En tegner tegner en tegner
A CARTOONIST DRAWS A CARTOONIST
(SORRY, BUT FOR ONCE THE DANISH TITLE CANNOT BE BEATEN)
ENGLISH TRANSLATION IN ITALICS
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| Annette Carlsen med skitsebog på en baggrund af jazzmusik / Annette Carlsen with her sketchbook on a background of jazz music. |
I sidste uge lykkedes det at snige et foto af Annette Carlsen, mens hun tegnede den syriske tegner Ali Farzat, der sammen med Orwa Nyrabia modtog PL-Prisen for 2012. En pris, som belønner særlig indsats for menneskerettighederne.
Last week I managed to sneak a photo of Annette Carlsen, while drawing the Syrian cartoonist Ali Ferzat, who along with Orwa Nyrabia received PL-Prize for 2012. It is an award to acknowledge a special effort made within the field of human
rights.
Det er ikke let at fange Annette i aktion, for hun er lige så koncentreret, som hun lynhurtigt noterer sig alt omkring sig for at omsætte det sete til papir. Dertil er hun diskret, skitsebogen kan kun knapt anes ved bordkanten. De tegnede opdager slet intet.
It's not easy catching Annette in action. She is as concentrated as she is
quick at taking note of everything around her, which she then translates onto paper.
She is furthermore discreet, her sketchbook is barely to be seen above the table
top. Those caught on paper never even know.
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Annette tegner så hurtigt, at håndens bevægelser end ikke fornemmes, når man ser hende i aktion. Hjernens analyse fanger på samme tid linjer som bevægelse, der tilsammen rummer det tegnede menneske - og lader saxofon og saxofonist går i ét. Som han er tegnet, præcis sådan lød musikken.
This time she prefers herself the portraits she made of the
musicians present at the ceremony. With the shadow of the binding of the sketchbook cutting through the picture plane we see the quick decisions made in the union of her eyes and
hands. Crisp, choppy lines – these are very palpably decisions that we
have before us.
Annette draws so fast that the movements of her hand are hardly perceptible when you see her in
action. Her brain analyzes at one and the same time the shape within as well as the movement without, which makes the person come alive on paper. The saxophone player as one with his instrument is drawn exactly the way his music
sounded.
Jeg er fascineret af, hvordan Ali Farzat i skitsebogen er den mindst sammensatte, mens han var den i salen, som fremstod mest harmonisk.
En mindre tegner ville have fremhævet ham som en yndighed. For der er et lys omkring ham, men lyset og harmonien har bund i en bevidst beslutning med en fysisk og mentalt voldsom historie i sig. Som Annette Carlsen er også han analytiker. Han fremhæver betydningen af ikke at være angst med yndlingsbilledet i, at syrerne ophørte med at være angste den dag, de første gang demonstrerede på gaden.
I am fascinated how Ali Ferzat is the least harmonized in her sketchbook while
he was the one in the room that evening, who had the appearance of being the most
harmonious.
- the appearance of - A lesser artist would have emphasized his tranquillity. There is a serene light to him - only the light and harmony is rooted in a conscious
decision founded on a physically and mentally violent history from the Syrian regime. Like Annette
Carlsen he is an analyst. He stresses the importance of shutting out angst telling
us again and again with pride how the Syrians ceased to be fearful the first time
they took to the streets to demonstrate.
Selv tegnede han i Damaskus, mens han vidste, at han blev overvåget og at det ville være et spørgsmål om tid, hvornår Assad-styret slog ned på ham. Men der var noget, der var vigtigere, hvorfor han året efter sidder på et nationalmuseum i en anden verdensdel som ikon på at have gjort, at have overlevet og at blive ved.
Knoerne på den ene hånd og tommelfingerleddet på den anden danner tilsammen fortællingen om overfaldet og nervebaner, som blev lemlæstet, mens hovedet sætter voldens direkte handling i et større perspektiv. Mens han lytter til den i salen umiddelbart skarpere stemme:
As for himself he was still working from Damascus knowing only too well
that he was under constant observation and that it would only
be a matter of time before the Assad regime would take action. But being a voice for the newfound courage in the streets came first, and so a year later he is
sitting in a National Museum at another continent now an icon of having made
a difference, having survived and notwithstanding still persisting.
The knuckles of his one hand and the joint of the thumb on the other collectively
form the story of the attack where their nerve structures were maimed, while
his head sets the direct action of the violence into a larger perspective.
Whilst listening to the vocally more direct voice of the evening:
Orwa Nyrabia er som stregtegning en langt mere sammenhængende person, fordi hans reaktion er direkte og udadvendt. Han understreger sine ord med den ene hånd, afslappet støttende mod talerstolen og så netop det modsatte, for det er vigtigt, hvad han vil understrege: Syrerne har taget handlingen på sig, men de har behov for handling også udefra og de har behov for det nu.
The portrait of Orwa Nyrabia shows us a much more coherent person in
that his reaction is direct and outward-bound. He emphasizes his words with one
hand, while he seems to be resting against the podium and yet that is precisely
what he has no time to do because he is making a point: Syrians have taken
action upon them, but they need action from the outside too and they need it now.
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