question and seek out. 
No violence is before us. Yet, the most violent act is taking place, impeding everything within the human.
The hand of someone, who locks up the cartoonist Musa Kart and according to his own calculating, Erdogan did during the interview, the cartoonist is classified a terrorist.

The cartoon shown is courtesy of Firuz Kutal and must not be reproduced without his permission.

The Trumpian Vessel

He is of sagging skin now, Putin. 
It is one thing playing strongman in the nude, the physicality of time is another and dermacartooning is the art of peeling off that last layer of intended hiding. 
Derma speaks at once of the hiding and the hide itself, and in the experience of man, hides are something to be peeled off of their prey. 
Which in turn is a description of the incision of the cartoonist's pen of which Riber Hansson grants the revealed one to show off the prey of his own.

The cartoon shown is courtesy of Riber Hansson and must not be reproduced without his permission.

The Trumpian Legacy

He is so much noise. Much of it calculated to divert attention from his actions.
The silence is all the scarier. The silence we are not supposed to have to give us time to look further to know what is taking place.
The calm look of the cartoonist on that face, excluding the noise of the Trumpian colors. Antonio Rodríguez García lays before us an examination of the pen of classical proportions from back when corpses were used to get beyond the human surface.
The incision to the frontal lope is the river, which runs through the part of the brain in which the personality is formed, including mental processes such as memory and decision-making. 
The incision if performed shall be the condition of the US.

The cartoon shown is courtesy of Antonio Rodríguez Garciá and must not be reproduced without his permission.

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