Wednesday, 30 April 2014

Human Rights Put to the Test

Fadi Abou Hassan has a degree in international law. He is a refugee of the Syrian conflict. Two facts, which in combination make for an eagle-eyed analysis of the systematization of the international community.

The Human Rights, for instance, clarify each article of the Rights by replacing "all" with "everyone" and "no one". Each human being is entitled, as it is specified, to be met with respect while living in freedom and security. 


Fadi Abou Hassan: Against the Dictatorship of the Omar al-Bashir Regime,
First published December 11, 2013. - this version is from August 18, 2014.

Friday, 25 April 2014

The Mural as the Choreographer

Zwewla, November 28. 2013, for Siliana.
Zwewla, November 28. 2013, for Siliana.
Do you remember this mural made by Zwewla for Siliana in November to commemorate the anniversary of the manifestations and no less the violence the protesters were met with, personified by the one-eyed, blinded protester?

The mural was an indoor piece on plywood and seeing it in action is the acid test of the quality of the piece.
UGTT, Siliana P.OFF, April 10, 2014.

In action is the proper word for it. This one mural owns the whole room. 

Wednesday, 23 April 2014

Parallelisms and Collisions

Per Marquard Otzen, Drawing the Line in the Sand, April 2, 2014.

It is the busy back turned to us, which maketh the drawing.

Intense in his (her? its?) own purposefulness, the personification of NATO is drawing the line, which turns out to be just any line in the fickle sand in that a mighty wave is on its way. The head of Putin the Surfer is on the other hand tweaked backwards. This is not a drawing on the violence of the one party. The two of them just happen to live in separate worlds, each following his own intention and purpose.

Per Marquard Otzen has incorporated two sides of a conflict, their respective intentions and how each act upon them, creating a pictorial understanding of how the two never merge or even cooperate. Which is particularly interesting pictorially speaking in a conflict where the flag consists of two panels, two blocks of color, which as flags go, are meant to co-exist, each carrying its own symbolical value and as such remain parallels.

Jørn Villumsen, Civil War is Simmering in Ukraine, April 17, 2014.

JørnVillumsen has created another of his luminous flags constituting a picture plane onto which the whole conflict is being told.

In this case he plays with the actual demarcation line of the Ukranian flag, creating another of whirling smoke choking the dove with its olive branch in the act. The challenging of the color line tells us how fast it can all evolve from that small scene of fire eating itself into the plane.

We always see both eyes of Jørn Villumsen's feathered protagonists. Their rounded, slightly short-sighted bewilderment constitutes a storyline in itself on tumbling through a world, whose logic collides with their own. And when speaking of rounded eyes, caught up in the world around them, there is the shrewd reversal of the color blocks:

Fadi Abou Hassan, The Ukranian Crisis and Failure of the West,
April 16, 2014.

Fadi Abou Hassan opposes two all too well-known figures in Western art history. One for calling out and making it known that what is taking place. The other, however, turns out to be the Angst-ridden West, twisted in agony from hearing that "cry of nature". Enclosed upon itself, the West is letting all of this happen yet again.

- note the hint of the sun in the upper left corner. Hardly noticeable on its own, it effectively putting puts the paralyzed West into perspective. The drowning Ukranian is not even the centre of the very drawing in which she thought, she was given a voice. In that detail alone lies the art of the great cartoonist.

All artworks shown are courtesy of theirs artists and must not be reproduced without their permission.

Tuesday, 15 April 2014

Walls of Freedom

The spread from Walls of Freedom on "How to Revolt Intelligently"
by Ganzeer, January 27, 2011.
A few days ago I reread the agenda Nonviolent Struggle - 50 Crucial Points from 2006, when the Serbians took to the streets. The protests turned out to be cleverly orchestrated by the said agenda, calling itself a "Strategic Approach to Everyday Tactics". It is a handbook in all practical aspects of planning a public protest by non-violent means, such as organization and distribution of information, the use of verbal and visual means, on how not to be detected and caught - and not least on the use of humor.

The agenda has been distributed widely and used by new groups taking to the streets since 2006. I could not help thinking of it when seeing Ganzeer's "How to Revolt Intelligently" from the first days of the revolution in Egypt, on how to make it possible to take to the streets with the minimum of injury and arrest resulting from it.

The basic necessities when painting graffiti while being attacked by tear gas, not forgetting the rose
Ganzeer, "How to Revolt Intelligently", January 27, 2011

NeMo: Three years on we still only have one weapon,
January 21, 2014.
When I saw the 2006-document again, it struck me how much has happened in that short span of years mediawise. The social media makes it hardly recognizable today, just how we communicated just a few years back.

And yet, the uprisings in 2011 won their strength from combining one of the oldest means of communicating - writing on the walls surrounding us - with the platforms of the electronic media. It turned out to be not just a necessary, but an efficient strategy, as Rana Jarbou writes in her wonderful article in the gorgeous new book on the street art of Egypt of the past three years: Walls of Freedom.

The streets of Cairo lacked presence, as Rana Jarbou tell us. They contained a past, but not the present. The graffiti artists, of which Kareem Lotfy and Ganzeer were pioneers, took to the walls, creating what grew into an urban discourse

Walls of Fredom; Street Art of the Egyptian Revolution,
Witten by Don Karl and Basma Hamdy, 2014.
Published by From Here to Fame Publishing - from where it can be ordered.

A spread from Walls of Freedom on the first 18 days of revoultion
This is a rare book as can be detected from its cover. It is totally void of the names of its authors. They underline that the book belongs to all those who took part - the artists and photographers. Basma Hamdy and Don Karl began collecting the material as early as within the first 18 days, sensing that something very special was underway artistically. 

The book is so obviously created by two artists themselves. Each spread is layouted differently each time staging the story it contains, such as the width of two text columns on the very same page  differing wildly to make room for the inserted photos and quotations across the page - when do we ever see any layouter dare this? - while drips of color as if of extra paint creates the feeling of the surpluss of energy at that street scene of the time. 

Basma Hamdy and Don Karl have managed the impossible: How to document the many layers of political, personal and artistic outpourings, the developments, the set backs, the artistic initiatives and so much, much more, creating a progressive story closely linked to the specific dates, when each event took place. This alone will make the book an invaluable Encyclopedia of an important chapter in the art history of our time.

Section of the wall in Mohamed Mahmoud Street with at least three layers of graffiti,
the top layer is by Ammar Abu Bakr, captured March 27, 2014.
Photo: SOoOti eYes.

A wider wiev of the same section of the wall,
with the works of Ammar Abu Bakr as the top layers,
Photo: Abdelrhman Zin Eldin, December 5, 2013.
The composition of the book was not made any easier by the fact that the artists keep returning to the same walls, especially so when the fine artists too took to the street a year within the revolution, painting the portraits of those killed in the revolution.

By portraying the people they gave a special poignancy to the meaning of presence in the street, and even if the first layers have been replaced, they can still be seen when the light is right, as can be seen in the photo by SOoOti eYes. This one photo is the epitome of the Egyptian history of the past three years.

A spread from Walls of Freedom, the posters shown are by Ganzeer.

The mother of Mohamed Reda,
by his portrait painted by Naguib.
Mohamed Reda was only 19 when he was killed inside Cairo Uni,
murals becoming a means of creating a living memory for the lost ones.
Photo: Abdelrahman Elshamy, December 4, 2013.
Walls of Freedom is what we in Danish call a book of mammoth size even managing to convey the spirit of each stage of what has taken place.

"Imagine, wrote the Danish artist Frans Schwartz in a private letter around 1880, Tolstoy, Dostojevskij and Kropotkin are alive and writing this very instant in the history of mankind and I am their contemporary".

He and his friends were frenetically busy whenever a new book was published, grabbing it in the translation first at hand, usually the French or German ones, even devouring them in the translations, which came later to compare specific paragraphs. The authors constituted the genuine now, however painful the contents of their writings, on poverty or the wronged man, making their readers feel they were the imprisoned or starving ones.

It feels such a privilege that we now know what he meant. Aya Tarek, Ammar Abo Bakr, Abood, Ganzeer, NeMo, Naguib, Alaa Awaad, Mohammed Khaled - just to mention a few. Each of them with a very personal voice different from those of their colleagues and with an outstanding talent of which we have only seen the beginning.

Ammar Abu Bakr, the portrait of Bassem Mohsen at the corner at Mohamed Mahmoud Street,
Photo: Abdelrhman Zin Eldin, January 19, 2014.

All artworks and photos shown are courtesy of their artists and photographers and must not be reproduced without their permission.

Sunday, 13 April 2014

To Whom Belongs the Cartoonist?

While busy with the final touches of the Hans Bendix-manuscript, a political youth group in Denmark - the Conservative one - is busy in their own way, publishing paroles on how the foreign secretary of the 1930'ies, P. Munch, insisted on peace, giving the dicators of his day free reins. Is this not the case today as well?

It is very much implied that they know better themselves. Then as now.

Now, P. Munch insisted on the importance of The League of Nations. Negociating was to the new language across the national borders, making war a thing of the past. This was to him taking an active part in one's day and time, not just waiting for an aggressor to strike.

The thought is beautiful only not very efficient when dealing with not just the likes of Hitler, but the actual one himself. Hans Bendix for one very much opposed P. Munch. Munch exercised another insistence directed at the gentlemen of the press, in particular the blasted cartoonists, to KEEP QUIET: Shut up, and shut up now! - or you will destroy the whole project.

Related Posts Plugin for WordPress, Blogger...