Thursday, 28 December 2017

Playfulness and Pretence

Photo LCL
Photo LCL

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 entrance hall of the Danish pavilion, 1914.
Shown with permission from The Centre for Maps,
Prints and Photographs, The Royal Library.
I apologize for the poor quality of the photo;
it was taken by me for study purposes.

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.

Detail of one wall in the entrance hall of the Danish pavilion, 1914.
Shown with permission from The Centre for Maps,
Prints and Photographs, The Royal Library.
I apologize for the poor quality of the photo;
it was taken by me for study purposes.
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 without making note of the elements and thereby obliterating the claim to heaviness and history of the architecture. It had a quality not unlike that of wallpaper and was as such a piece of modernity with a joyful nod to all pretence.

Valdemar Andersen, sketch for the entrance hall of the Danish pavilion, 1914.
Shown with permission from The Centre for Maps,
Prints and Photographs, The Royal Library.
I apologize for the poor quality of the photo;
it was taken by me for study purposes.
The pattern was a play on classical grotesques, in this case with animals such as deer and swans with leaves of vines, ribbons and bows and cornucopias from where everything would be unfolding. Not a single straight line within, it is a pattern of constant twirling and movement with figurative elements linking to each other and entering into new alliances.

All of it there for the visitor to try to discover one element here or there and yet all of it ephemeral; airy as it was in its one color, a minium/coral tone red on the white background.

And that color is the only thing, we have left today in that a can of the paint tipped and poured over one sketch while the decoration was underway back in 1914:

Valdemar Andersen, sketch for the entrance hall of the Danish pavilion, 1914.
Shown with permission from The Centre for Maps,
Prints and Photographs, The Royal Library.
I apologize for the poor quality of the photo;
it was taken by me for study purposes.

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, while said world is a place of discord and noise before him.

Thus concludes the lesson of the Anatomia Cartooniensa of the day.

Mana Neyestani, Flu Vira, July 10, 2017.

The cartoon shown is courtesy of Mana Neyestani and must not be reproduced without his permission.

Wednesday, 27 December 2017

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:

Per Marquard Otzen, Soon Cured, November 9, 2017.

The cartoon shown is courtesy of Per Marquard Otzen and must not be reproduced without his permission.

Tuesday, 26 December 2017


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.

Valdemar Andersen: Asta Nielsen and Poul Reumert dancing
the gaucho dance in Afgrunden /The Abyss 1910, when silent
movies obliterated the obstacle of languages.

Sunday, 10 December 2017

The Ombudswoman

Cintia Bolio, The Ombudswoman calling out on a bookmark, 2017:
"Know and exercise your rights!"

Cintia Bolio, detail from Puras Evas:
The 10 Commandments, 2015.
"No. 10: Do not try to change the world"
"Baby, you are diminishing femininity..." 
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.

Cintia Bolio, detail of Puras Evas:
The Paradox of Support, 2017.
"It's working, woman!"

She is in the limelight and her megaphone is not unlike that of Justice flexing her judging muscles, underlining that she stays blindfolded unlike those who take on her role.

To underline the fundamentality of the role of the two, Cintia Bolio has created another protagonist for their group, and another one we have been missing till now.

Venus of Willendorf may have been a fetish. It has certainly been the general idea since she was found after 25,000 years or thereabout. We could rephrase that and talk of the necessity of her presence to creation. Rather than something being done to her, Venus has a job to do. She has had a smile added to her, but still no need for eyes.

"For me the drawing is a language, which combines deflection, joy, therapy, revolt, exorcism of my personal demons and a little more" such are the words of Cintia Bolio in her book La Irreverente Sonrisa (i.e. the disrespectful smile) from 2013.

And a little more. Venus has passed on the torch. Now we know, where art came from.

Cintia Bolio is the fourth axis to the group
Self-portrait on the cover of La Irreverente Sonrisa, 2013.

The cartoons shown are courtesy of Cintia Bolio and must not be reproduced without her permission.

Thursday, 7 December 2017

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.

Meysam Agha Seyed Hosseini, Peace Bone, December 7, 2017.

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.

Fadi Abou Hassan/FadiToOn, Yemen Crisis, December 6, 2017.

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

Wednesday, 6 December 2017

"I Want To Dip The Pen"

Mohamad Kraytem, Death Anxiety, 2017.

"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 own mind and it is disturbing him. There is nothing in the background. It is beyond his understanding. Where are the people who have already died?"

Mohamad Kraytem, Detail of The Duel 
in the process of being inked in, 2017.
"When I want to draw a story I get these ideas of narration, wanting to jump from one scene to another or this dimension to another, so I always use dreams".

"Usually I begin with sketches and I write at the same time on small pages. I have to do my sketches in parallel with writing. I have to know how it looks".

"Writing is not enough to see if it is a good narration or not. If this panel or the next one is good. Then I start sketching the characters and I start on my page immediately. Sometimes when I don't have an idea of the ending, I just start it and by the time I get to it I will have found it or work my way back to the beginning to change it". 

Mohamad Kraytem, page from Wetmare, 2016.

In a narrative by Mohamad Kraytem, you may get eaten by your own arm. Every form can split open or grow a new form and every form may contain a life of its own. There are no boundaries between humans or animals, nor aliens or beings never before seen - even writing this sentence is a limitation of what may be taking place on his comic pages.

Mohamad Kraytem, detail from Wetmare, 2016.
That takes two things: to drive home the narrative and the drawing skill to do so, keeping every movement interesting of all the unknown limbs in a creature. The Golden Section is at play within every single frame: "I look for my form, for my angle, for my composition, and I look for my volumes. His hand should not be parallel to the frame," as Mohamad points out.

"I love drawing hands. I have reached a level where I can draw them from all angles. If I need a new angle, I simply take a selfie. I learned that from David Lloyd the artist of V for Vendetta. I met him at the Dubai Comic Con. He said that whenever you have problems with hands, you have this one and you have this one" - holding forth both hands.

Mohamad Kraytem, page from Wetmare, 2016.
"I cannot help myself being a perfectionist. Digital is not me. I want to dip the pen. I am a materialist. I want real paper and hold the paper in my hand. The limitation of it. I really like when the brush gets drier and use it to make the texture, tock tock. I love it. I have to work in more details that is how I usually pen it in".

Mohamad Kraytem, Dry Bone Valley,
"My uncle used to give me comics in French and Arabic and sometimes in English. I was reading French Batman. I grew up with superheroes, but I was more inspired by the French ones. The direction was better for me that was how I saw it. I never wanted to draw superhero stuff. I wanted to draw like the Belgians. Inspecteur Bayard (Olivier Schwartz), a Tintin-inspired character. I did not know they were drawn by artists. I was six years old and thought this was definitely done by machines, but then I saw a documentary on TV and I freaked out. I really wanted to learn to draw. This was how it began. It was not a style that says: Oh this is easy to draw. It was drawn with thick beautiful lines and inspired by the ligne claire-movement, like Ives Chaland and Hergé, but it was Inspecteur Bayard that triggered it for me".

I have seen the portfolio of stories by Mohamad Kraytem, each of them constantly transforming within themselves, proving the love of the art form that the mind and the pen in unison can do anything. The head of Moëbius suddenly pops up within a masquerade...

Mohamad Kraytem, The Ghost of Pencils Past, 2017.

The sketches and comics pages shown are courtesy of Mohamad Kraytem and must not be reproduced without his permission.

Saturday, 25 November 2017

The Lightness

We all knew beforehand that about a week into the #metoo-campaign, a cascade of men would begin lamenting or ridiculing the women and men standing with the #metoo. With the no less expected claim that the latter women and men are the very ones undermining... society.

The truth of the matter is that NO WOMAN does not know what it is to hear the words in the situation drawn by Marilena Nardi such as "You do want your exam, don't you?" or "You do want your book published, don't you?"

As if a choice is involved.

Note the blush of red at the tip of his finger where he asserts his power. While her voice, her say in a matter, which will influence her life, is of the size of her humiliation.

This is cartooning creating the physical reality that reality itself is lacking.

Marilena Nardi, The Lightness, November 24, 2017.

The cartoon shown is courtesy of Marilena Nardi and must not be reproduced without her permission.

Thursday, 9 November 2017

Cartoonists Are The Mothers Of The World

Meysam Agha Seyed Hosseini, September 29, 2017.

"I love artists and cartoonists because they are wise with a good nature. I think they are the mothers of the world because their messages could feed people for years. The cartoonists are one of the most important arms of social awareness without any demands". 

The words are by Meysam Agha Seyed Hosseini, whom is an Iranian cartoonist living in exile in Turkey. Turkey is a place just as dangerous to him and a petition has been made as call to the UN Secretary General. The petition can be signed here.

Meysam Agha Seyed Hosseini, November 4, 2017.

The main part of this post is his own words from a challenge he gave me to challenge him

"I love challenge and concepts. Art is derived from life and its flames have stretched the heavens. We should breathe the feeling into concepts, pencils, love until Zenith to be met as well as God breathe life into human beings. The creation should be up-to-date in order to prevent any forgetfulness. Concept is our common language and the art should be dived into minds if artists do their job well".

From here on I shall let his beautiful words speak for themselves. They are a rare in their clarity on the creation and understanding of life through art. For that reason this post is featuring his cartoons from the past two months on the nib of the cartoonist's pen as the center of existence and the danger that entails to the cartoonist. For one thing, speaking of God:

"The human is the greatest creator. I don’t know why he looks for the creator in the skies". 

"These statements are considered as blasphemy in my country and several times I have used them in my cartoons and work, thus I was threatened and exiled. But how is it possible to make a contrast of birth and death? The distance between these two is avoidance, in my opinion. Avoidance of life, eternity and creation. Avoidance of everything". 

Meysam Agha Seyed Hosseini, October 5, 2017.

"Art is a nature of human beings. Life is full of artistic taste. We re-create ourselves every day. We make love and believe in religion. We understand the color and we create it every moment in our eyes as in a loving way as more romantic. We see the lines and transplant it with our feeling. We can find the unforeseen shapes. We can feel the pain because we have experienced the moments of death. We know death because we create reality". 

Meysam Agha Seyed Hosseini, October 22, 2017.

"We use a blade to shave, but it can also be used as a means of the greatest stupidities. This is the art of creation. The art of existence in secret. We should blossom through death again and again to realize that art is not separable from the truth. You should know the path, know the style, and should quaff the climax. At that moment you can claim that you are inspired by and from within knowledge, inspired by the sunrise and sunset, by flying and freedom…" 

"Sometimes you need to become a lunatic, but in this world’s term, and then at the peak of the fool's madness, create the finest, purest and the most precious of all and watch it flourish in the world and in the truth and conclude the inspiration. At that moment, you should experience and taste the sweetness and artistic taste of inspiration". 

"Cooperation and group work is basically awesome, but there are times that you reach a point that either the world does not dare to hear the truth or man does not dare to tell the truth. Here is where you become lonely. Suddenly everybody leaves and you become abandoned. I like to work with everyone. I love group work as a way to growth and flourishing". 

Meysam Agha Seyed Hosseini, October 5, 2017.

"We are against war because we forget ignorance and we believe in peace because it’s the most inspirational of human dignity. We know the light and we fight darkness. We found ourselves here better. I am inspired from the ultra-reality and I draw whatever I get. This is the bitter truth of the forced exiled. We can pinpoint shapes with the bitter truth and create an image with sarcasm". 

"Cartoons are used in many different ways in the world and each has a definite definition, But I believe that cartooning is the expression of truth in the language of sarcasm". 

Meysam Agha Seyed Hosseini, Immortality,
October 30, 2017.

"I have not studied arts and drawing and have not taken any course in this field. I used to scribble when I was child, and my mother took my hand to draw. I came to choose it as my job".

"My mother created me and I created the spirit of art in my mind. Man is a creator, and I feed myself and the world with my creations. I want to immortalize pure ideas as well as I can create and promote them by cartoons". 

"My artistic inspiration derives from the passage of moments. The globe is shouting death, and I immortalize my outcry through my writings and paintings. I believe that pure ideas are precious and our lives should be spent for their sake". 

Meysam Agha Seyed Hosseini, Human history will be written on the brave,
October 18, 2017.

"You should close your eyes and flow in the absolute darkness and die. You should observe the talents inside you at the height of disability, wait for the hunt, and in silence and expectation wait for the glow, and then you should follow the path to the blazing star".

"However, I won’t ever be able to reach it, because upon reaching it, either it perishes or I shall perish. What a profound world, everything dies in it except for the moment of beginning. This was how I began drawing".

Meysam Agha Seyed Hosseini, November 2, 2017.

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

Thursday, 2 November 2017

The Scent of Oranges

Cartoonists tend to diminish their work, "Oh, it is a negative art form, I am always looking for the wrong side of things", as if it is a truism of cartooning. The negativity statement is certainly an old one and difficult to get rid off seeing that on the surface, bad things does get exposed on the picture plane.


Cartooning exercises critical analysis in which negativity has no real home, or to be specific: Pre-determined pros and cons belong to the category of propaganda.

Let us instead tell a tale. A tale of immortal love, even when all hope seems lost.

Sara Qaed, The Scent of Oranges... Morning, October 27, 2017.

Please click on the photo to see the detailing, just as it is meant to be seen from right to left. The latter is of no big consequence, though, since the two belong together in unison.

Sara Qaed has drawn a longing so intense that its impossibility makes it possible from beyond the prison bars. His beloved believing him dead is living in poverty and hunger, their children clinging to her. Just then, while looking at the ribbon of mourning on his portrait, his calling reaches her.

This should be written in the language of poetry, and yet there is no need. It is already here before us.

The mental bond crossing boundaries taking on physical existence, while the scent of oranges speaks of his pain. A soul of this strength can only be of the right sort. With this we are back at critical cartooning at its core, portraying the abuse of power incarcerating what power fears the most. He may not need a ribbon of mourning, but he is still behind vertical bars.

Yet, he is not... with which the circle remains unbroken, proving that within the grand tales on life, cartooning is to be found.

The cartoon shown is courtesy of Sara Qaed and must not be reproduced without her permission.

Wednesday, 1 November 2017

Khalid Albaih

Copenhagen has an ICORN cartoonist / Fribytegner of its very own. At long last!

Khalid Albaih with his family in Copenhagen, photo: LCL.

It took three? years to get to this point, but what a joy having Khalid and his family as part of our daily life. From a cartooning perspective it means witnessing his working process, which in his case comprises collecting information, not seeking answers, but gathering knowledge, questioning everyone and seeing everything. If you grumble against something he has stated, he will ask you for proof and links to see for himself.

This is still too crude a description: such is how any cartoonist works. What distinguish Khalid's work are his response time and the breadth of his horizon of interest.

If "response time" has an air of a scientific discipline to it, we are getting there description wise: Khalid rides the tide of the news, publishing his cartoons online on that very first surge of interest.

He may add another cartoon hours later on the matter, but that first one is his prime goal. The life of the Internet is the now, and anyone who wishes to have his or her say, has to abide to that fact, as he stresses.

The exercise is proven successful, when a cartoon takes on a life of its own.

To the degree that he is the one, who worries when he sees his own cartoons return as part of the news. Omran and Aylan, caught in a geopolitical game as they are, were coupled to mock the Western mantra of choosing your own life:

Facebook entry by Khalid Albaih on December 15, 2016:
"Every time I this image getting around I know things are at their worse".

The two boys are examples of Khalid Albeih's focus on the image as icon. The iconization of the otherwise random image in the never-ending streaming of images or maybe not so random given it has something, which arrests us and makes us pause; a potential in itself or with a bit of tweaking.

The media iconize the news in the attempt to arrest the user and keep their attention for at least a couple of seconds and as such the attempt is no different from the poster advertisers of a century ago, who would analyze how to catch the interest of the bypasses on the street, such as stripping the surface of the poster down to a title and a large central image with the contrast of no more than two colors.

Clarity and to the point today too, when the street is the screen of the phone. Khalid will strip the central motif off its setting, making it all about the bare elements of recognition. A stream, a seat, the red/blue color contrast of Eylan and the shadowing for blood and dust on Omran. The white in Khalid's works is no longer that of the paper, but the luminosity of the screen. This is not the language of naturalism; this is an image.

The beauty of the starkness is pulling at us. We see, what is not there. The boys before us are no longer boys. We see the need.

We see. Such was another instance of this effect, when Khalid saw the footage of Colin Kaepernick, the US footballer kneeling during the playing of the US national anthem. His hair secured his being seen with a straight back and in spite of his being of half his size while kneeling. Khalid combined him with the black power saluting athletes in 1972, which made Kaepernick the symbol of 300 years of deportation, violence, murder, poverty and lack of citizenship with the quest for respect and change in the 21st century so far.

Kaepernick is drawn fully frontal, playing on the difficulty of presenting him through the foreshortening of his body to accentuate how he is all decidedness in his having had enough. Anyone seen behind this piece of imagery will seem to be taking on his determination: I kneel with him!

And so Khalid's work is to be found on t-shirts, sweatshirts, hoodies and - fittingly - mobile covers, with one copycat claiming to have had the same idea and at least four US and Chinese companies busily applying fresh batches of printed merchandize to the market.

If only the copyright of the cartoonist had been recognized!

Khalid Albaih, September 9, 2017

Khalid Albaih comprises three continents, being born in Romania, a citizen of Sudan and till now living and working in Qatar. His outlook is pan-Arabian just as he has a keen focus on the reactions in the Western world in combination and all to often in clinch with the rest of the globe.

Wherever he is, things happen. It is a privilege to have him in town.

The cartoons shown are courtesy of Khalid Wad Albaih and must not be reproduced without his permission.

Tuesday, 24 October 2017

A Genuine Question

How could an idea possibly gain ground in a population by way of violence directed at them?

Hate generates hate and violence generates violence, as Khalid Albaih concluded upon the terrorist bomb attack in Mogadishu, Somalia.

Khalid Wad Albaih, Confused: what would make you think
that violence against civilians will spread an idea? 
October 17, 2017.

A khartoon of doubles; layers upon layers of them intricately woven into one another.

The obvious first layer of light vs. darkness creates a intricacy of its own kind by shifting who gets to do what. The light for instance is not taking on the narration, while leaving it to the black ink to act as its backdrop. They each add in, making for an intelligent play with our brains of the kind that is a Gestalt psychologist's life dream.

The very kind of brain activity, which the terrorist is lacking. He is utter darkness, speech bubble included.

Still, his eyebrows are twisting each their way in his conviction of being right.

Added to this is the "before" and "after" of which we are still seeing the "before", looking on as we are from the "after", where we know the answer to Khalid's question only too well.

He has made certain that we see the idea first of all, incorporating a visual delay by adding a hand to the grenade below, thereby blurring its outline.

Khalid is intentionally playing with us and yet he is not confining us. His composition is an honest, open and genuine question: How on earth would creation spread from destruction?

The khartoon shown is courtesy of Khalid Wad Albaih and must not be reproduced without his permission.

Sunday, 22 October 2017

The Loneliest Prisoner

A hunger strike is a cry for help from one without a voice. A human risking life in desperation of a way back to life.

Mana Neyestani, Mohammad Nazari, The Loneliest, October 22, 2017.

Mana Neyestani has portrayed Mohammad Nazari filing off his own body as the only thing left to him. Mohammad Nazari has been on hunger strike for 80 days following 24 years of imprisonment.

He was 23, when he was sentenced.

His crime consisted in being a member of the Iranian Kurdish party. A death sentence was later changed to a life of imprisonment. Since 2013 a said membership is no longer a crime.

Still, he is locked in and in his lonely fight to see freedom, Mana Neyestani has transformed him into his own monument. Honoring his bravery, Mohammad Nazari is drawn holding one hand high in spite of being hollowed from within from the metal of imprisonment.

He is drawn without a face given his destiny. Yet, his courage is of a strength beyond the humanly possible and Mana Neyestani has placed him so high to emphasize that we have to look up him even when seeing him on paper.

Let the final words be Mohammad Nazari's own. Words from an open letter of October 18:

"Don’t abandon me. I don’t have anyone. My father, mother and brother were laid to rest years ago in the cemetery in Boukan. Your helping hand is my only hope. Help me. Help me so that my voice can be heard. Help me gain the freedom I am legally entitled to."

The cartoon shown is courtesy of Mana Neyestani and must not be reproduced without his permission.

"I do not offer answers"

- "but I would like to ask the right questions", Sara Qaed, a young cartoonist of Bahrain stated in an interview for Canvas at this year's Arab Cartoon Festival in Belgium.

Sara Qaed, What you usually do with all that is said, April 19, 2016.

Sara Qaed poses her questions in her cartoons with a strong line, which has no time for small talk nor indeed lies. She takes her subjects to their very bone structure to uncover their truth value.

Words are more often than not noise in our societies and just as often they are used as a cover to betray away our attention. The higher the noise, the more can be hidden within and the one tugging and striving against the multitude of speech bubbles need as much of the picture plane as possible to find the strength needed.

Sara Qaed, Series, March 8, 2017.
His lone figure is the visual counterpart to the line of silencers. Each time a voice is silenced a pattern emerges and multiplies. The final one to the left is the only one recognizable for a human form.

The rest are rounded lines, connected beyond infinity, impossible to say where they come from and why. Which is ultimately not even of relevance. The pattern has taken on a life on its own, keeping each section of the chain in check.

Sara Qaed, Human Meal Rotation, March 13, 2017,
Such a pattern is indeed mute, as Siegfried Kracauer specified with such precision in 1927 on the mass ornament. Ornaments made up of a number of bodies, performing in the same act to visualize an idea.

To this end they have turned themselves into a passive material, a tool - I am still paraphrasing Kracauer - incapable of extending into other directions beyond the one designated to them.

Sara Qaed, Re-cycling, March 6, 2017.

Sara Qaed, From his system, March 6, 2017.

Visibility is a core instrument to the power play that is ornamentation. Fresh material must constantly be lured in to keep it evolving while each new component makes it even harder to detect the elements therein. The latter are busy in their passive pursuit to do their duty; eating while being eaten, at the same time as the despot is affirming the symbol of eternal repetition.

Art as an act of violence. A lineup onto graph paper to rid the individual beings of what perfection deems superfluous:

Sara Qaed, Equal 2 cm., September 24, 2017.

Sara Qaed, Black Squares, August 1, 2017.
With the beheaded we are back to the noise of speech, this time the spoken word of which no second meaning are permitted yet constructed as a means to disguise that very fact.

By making her own field the battleground of despots using the seductiveness of the interlacing line, Sara Qaed is proving her strength. She is denuding her artistic voice of any embellishment, which might act as an excuse for creating distraction.

Sara Qaed, Bottleneck, August 22, 2017
Imperfection is one such way of intelligent life, fighting to find a way to freedom, and disclosed to us through transparency. Just as we were not meant to see the women being traded, trapped as they are from poverty and being under age.

Sara Qaed, The Store Selling Women - Syria/Lebanon, April 7, 2016.

The insistence of power to disguise itself continues all the way into the halls of obvious power.

This is a map otherwise unseen of the states in the Gulf, the potentates each carving and eating off each other:

Sara Qaed, The Gulf Cutting Their Relationships, June 6, 2017.

Sara Qaed, Book Reading, April 8, 2015.
To the clarity of the line, Sara Qaed adds another layer: Her tiny strokes and dots in succession close to each other.

They are serving as a visual language in itself on the physical movement or mental reaction of fear, anger or despair of the human in question.

In unison with the larger frame, she creates a facetted analysis in which she each time takes us beneath the surface.

We even get to see the beaming of those actively informing themselves to walk on in life. Or we get to meet the one, who is repeated called a LOSER. He too suddenly reaches out to grab a hold of a poisonous speech bubble to transform it into a means to building wings and a new life ahead.

His own speech bubble is a song. 

Sara Qaed, Loser Can Fly, October 14, 2016.

The cartoons shown are courtesy of Sara Qaed and must not be reproduced without her permission.

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