Showing posts from December, 2017

Playfulness and Pretence

It feels wholly inappropriate to put a photo of our stove on the blog, all the more so for featuring my freehand copy of a Valdemar Andersen.

I copied out one of his sketches for a wall-decoration he made for the Baltic Exhibition / Baltiska utställningen in Malmoe 1914. The exhibition took place minutes before the world had more arduous considerations to attend to and it was all the stranger a concept in that the Danish pavilion for one was built like a Medieval castle.

One can only cringe at seeing photos of its basking in being old-fashioned, attempting to be what it was not.

The walls of the entrance hall, on the other hand...

Valdemar Andersen did what he did best. He obliterated the hall and its walls by way of creating a pattern, which continued across every surface neglecting to acknowledge any detail of the architecture on its way.

The windows for one. They were deep set as if set in solid walls of several meters. The pattern, however, just ran along, turning in and out with…

The Antibodies

The world is the petri dish beneath the microscope that is the cartoonist's eye. 
Prisons are an only too relevant subject for the lens of the cartoonist in that prisons are emblematic of the conditions with which citizens are treated in a society. Mana Neyestani shares his lens for us to see the Iranian societal bacteria at play. 
Testimonials on the Kahrizak Detention Center disclosed routine abuse and torture. Three detainees following the 2009 revolution for citizen rights died at the hands of their prison guards. The court ruled that their deaths were caused by the flu.
Serious microbes indeed were at play, comprising legislative, judiciary, military and police matter. They are very bodies that would define democracy had they been of a healthy nature.
The calmness with which each microbe is drawn, is all the more striking. The microscope highlights the distance that is part of the cartoonist's exposure. Mana Neyestani is taking an intense and calm look of the world, whil…

Ecce Putin

Within every cartoonist is a Dr. Tulp, who diligently lays forth the world to us.

In the present chapter of the Anatomia Cartooniensa Per Marquard Otzen is exposing basics of political systems, how key elements of governing grows from one another. Such as what results from revolting against a dictatorial regime; in which study Per is joining forces with George Orwell:

"One does not establish a dictatorship in order to safeguard a revolution;  one makes a revolution in order to establish a dictatorship" 

Orwell was defining the Russian 1917 October Revolution and at its centenary the linkage is not only clear, it is physical of nature. Czarism found its means of survival by way of being revolutionized, maturing into a leaner and stricter version of its former self.

Indeed so lean and strict that it took on the one human form. The cartoonist lays bare and the dictator exposes himself. Ecce Putin:

The cartoon shown is courtesy of Per Marquard Otzen and must not be reproduced w…


Valdemar Andersen is at his publisher's and busily so, and it was time to adapt the name on this blog to languages struggling with the unknown syllables of his name.

This blog will always be Valdemar's. It all began in the playfulness of his constant attempting to developing his line and the transition to his colleagues of today grew naturally from there. We have only just begun.

The Ombudswoman

The ombudswoman is the go-between of citizens and the government. A presence taking up complaints on neglect or abuse of democratic rights, and as such a presence securing the right of being critical and the right to be heard.

Officially, the word ombudswoman is not yet implemented, and Merriam-Webster is asking for quotations that they can refer to its first usage. Their asking is an acknowledgement that it is only a matter of time.

She is here.

The Ombudswoman of Cintia Bolio is carrying books on her back, calling out as she is from a place of insight and with pen and paper by her side. She is expressing herself in every way, while energetically marching forward, her mouth metamorphosed into a megaphone. Note also the tiny line between her feet for her shadow, which makes the three of them look like a stepping line of her forging ahead.

She is in the limelight and her megaphone is not unlike that of Justice flexing her judging muscles, underlining that she stays blindfolded unlike t…

The Backbone of Peace

The Anatomia Cartooniensa is happy to have proof from a secondary source on the nature of peace.

Meysam Agha Seyed Hosseini has x-rayed the dove of peace and found the skeletal courage within peace, while proving no less that the intent of the cartooning pen is to provide peace.

We have thus proof of the physical existence of hope and how to promote it by giving the cartoonists the freedom to do their work.

The cartoon shown is courtesy of Meysam Agha Seyed Hosseini and must not be reproduced without his permission.

"Here's the smell of the blood still"

"All the perfumes of Arabia will not sweeten this little hand" as Lady Macbeth cried out in her sleepwalking, immersed as she was in the nightmare of ridding herself of what she had done. The blood no longer there in any physical sense and as such impossible to wipe off.

Fadi Abou Hassan has incorporated the double presence into the razor blade: The empty shadow of Yemen shining all the more poignantly, while its blood from now on shall be smeared on the Saudi.

The blood is on their perpetrator for all to see.

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

"I Want To Dip The Pen"

"Death Anxiety was the first personal thing I did. I think a lot, and I cannot help find myself overthinking. When I cannot control my brain, when I am an insomniac, I do this. I fill one page".
The words are by Mohamad Kraytem, who connects the first and last frame of his comics, proving the loopy insanity of life. Death Anxiety is one of the most silent, weightless of his works. No one is biting on to another on the page. Although that is a fact, which only serves to escalate the existential Angst of the protagonist, floating as he is through his own skull, or in Mohamads own words:
"He is not grounded. He is just discovering he is floating because of his thinking and then he realizes that it is real. It is disturbing and I should just get on with my life, but this one was bothering me and the next day I decided to just draw one page as I see it; death anxiety in a very simple way. I like his nose a lot. Realistic, yet a triangle in the face. I like that he is in his…
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