Thursday, 12 July 2018

Where Is... Life?

A very empty leaf in front of the golden girl.

An old photo of mine that I have drained of color to highlight the butterfly.
It is the only non-shiny part of the figurine and placed atop the leaf.
Was the Danish Prime Minister drunk at some formal dinner? Was the Crown Prince convinced he could jump the grandfather clock that same evening?

It certainly did not happen from daily wear and tear for the decorated doors to the room across which tourists are passing every day are as always in rather pristine condition.

No, something specific happened to the grandfather clock in Abildgaardsalen (The Abildgaard Room), which forms part of The Royal Reception Rooms at Christiansborg Palace in Copenhagen.

I am the minikin down to the left for measure.

Her emptied hands.
The stomach of the grandfather clock, which does look battered these days,
however they may be old wounds that have cracked open yet again.
Valdemar Andersen decorated every corner of The Abildgaard Room with the Danish flora, i.e. beetles, flies, wasps and robins. Bears and their like have been gone for centuries in Denmark.

Atop the grandfather clock he then added another insect, this time a sculpted blue butterfly perched on a leaf with a young girl protecting it with her hands. A sculpture on the fragility of life in the passing of time.

Which makes it all the sadder that the butterfly is gone.

Valdemar wondered back then, if its meaning would be understood?

It proved painfully significant to its artist. It was the last work by Valdemar Andersen, finished on New Year's Eve 1927/1928. Only two months later he was to be hospitalized, his leukemia diagnosed and his all too short, but immensely productive life would come to an early end.

One detail of the room, each square featuring its insect and inviting
in the light by mirroring the squares of the window frames. 
The figurine was first cast with the help of the architect and designer Poul Henningsen (PH) and then carved in mahogany and gold plated. Nothing was lacking in its creation.

The creation of the Royal Reception Rooms on the other hand had turned into a longwinded affair; everyone absolutely hating each other, or rather the head of the team of artists seemed to have been so troubled by the project he had taken upon himself that he hated them all. Everything was changed along the way, form and content alike. Such as the intended use of the rooms. Mirrors already done by Valdemar were never used. Everything was done and then rejected.

In the case of the Abildgaard Room it took eight years to complete and everything in it not created by Valdemar is an overdone eclectic mess rather like the icing on a birthday cake.

Yet, in the midst of everyone hissing at each other, the quiet Valdemar stuck to his original idea of depicting the fauna, portraying each insect at a time and framing it in light grey grotesques. The only thing about his part of the decoration, which reveals the passing of the time, is the hairstyle of the sculptured girl in the fashion of the late 1920'ies.

Her protecting the frailty of life was an exquisite final artistic statement.

Now the blue butterfly is gone.

Life.... is gone...?

Detail of one of Valdemar's decorated doors leading to the room.

Monday, 9 July 2018

The Unfakable

Khalid Albaih at the graffiti wall of the exhibition, the cartoons dirtied up
as they would be outside. With Jens Nüchel Petersen, July 5, 2018.
Photo: Niels Larsen.

"We Were Perfect", view from the exhibition at
the Library at Kulturværftet in Elsinore.
Photo: LCL.
Even before we opened Khalid Albaih's exhibition We Were Perfect at the Library at Kulturværftet in Elsinore (Helsingør), the exhibition had its first visitor.

A young refugee from the Syrian regime, his wide-eyed reaction, when being told that the artist was present before him was the best moment of the evening. His eyes told the story of the presence of Khalid's work too since 2011.

Running through one room of the exhibition is a "graffiti wall" a giant paper wall with dirtied up prints as they would have been seen stenciled on walls in Tahrir Square, Cairo and in Beirut. They were likewise brought on to the streets when demonstrating against regimes, or against the handling of refugees in Australia, and first and foremost they have gone viral on smart-screens in the Arab world as in the West.

The original of the cartoon is at any given instance the publicized one. In this case its publication took place in all of its formats, size and materials. We may speak of a first apparition on the screens, but the constitutive properties are not ephemeral, nor are they transitory. On the contrary, in each of their configurations, his works are fully there as he intended.

"We Were Perfect", view from the exhibition at the Library at Kulturværftet
in Elsinore. Photo: LCL.

"We Were Perfect", view from the exhibition at
the Library at Kulturværftet in Elsinore.
Photo: LCL.
The word is authoritative.

The artworks of Khalid are as clear-cut in form as they are in meaning. A luminous background onto which is a clear-cut graphic element. Simple, yet detailed. They address the specific in laying out a situation, while insisting on the intellectual curiosity of their beholders to think for themselves in everything they hear and do.
"We Were Perfect", view from the exhibition at
the Library at Kulturværftet in Elsinore.
Photo: LCL.

Khalid's objective was understood given it was taken to the streets in the call for change from the noise of despots doing their damnedest to undermine every instance of calm to think.

"Fake" has been a despotic buzzword these years in their adoption of what Orwell termed doublethink, to reach the point were nothing is - well, where nothingness reigns. Contrary to this we have the unfakable of the realm of art, as termed by the philosopher of aesthetics, Nelson Goodman.

Goodman would not have approved of the authoritative manifold of the unique, but then he wrote before there was such a thing as an image being printed on equally excellent appliances across the globe.

Our first visitor came back moments later with his best friend, who originates from Ethiopia. Two friends from two continents accentuating a body of work, which in turn is the embodiment of the poet Maya Angelou:

I go forth alone, and stand as ten thousand.

The local graffiti wall by the library at Kulturværftet,
so of course there is an invitation to find inspiration inside.
Photo: LCL.

The Exhibition We Were Perfect at the Library of Kulturværftet, Elsinore/Helsingør. It opened last Thursday and runs until September 27, 2018.

Wednesday, 4 July 2018

Monument of Shame

Bonil, Trees of Death, by Rosario Murillo and Daniel Ortega,
July 4, 2018.

It is a monument of the atrocities taking place in Nicaragua. Constructions of steel around Managua, designed by Rosario Murillo, wife of president Daniel Ortega. As trees go, these produce no oxygen and can as such be no symbol of life.

Each of the killed embodies the Nicaraguan flag. The full story is before us.

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

The Moral Case of Cartoonist vs. President

Did I just read that? Surely I read wrong?

Correa, the former president of Ecuador has a warrant of arrest on his head.

Bonil, July 4, 2018:
- Walking alert (a leftist cry on a victorious Bolívar through Latin America)
- of Bolívar's sword?
- No, the red alert of Interpol

Interpol has been alerted to have him extradited from Belgium. Belgium is apparently the new haven for political leaders on the run. The Catalan separatist leader escaped extradition from Belgium too only little over a month ago.

Responsibility is but a word of fashion, according to Correa. Now it is there, now it is not.

Correa has done anything in his power, rallying week after week, using every means of his presidential power to undermine the freedom held in the constitution against Bonil and his colleagues. Bonil was singled out time after time in court as in the rallies mentioned, hearing his person and cartoons harassed in a tone, which might have been a suggestion of... violence? Surely verbal violence, which might have escalated even further. Bonil was denied his personal and citizen rights on every level and for every bit of that burdensome and dangerous road, Correa is responsible. Responsible in the present tense.

Correa the Escapist. We know already that he will do anything to avoid facing his own deeds. His life is as cushioned as Bonil's is not. Bonil has been called to answer for his cartoons and he answered. Being answerable is the very definition of acting responsibly.

Of every word with which we characterize Bonil, Correa is his opposite. Bonil has spine, showing courage and using his sharp intellect. He analyses the world with love and humor, creating understanding one cartoon at a time to make this world a better place.

Correa is a whimpering blob of vanity.

The words above have been all about Bonil and that is how it should be.

- Oh, and by the way: It is the Fourth of July in the US. Belgium may be seeing Trump hopefully sooner than later. Sorry, Belgium!

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

Sunday, 1 July 2018

How To Lose The Moral Right to Govern

Pedro X. Molina, June 2018.
The national outcry:

HEAR US! Every cartoon from Pedro X. Molina right now is meant to hurt our eardrums. The volume turned to maximum is everything cartooning, or art for that matter, is not supposed to be and for that very reason the message is all the stronger.

To sum up the Nicaraguans plight, president Daniel Ortega has responded with violence against demonstrations protesting his politics. According to the Nicaraguan Association for Human Rights at least 285 are dead and 1500 injured. By June 25.

Pedro X. Molina, June 2018.
Hors d'oeuvre...
- My men have orders not to shoot!

The salivating Ortega has been turned into not just any beast, but one prepared to clamp down on critique against him. The bullet bars for teeth speak of preparation. In other words, Ortega embodies the problem; he is the problem.

He is as much a roaring noise as his moral counterpoint above, the pietà of desperation. The profound inner sorrow is wrought out to a collective outcry of desperation, desperate too to be heard. In the confrontation of sound, we have their respective stations.

Pedro X. Molina, October 9, 2015.
Please note the date and year: 2015.
- If you think...
- That this is "violence"...
- ... and this is "peace"...
- Then you are simply not thinking.

Pedro X. Molina, June 2018.
The section of the Constitution in which it is stated
that armed paramilitaries are unconstitutional.
Pedro X. Molina already was a cartoonist speaking in direct terms. Direct as in laying out object-by-object, never details, but each element alongside the next element to let it be known what is taking place.

We are in court in his cartoons and the prosecution is laying out the evidence, all of which is adding up. The Constitution and the soiling of it is a central exhibit to the case.

He is calling for judgment before us: This is not a war. This is a massacre by an armed state that kills its unarmed citizens, in his own words. He draws the moral verdict written in the citizens' own blood to NOT commit a revenge murder of Ortega and wife, but to their being removed from power, since they refuse to do themselves:

Pedro X. Molina, June 2018.

Pedro X. Molina asks of you all to distribute his cartoons as widely as possible to let the situation of Nicaraguans be known.

Friday, 29 June 2018


Ter-ror-te-guism (org. terrorteguismo, 2018) noun, the alliance of terror and the president of Nicaragua, Daniel Ortega 1. The present political situation in Nicaragua, where citizens, children included, are being shot and killed 2. The arming of militant groups acting as snipers, carrying out random killings of citizens 3. Impunity for everyone ordering or acting with violence against the citizens 4. The danger of all of the aforementioned to the Nicaraguans going forward. 

Pedro X. Molina, June 2018.

As exemplified by Pedro X. Molina, hope is troubled going forward. The tree of life is no longer a living one, but one made in a metal design by Ortega's wife. The death caravans with their masked men embody the old tales of the carretas nahuatl, the rumbling ghostly carts in the street at night, which everyone must take care never to see. Anyone who dares to sneak a glimpse will be gone in the morning. 

We recognize the ghostly cart from recent embodiments as well as of old. This carreta nahuatl has Ortega for driver. As random as the terror is once weapons are in the wrong hands, the carreta has a first beginning.

Pedro X. Molina asks of you all to distribute his cartoons as widely as possible to let the situation of Nicaraguans be known.

Saturday, 23 June 2018

A Tale Of Four Images

Khalid Wad Albaih, August 18, 2016.

The trouble with imagery sharing a compositional resemblance is that most of the time we cannot establish, whether it may have been mental laziness on the copyist's part or that they are sharing their time and age and are as such each of them part of the larger picture.

It may be that the artist was taking up the inspiration found from another, which makes it proof how inspirational the first image turned out to be. The artist next in line was waiting for the right moment to make his or her own version. 

In the present case this is a story of four images so far.

The first two ones centered on the situation of Syrian children. All too painfully known photos on the little drowned Aylan Kurdi and Omran Daqneesh taken to an ambulance from beneath the rubbles of Aleppo following Russian air strikes. 

Khalid Albaih each time created his version within the first hours of their photos being published, stripping the children of the scenery in which they were photographed as if stark cut-outs and placing them on a stark luminous background by which he created a direct confrontation with the beholder. A situation needs to be changed and responsibility must be placed. 

Omran confronting Putin proved not as popular as the one of the two children. The press, ever terrified of not appearing neutral - Ahem! - emphasizes the one below, which in turn went viral. This is the one, whose own artist worries every time he sees it in social media feeds, knowing there will be new, horrific news. It has taken on a life of its own:
Khalid Wad Albaih, August 18, 2016.

This week Time Magazine published this cover on Trump made to face his own doings, separating children and toddlers from their parents at the borders, without till now even securing a minimum of organization to make it possible for the parents to have their children back: 

@time: #welcometoamerica, June 21, 2018.

Trump never face responsibilities of any kind; let us be honest, so Khalid Albaih responded to the cover by adding another layer to it. By the time the cover was published, Melania Trump had boarded a flight to Texas with THAT jacket with the impossible-to-overlook all capital lettering I REALLY DON'T CARE, DO U?

But not just that. Military personnel have been added to keep the child from even being seen. The total ignorance of the scene. The uniformed are mere shadows of human life.

Khalid has added the danger, of which the girl is the visualization, just like Omran and Aylan.

The little girl is exposing the autocracy already at play in the official US. This is The Land of the Unfree.

Khalid Albaih, End of Times, June 23, 2018.

Khalid Albaih publishes his khartoons under a Creative Commons license.

Wednesday, 30 May 2018

The Immeasurable: The Heart

Angel Boligán, The Wrong Needle, May 30, 2012.

An organ and a symbol, which presumably is threadbare, nevertheless it is fresh and relevant every time we see it. There is such fresh pain in the attempt of sewing it back together above. The frailty of love is given a visual presence through the coarseness of what love is not - yet striving to succeed as embodied in the vertiginous perspective of the arm.

Angel Boligán, The Blacksmith,
July 3, 2016.
The organ, other words, which is key to the what, where and why of human life. No Anatomia Cartooniensa would be true to itself without it.

The curious thing about the shape of the heart is that it has two equally established configurations.

We have for one the symmetrical one above, mirroring itself along a central axis, which at once speaks of harmony, i.e. said symmetry, and its vulnerability, when broken along its axis.

To the right its counterpart gives the vertiginous arm an impossible task of its own, this time reason disciplining the anatomical heart. This one has been about since artists were explorers of pathology and would have held an actual heart in their own hands.

Leonardo, because of course he did, drew his about 1511-13 and even if the exact function of the heart was not yet known, interestingly the anatomical heart have been drawn more or less exactly like this ever since, with the stumps of coronary arteries, suggesting connection or severance according to the situation.

Marilena Nardi, December 9, 2016.

The anatomical heart has a history of being the complicated one of the two. It is a working, pumping organ, even or all the more so when severed, and its mere presence is a sign of trouble.

Angel Boligán, The Eternal Border
July 17, 2011.
It is the tormentor. It draws us to insanity until we are transparent and withered. No outer movement is taking place above in this the most intense of dramas, draining her of life. A semblance of a light in her eye unable to see anything is fixating us from our knowing her demise only too well.

We are damned whatever we do. The migrant shall forever be connected and yet severed; the borderline cutting through his own body.

In all of this, and what we recognize as spectators, is the sincerity of the heart in its struggles. It has an element of purity to it in spite of being the organ on the physicality of human emotional life.

The heart remains untainted and has the right to do so even when yelled at by superiors. Since The Nürnberg Trials it is obligated in fact, so that soldiers shall follow their own conscience, and soldiers are in a situation where they are not even defined to act as humans.

Angél Boligán, The Sound of Sanity, March 2, 2012.

Cartooning has a strong element of analysis to it and naturally so, but exaggeration has its own level of precision. It uncovers the drama of human life to the point of its breaking point - the distortion, the severance, the demise - each time worth a five-hour long opera.

Our hearts are meant to broken, as Oscar Wilde consoles us.

Marilena Nardi, The Affliction of Love, June 2, 2016.

The cartoons shown are courtesy of Marilena Nardi and Angel Boligán and must not be reproduced without their permission.

Tuesday, 29 May 2018

The Immeasurable: The Mind

Marilena Nardi, The Stab, June 14, 2017.

"The wing is the corporeal element which is most akin to the divine", Plato wrote.

Marilena Nardi, September 18, 2017:
Madness too deserves its applause.
THEY, who have understood and dared go beyond themselves will feel the itching of wings growing on their backs.

Wings are grown of the lover, the philosopher, the artist. The soul which has seen most of truth. The place home to the gods and otherwise so dangerous to come to near for their jealousy of competition. Theirs is the power to stab that scraggly human left in the dark.

It is of never ending amazement to the Anatomia Cartooniensa that we have an actual corporeal element on the human ability to think, to reflect and know passion into one. A piece of anatomy, which sweeps the hitherto earth-destined off the ground, yet remains physical of nature. The wings expand to the being, first announcing their presence by the itching of their growing pains. At no time do they take on an ethereal state.

This is a fact, which accentuates the very real capability of the brain as a place for immeasurable expansion. Aching to transgress and to explore, it develops beyond the personal point of view. It is playful, and it may be painful. It is one of possibility and change. Such is the mind at its best, urging on itself.

Angél Boligán, Information, December 10, 2010.

Plato made clear, though, that wings are a corporeal element that has to be earned. It is not for everyone.

Marilena Nardi, World Press Freedom Day,
 May 3, 2016.
Which make wings all the more undesirable for those, who refuse to see beyond themselves and the very reason, why wings are so prominent in cartooning: Their precious nature are less about those who lose their wings themselves through the loss of passion, than other mortals locking them up.

Wings are freedom of thought if not freedom of speech too, in that they share their visual features with speech bubbles growing from a certain point on the body and expanding from there, while reflecting on something, even just or most importantly throwing out a question mark.

"When words are pinned down they fold their wings and die", Virginia Woolf said. Words too live in freedom, constantly changing their meaning. Even the specific elements to thinking and talking insist on their freedom having wings of their own.

And so, when the demagogues choose to lock up words, thoughts and the winged, the cartoonist acknowledges their nature by drawing them in a birdcage. Even in captivity they are recognized for their position among humans.

Marilena Nardi, Restless Chimera, October 1, 2017.

Gods are dangerous specimens to play with. We may never know when they turn against us, but that is part of the enchantment of growing wings. They may end up being torn off, but oh, so worth it in the unruly life that is ours. The birdcage on the other hand is the orderliness of vertical bars that life is not. And most barbaric of all, the scissors.

Angel Boligán, Mutilated Freedom, December 28, 2011.

The cartoons shown are courtesy of Marilena Nardi and Angel Boligán and must not be reproduced without their permission.

Monday, 28 May 2018

The Immeasurable: The Soul

Marilena Nardi, From the series "The Gloom", December 9, 2016.

Do we have a soul?

That we cannot answer scientifically. Indeed science may be the wrong place to be asking from, according to the artists before us. The calculating eye will see a fission taking place. The release of energy, when cleaving into parts.

That is, however, only half the story. The one part will be invisible. The other shall perish. That is too neat to define life.

Xawery Dunikowksy, The Soul Escaping the Body, 1918, at Królikarnia.
Photo by Niels Larsen, May 2018.

Life is in the fusion. The pain of opposites; amalgamated by high temperatures and made present by the dirty laws of gravitational pressure.

The separation while fighting for union, or the fission of fusion, is an explanation fully graspable in artistic terms. Impossible to be explained, it is right there before us in the fight for form.

Marilena Nardi, October 20, 2012.

The cartoons shown are courtesy of Marilena Nardi and must not be reproduced without her permission.

Sunday, 27 May 2018

Sometimes All Is Right

Zunar, Malaysian News, May 15, 2018.
The opposition released from prison, where Najib placed them,
 to take on the new leadership after the election.
Najib and his wife are in turn on their way to (eventual) prison.

Sometimes it happens. Sometimes the world becomes just a little bit of a better place even if it seems almost too good to be true, when the right and the good are proven to be right and good.

The travel ban against Zunar is now placed on the former Malaysian Prime Minister Najib Razak and his wife Rosmah Mansor. They fell from power following the general election this month and are now under investigation for their billion-dollar scale fraud. They are likely to be indicted, to put it politely.

Let us just take a sentence out to note that this Malaysian reality is a warning to other demagogues:

Zunar, Transformations! May 15, 2018.

Zunar, March 14, 2018.
- all of the protagonists weighing down the citizen.
 - and let us on this blog highlight him, whose courage for years have placed him in a position, where we worried for his safety and livelihood and yet he did not hesitate.

When Zunar was the most pressured, he had the mental strength to continually change his approach to make the highest impact, such as in light of the general election to place his focus on what the fraud meant to the citizens in their daily life.

Najib is drawn without any interest in his own person. He is a type. Zunar created him, his wife and their fellow fraudulent characters into archetypes of a mythology on greed and abuse of power. The bling-carat ring took on a life of its own too. The fraudsters in power created a normalcy as the official faces of Malaysia, and Zunar let them be seen for what they were actually doing.

In later years there has been a recurring academic debate whether we can even measure the impact of imagery in public spaces. That any talk of impact is a rosy-nostalgic fiction created in the aftermath on images that were just out there in the noise of daily life, perhaps noticed, but hardly seen and not enough to even begin to speak of any effect. The debate is but one approach to the age-old smirk at imagery, but let us just point to last week's affirmation by the former Director of US National Intelligence, James Clapper that the Drumpf had not won the 2016-presidential election had it not been for the work of the Russians. It is just the one indicator on how influence works, but let us accentuate that influence has presence and it can go either way.

Zunar's mythology unfolded corruption so that corruption had a place to be seen for its true apparition.

He was so intellectually astute that he continually developed and even changed his focus, such as placing the perspective on the rakyat, the Malaysian people, when he felt it was time to do so. His was never a one-eyed intention; it was a highly creative composing a mythology, however the sad fact that it had a reality. It never turned into a vendetta.

Zunar, September 2016
- a prediction on what is now a reality.
Anwar and Mahathir are at long last the new political leaders.

As always with the cartoons of Zunar: Please, let them be seen as far and widely as possible and in particular: please spread the good news in case it shall make other demagogues concerned.

Monday, 30 April 2018

Touched By The Muses' Madness

Mohamad Kraytem, Morning, 2018, page 1 of 4.

For the sake of creating art, this artist puts his own life at risk going all in or maybe we should say all out, or to be more specific and in the words of Plato, he experiences the "touch of the Muses' madness in his soul". 

Since long before Plato we have been discussing what drives the human inspiration. Divine intervention, perhaps, such as from the Muses, while later ages would point to chemical substances such as absinthe or opium, but whatever the reason for hallucinating or passing downright out, the line of thought was each time to explain the ability of the artist to transcend their human frame and create something of value beyond their own time and place. 

In the present case the ingredients are the ones presented above: A pen, a cup and some hot liquid to which is added a piece of music.

The liquid is coffee, the music Black Coffee by Black Flag, which if you click the link in the name will take you to the music while seeing the present comic, and the one leading us into hallucinating is Mohamad Kraytem, who created the four-page comic at a workshop at the American University in Beirut earlier this spring. 

This would not be Mohamad if he did not take us directly into the impossibility of the turn of the tale. In this case from the enjoyment of beginning a day of work with its chain of preparations to the total eruption as overwhelming to take in as it is to the one acting it all out, before... but, first things first. It is time to brew that coffee and get to drawing:

Mohamad Kraytem, Morning, 2018, page 2 of 4.

Mohamad Kraytem, Morning, 2018, page 3 of 4.

"STAB through my heart..."

Mohamad Kraytem, Morning, 2018, page 4 of 4.

The comic is courtesy of Mohamad Kraytem and must not be reproduced without his permission.

Thursday, 26 April 2018

Three Years and Nine Months

That is the prison sentence given Musa Kart this week.

In total 14 journalists, editors, board members and chairs of the paper Cumhuriyet were given prison sentences ranging from seven years to little over three years.

They were charged with terrorism, i.e. for being in liaison with Fethullah Gülen and PKK as a convenient cover for shutting down their critical voices.

Musa Kart wrote a beautiful manifest on the nature of the cartooning voice after the initial round of the trial, in which he was released from prison - he and his colleagues first entered the courtroom from prison after having been arrested at their office and thrown behind bars.

We are now waiting for the verdict from the appeal.

Even describing the above is reeking with sickness of despotism that is the reality of Erdogan, so without further ado Fadi ToOn on the new Turkish flag:

Fadi Abou Hassan/Fadi ToOn, July 24, 2017:
The New Turkish Flag - My Solidarity with Musa Kart.

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

Wednesday, 18 April 2018

Strategically Lying

So... considering the Malaysian government has put into law the limitation of critical reflection in public space while calling it a need to halt lying taking place ... Who lies, or more to the point, who lies strategically?

Bonil, April 17, 2018: Throwing out rumours.

Bonil has placed two bombs identically on the picture plane, but heading in each their direction while highlighting the two sides of strategically lying.

History proves to us that when bad journalism takes place it is just that - bad journalism - while poisonous press coverage or actual propaganda is found where it is backed by institutions or is itself institutionalized as an organ of a despotic or despotic adjacent rule.

The strategically throwing out rumors tend to be accompanied by another kind of bomb of the problems which are willfully neglected or stem from lack of concern for their long term implications. An "after" has no place to this mindset.

We recognize the situation from all too many places, but consider the sentence above "Bonil has placed two bombs". That is the act of a directly speaking cartoonist pointing to two opposite sides of the same problem, while hiding behind no institutions.

Bonil, April 17, 2018: The displaced... An eventual bomb?

The cartoons shown are courtesy of Bonil and must not be reproduced without his permission.

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