Hans Bendix' sande arvtagere
THE TRUE SUCCESSORS OF HANS BENDIX
ENGLISH TRANSLATION IN ITALICS
Den seneste tid har tiden været knap på bloggen for at færdiggøre manuskriptet over Hans Bendix og hans tegnekunst rettet mod fascismens udøvere i 1930'ernes Europa.
En fantastisk historie, fordi han ikke tegnede i 1940 eller 1945, men i 1933 med omgående reaktion fra det nazistiske Tyskland. 1935 var totalforbuddet mod at tegne sine samtidige en realitet for ham, hvad der på ingen måde afholdt ham fra at finde nye veje for sin kritik.
Time for blogging has been limited recently due to the completion of a
manuscript on the Danish cartoonist Hans Bendix (1898-1948) and his critical
cartoons against Fascism in 1930's Europe.
A fabulous story in that his cartoons were not made in 1940 or 1945, but
in 1933 with an immediate response from Nazi Germany. In 1935 he was met with a
total ban on depicting his Fascist contemporaries, which in no way prevented him
from finding new ways for his criticism.
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| Diktator og diktator imellem, eller harmoni i vaskefadet. Hitler dagen efter mordet på den østrigske diktator Dolfuss 1934 i Hans Bendix' streg. Reaktionen på tegningen er i sig selv et stykke af det 20. århundredes verdenshistorie. Between Dictators, or Harmony in the Basin. Hitler on the day of the assassination of the Austrian dictator Dolfuss in 1934 as drawn by Hans Bendix. The reaction to the drawing is in itself a piece of 20th century world history |
En utrolig historie, det har været stærkt at uddybe. At tegne kan synes en enkel handling, men som den offentlige handling bladtegningen er, er den en direkte samtale med sin diktator. Hvad der fører direkte til dagens mellemøstlige tegnere og det mod, de udviser netop nu. Jeg vedhæfter derfor et lille udpluk af introduktionen:
"(...) Men handlinger har konsekvenser. Tegneren var nær ved at betale den højeste pris – med sit liv – fordi tidens angst vendte sig mod tegneren selv. Hvilket kun understreger arten af de kræfter, han talte op imod.
Vi skal helt op til Mellemøstens tegnere i foråret 2011 for at finde tegnekunst af samme kaliber, og hvor tegnerne udviser samme personlige mod. For de syriske, iranske og tunesiske tegnere af i dag er tanken om demokrati lige så skrøbeligt, som det var for Hans Bendix og hans samtidige. Det kunne ikke vides, om demokratiet kun var endnu en politisk idé blandt så mange andre, en overgang indtil nye undertrykkere atter tog magten.
Derfor var hans reaktion ligesom hans kollegers i Mellemøsten i dag så meget desto større, at de har stået fast, da undertrykkelse igen truede med at tage over. Og de har stået fast ved at opretholde distinktionen mellem rå latterliggørelse og den komiske komposition.
Latterliggørelse i sig aktiverer ikke demokratiet. Det hører allerede under demokratiet, at der kan tegnes indtil kanten af injurier. Den komponerede tegning derimod er en kunstart, der giver antidemokrater angst, fordi den bruger poesiens indirekte sprog."
It has been a great journey to uncover the story of Hans Bendix. To make
a drawing may seem a simple act, but cartooning is a public one and thus possibly
a direct conversation with a dictator. Which takes us directly to today's
Middle Eastern cartoonists and the courage they are showing right now. I enclose
a section from my Introduction:
"(...) But actions have consequences. The cartoonist very nearly paid the ultimate price - his life - because the Angst of the times turned against the artist himself. Which only serve to underline the nature of the forces he was confronting.
Not until the Middle Eastern cartoonists of today have we met cartooning of the same calibre and with artists of the same personal courage. To the Syrian, Iranian, Egyptian and Tunisian artists of today is the idea of democracy as fragile as it was to Hans Bendix and his contemporaries. It was not yet to be known whether democracy was just another political idea among many others, a transition until new oppressors would take power.
Just as his colleagues in the Middle East today his reaction was is all the greater in that he and they stood their ground when repression again threatened to take over. And they stood their ground by maintaining the distinction between simple mockery and comiccomposition.
Mockery does not in itself stimulate democracy. It is already part of the democratic configuration that drawings can be as abrasive as they wish within the law of libel. The composed drawing on the other hand is an art form that antidemocrats fear because it employ the indirect language of poetry".
- Kunstnerne skal slås ihjel!
- Slap af... De tilbringer deres tid med at blive slået ihjel - som opposition
Salafister i WillisfromTunis ved Nadia Khiari
- The artists must be killed!
- Relax... They spend their time getting killed - as opposition
Salafists in WillisfromTunis by Nadia Khiari
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