All silkscreen/ 22 pages / 35,5 cm– 44 cm/ white ink on black paper/ fedrigoni black 350 gr.
22 cm- 22 cm/ 26 pages / 9 colors all sickscreen paper fedrigonni 260 gr./ cover black 320 gr./ 150 copies
Laetitia Brochier ‘Tarot de Marseille’
Tarot de mars / 20 x 12,5 cm / 22 cartes / 4 pass. couleurs offset tons directs papier 260 grm + boîte sérigraphiée 1 couleur papier noir 320 grm / 500 ex
SAKABASHIRA ‘Mondo Kappa’
TOTAL SICKSCREEN loporello book 20 pages / 22- 30 cm / 8 colors / 150 copies / paper fedrigonni 260 grm + Cover black 350 grm / 30 euros
le mauvais oeil 61
Emre 0rhun ‘Fissure’
du 22 Juin 2022 au 9 Septembre 2022
Atelier du Dernier Cri
Ce projet est né de l’envie de retranscrire le rêve récurrent que je fais depuis des années. Un rêve en huis-clos, dans des maisons et des appartements délabrés et lugubres, qui ont des portes, des pièces et des couloirs qui apparaissent et disparaissent, qui se multiplient à l’infini alors que je me perds dans les méandres de ces lieux mouvants. Je croise souvent des personnages dont je n’arrive pas à distinguer clairement les visages en raison de l’obscurité des pièces. Puis leurs traits changent en un clin d’oeil sans que je puisse les saisir. Pour retranscrire ce rêve récurrent, j’ai d’abord réalisé une série de 25 dessins automatique où j’ai laissé errer ma plume au gré de mon inconscient, un trait amenant un autre, un dessin appelant le suivant. Ces encres m’ont servi de base pour les vingt grands dessins en carte à gratter que j’ai dessinés par la suite et qui m’ont pris pas moins de trois ans à réaliser : au vu du format plutôt grand pour cette technique longue et exigeante qu’est la carte à gratter, chaque dessin me prenait à peu près trois semaines pour les finir et pour donner vie aux personnages étranges qui les habitent. Véhicules de mon exorcisme.
Emre Orhun est un illustrateur de nationalité turque, né en Chine, lyonnais d’adoption depuis 1993, formé au dessin à l’Ecole Emile Cohl (Lyon) d’où il a été diplômé avec félicitations en 1998. Depuis 2005, il est retourné à l’Ecole Emile Cohl, cette fois-ci pour enseigner la bande-dessinée et l’illustration.
Pour ses illustrations et dessins, il utilise le plus souvent la technique de la carte à gratter qu’il a vu pour la première fois dans une bd du dessinateur underground Thomas Ott. Il n’hésite pas à varier les plaisirs en utilisant des techniques plus traditionnelles comme le crayon, la plume, l’acrylique et la gouache, mais aussi l’informatique pour des peintures numériques.
Préférant l’art populaire et sans frontières, il a travaillé pour différents supports comme l’illustration jeunesse, le dessin de presse, la bande-dessinée, des affiches, des couvertures et des pochettes d’albums… Mais aussi, toujours et régulièrement, en produisant des dessins dans le seul but de les exposer.
Il a publié un grand nombre d’albums pour l’édition jeunesse comme Dr Jekyll et Mr Hyde (Grimm Press – Taïwan), Le Chant des Génies (Actes Sud) ou Pierre Noël (éd. Sarbacane) mais travaille aussi régulièrement pour la presse nationale (Le Monde, XXI, Libération…). En parallèle de son travail d’illustrateur, il aime produire des séries de dessins personnels en vue de les exposer.
Il a fini en 2010 un projet de bande dessinée, Erzsebet, en collaboration avec Cédric Rassat, pour les éditions Glénat.
En 2011, il a été en résidence pendant 6 mois à la Maison des Auteurs d’Angoulême pour travailler sur son projet de bande-dessinée Medley.
Toujours chez Glénat, il a sorti un nouvel album avec le même scénariste : La Malédiction du Titanic en Mars 2012.
A paru en Juin 2013: un livre d’image, Les Vies Imaginaires chez Le Dernier Cri / Marseille.
Derniers ouvrages, paru en 2016 : Medley, bande-dessinée de 150 pages aux éditions Même Pas Mal / Marseille et en 2018, la version illustrée du roman Kinyas ve Kayra de Hakan Günday, auteur turc ayant reçu le prix Médicis Etranger en 2016.
« ce sont des morts qui jouent à l’humain, des morts vivants grotesques ! »
Salut Audrey ! Cest très sombre ici, on peut allumer la lumière ?
Mes lampes sont toujours de seconde main, en piteux état, les ampoules grillent souvent… Mais je peux frotter des allumettes…
J’aime bien tous ces crânes ça me rappelle mon enfance, et toi tu tiens d’ où cet engouement pour l’os de tête ?
Il est chargé d’affects ! Je suis une fétichiste-animiste dont les rituels de protection prennent un temps fou; alors tout ces crânes que je dessine sont des offrandes aux morts que j’affectionne et ils me permettent aussi de me placer sous leur bénédiction ! Mes protecteurs édentés me font rire, ce sont des morts qui joue à l’humain, des morts vivants grotesque !
Le corps féminin est assez récurrent aussi dans ton travail, c’est par pur attrait des courbes ou est-ce que ça a une signification particulière ?
Je crois que je n’ ai toujours pas réglé mes conflits avec ma mère.
Aussi Freud pensait-il que le complexe d’Electre ne se résolvait jamais complètement chez la fille et que ses effets s’en ressentaient dans sa vie mentale de femme. Oui, c’est ça, oui, c’est très clair, dans ma vie mentale de femme…
Et comment tu as commencé à noircir du papier ?
En me servant du cordon ombilical dès ma sortie dans ce monde de dingues… Y ai su très vite que je serai nullissime en maths, en cuisine et en psychologie cognitive… Je devais trouver un moyen de me démarquer et d’exister en temps que femme très rapidement.
Tu as un style bien particulier, à la fais très fin et très brut, doux et inquiétant Tu as cherché longtemps avant de trouver ce qui te correspond ? Ou peut-être que tu te cherches encore en fait..?
C’est arriver sans crier gare, ça s’est infiltré insidieusement, à travers chaque pores de ma peau, et c’est resté là… Les gens sont souvant surpris quand ils me rencontrent, je ne correspond pas du tout à mes dessins (je suis souriante et je ne dessine pas en porte-jarretelles).
En lisant ton entretien dans Illustre Magazine, f ai vu que tu parlait d’une BD à propos « d’une fille-chien qui engage un combat avec chaques sœurs enfantés. » Je lirais carrément ce genre de chose, est-ce que ça va voir le jour finalement ?
Ahahah ! Non ! Cette histoire est retournée au fond de son tiroir, la fille chien a grandi, n’a toujours pas retrouvé sa mère et s’est enlisée dans des textes pompeux… Comment trouver une fin ? D’autant plus que je hais les fins.
« Je suis imagearienne, je me nourris de dessins et je suis une grande vorace… »
Et sinon qu’est-ce que tu mijotés en ce moment ?
Je suis la femme élastique avec un bras qui dessine pour le prochain Gonzine de Sarah Fisthole (que j’ aduuuule), un autre qui dessine pour un fanzine reptilien, un autre moyenâgeux, une expo à Bruxelles dans d’ anciens abattoirs (Ahahaha quelle idée judicieuse par les temps qui courent !), une jambe chez un projet avec un groupe de musique expérimentale, l’autre jambe qui court après Christophe Siébert pour des illustrations quand il voudra bien de moi et actuellement trois petits dessin à la galerie Le Mat de Nils Bertho à Montpellier…
Le futur c’est bientôt, on s’en approche doucement mais surement, pour toi 2016 année de..?
No more prothèses !
Désolée mais parler de mijoter ça me donne faim D’ailleurs de quoi se nourrissent le corps et l’esprits d’Audrey Faury ?
Je suis imagearienne, je me nourris de dessins et je suis une grande vorace… Chloé Poizat, Anne Careil, Fanny Mickaëlis, Daisuke Ichiba, Emre Orhun, Céline Guichard, (et je suis la fan numéro one d’ Arnus Horribilis) ; les photos de Wolfgang Tillmans, les univers des tatoueurs (genre Jean Luc Navette, Sixo Santos, Ophélie Taki, Jakub Tramecourt…); Je soupe aussi de textes… surtout ceux d’ Emily Dickinson ou de Marion Aubert…
Merci beaucoup pour cette interview, Banzaï est ravi de mieux te connaître ! Imaginons que cette interview se termine avec un générique, ce serait quoi la chanson de fin?
Oh my god Huuum, mmmmmm…. « Girl Just Want To Have Fun » de Cindy Lauper…
Half a year ago, before sunset I had an encounter, while walking in the forest.
I heard something from the bushes and was sure it was an animal movement I wasn’t familiar with, I stop, looked that direction. Something looked back at my direction, started walking to me as if we’ve met before. I had never seen a badger in my life before. I wasn’t even sure what the heck was walking towards me this fast. It stopped, I take my hand out for it to sniff (that’s ‘hi’ in animal language). It reached, and to my mistake I say ‘hi’ in human. That was unnecessary. And it turned away walked back in the woods.
I stood there like some minutes what just had happened and where I did wrong. Not that we were gonna sit and have tea or anything; I believe it was the ‘hi’. But also at that moment skunk came into my mind and wondered if it does such attacks, and a bit of fear appeared. I also believe that was it.
In nature, if another fears, it means it has a higher chance of attacking. Same for human psychology tho.
We’re just not aware of it.
And is why we often walk away from people sometimes unknowingly. We smell fear.
It was a very cute badger. Very big!!
And so we fantasize.. fictionalize.
Sensual soft foreplay with sun is spring.
Spring is sexy as f.
So is imagination.
Unsharable realm is for those who does not have the emotional budget to actualize.
It’s made for this. Nothing lost, nothing gained is the agreement. Not compared to what can be lost or gained in real life.
I love people.
But that love is kept fresh at a distance. For you burn if too close to sun. drown too close to water.
I do not know the balance.
I am a clumsy magician.
And people are too important to experiment with. I stay put. I breathe. I focus.
Open to learn. but doubt.
Very weird time to be alive.as always. Changing, learning. Nature cycles are holding my hand. Teaching me what it has been doing over centuries.
I am not not drawing or painting.
I am processing the change. I give space to loss. But also space for new.
It’s like I went someplace and observed myself, my life and everyone else from a distance. And I am very suprised over the things I see.
Having such a wow moment, like a documentary. But also calm.
This is new.
I don’t really desire, I do but then like a separate entity. A color pops up, a shape and it moves and flies away.
I desire to be able to take care of myself. Permanently.
I hope to understand people much more on a different level, with whatever I have, and same the other way around.
I am super busy. And I pray.
It’s just about absorbing spring. Knowing it will end, trying to hold on to it before it even really began. Trying to observe from every angle with every light.
Not feeling enough.
Not enough for this world.
Not even close to be for this world.
Because it’s so big. It’s so much. And I so limited, like I am not paying enough respect. Not giving enough attention.
Feeling less-than because I don’t have enough to give.
I am deficit. Like I have malabsorption of nutrients, I can’t absorb enough of what I am experiencing, seeing, feeling. Like my lenses are broken.
This analog photography gadget I found in my father’s stuff, you look down in, you see straight ahead somewhere else and it’s very dusty. It’s a different lens.
You shed a light and move it and all details change.
Then the magic of shadow. Imprint it on me. I want to absorb as possible. Tattoo it on my skin. But it moves. And there is no way to hold on to nature. It moves. All the time. Same essence. Untamable. Super annoying. Humans can not control. It must be stressful on us.
You can’t hold on and encapsulate the pleasant and can not eliminate the discomfort. You might have money. But you still can not capture spring. Spring is never for you. How rejected I feel by spring.
My inside mimics everything happening outside. Knowing I can not replicate the feeling for rest of the year.
The inside and outside. Would it be possible to become spring if I were to leave the body?
This has always been the wonder.
Feeling left out as a human. Like wolfdogs, not a wolf, neither a dog. Stuck inbetween.
We are not unnatural, yet we are not entirely nature now are we? Don’t you feel this alienation while walking a vast forest? Don’t you love it?
You can feel the connection and feel home, yet the alienation and be fascinated. Which other living thing on earth is fascinated by nature as we are?
Which living thing copies images of flowers on their walls, mass produce leave patterns on kitchen towels, give soft grizzly bear replicas to babies. Over and over in all different perspectives, perceptions, shapes,forms and materials.. as if there is a malabsorption.. and it’s just not enough.
We are those aliens.
This massive mess of a being I am. Entangled myself in my own hurricane. Blended into a gew of a thousand slugs. Sits right at the center of my chest. I can’t get oxygen. Veins going dry sometimes. Crumbles into dust blown to the other end of existence by the wind of my very own hurricane. Particles everywhere and NOWHERE. My very own supernova explosion.
Yeah glamorizing it much. It’s nothing as glamorous as a star explosion not gonna lie.
…old incomplete drawing, as usual.
Smell it, hug it, love it, take a rest on it. When a tree hugs you, everything becomes perfectly clear. Everyone is perfect & nothing matters. As it really is.
For me to make art again, something I have within needs to somehow feel unobligated to anything and anyone in any sense.
And that is only possible with sovereignty.
So I take it as it is.
Maybe it’s all in the mind. Sovereign mind. ‘Obligated’ is perhaps a state of mind. And I feel too human right now to be anything else that I am.
I was blissed living in my head before. People hate that. They have to point out everything you must do, because that’s the way to do it and you are ridiculous if you don’t.
Neurodiverse is a made up thing for most.
I am struggling with integrating my new found power in a way that I can attune to that non human free beast within in me.
And that might mean finding a way to support myself in the way both sides are happy. And I am really struggling with that idea. The beast does not like to comply, it does not understand I need to do boring stuff for us to climb trees and dream. It refuses the numbers in a bank account. For it, it does not exist. Beast frowns. My beautiful beast. I don’t want to deny you. I would choose you over human.
We gotta attune. We gotta find a way to make it magical, still.
Henüz proje aşamasındayken yazmıştım: Punk dizisi izlemek istiyorsanız biraz daha sabretmeniz gerekecek, Danny Boyle’un Sex Pistols’ın hikâyesini anlattığı “Pistol”ı geliyor, diye.
Ve “Pistol” sonunda geldi. Ortama düşen ilk üç bölümü bir oturuşta izledim ve hemen kısaca yorumlayayım. En başta Danny Boyle’un hakikaten olağanüstü bir işçilik sergilediğinin altını çizeyim. Nevi şahsına münhasır kurgu tekniklerini ustalık kullanarak punk ruhunun ortaya çıkış sürecini, 70’ler sonu Britanya’sını belgesellere taş çıkartacak biçimde görselleştirmeyi başarmış. Hikâyesine müzik kliplerinden, haber bültenlerinden cut-up görüntüler ekleyerek “Pistol”un gerçekçilik hissini de ikiye katlıyor Boyle. Görüntü ve sanat yönetmenliğinin kusursuza yakın olduğu dizide, döneme has pek çok detay incelikli bir yaklaşımla kendine yer buluyor. Kısacası işin teknik kısmı gerçekten muhteşem ve en önemlisi tam manasıyla punk.
“Pistol”un sorun olarak tarif edebileceğimiz tek yanı, anlattığı hikâyenin ziyadesiyle taraflı olması. Sonuçta Sex Pistols’ın öyküsü bütün grup üyelerinden ziyade -dizinin adından da anlaşılacağı üzere- tek bir Pistol’ın, yani Steve Jones’un bakış açısından aktarılıyor. Neticede dizinin kaynak aldığı eserin yazarı da o. Lakin bu durum Boyle’un objektifliğine zarar veriyor ve punk tarihine mal olmuş olaylar ciddi bir tarafgirlikle ekrana yansıyor. John Lydon’ın daha dizi gösterime girmeden neden küplere bindiğini izledikten sonra idrak ediyoruz. Boyle, Lydon için deli dâhi portresi çizmeye soyunmuş lakin ortaya fazlasıyla karikatürize bir karakter çıkarmış. Neticede Sex Pistols’ın kimliğinin en önemli parçası olan Lydon, dizi boyunca yarı embesil bir tip olarak ortalıkta geziniyor, maalesef.
Çok uzatmadan bağlayayım, ben böylesi kusurlarına rağmen “Pistol”ı çok beğendim. Özellikle Malcolm McLaren’ın dandy tarzı aşırılıklarının yansıtılışına -kendisinin dizide en sevdiğim karakter olduğunu belirteyim-, bir dövüş performansı gibi görselleştirilen konser sahnelerine, toplum nezdinde gözden çıkarılan, uyumsuz olarak kodlananların modern bir isyan hareketi olarak dalga dalga yayılan punk ruhunun kaynaklarına dair yapılan isabetli vurgulara bayıldım. McLaren’ın hedeflediği radikal yıkıcılığın David Bowie ve Alice Cooper gibi pop idollere duyulan hayranlık ekseninde bir araya gelen gençler içinde nasıl geliştiğini, Sex dükkânının süreçteki önemli rolünü canlı ve etkileyici bir dille gözler önüne seriyor Boyle.Punk’ın ortaya çıktığı andan itibaren sahiplendiği anti-hippi eğilim de layığıyla ekrana yansıtılıyor.
Sonuçta, “Pistol”ı mutlaka izlemenizi öneririm. Televizyon tarihine geçecek nitelikte bir çalışma olduğunu göreceksiniz.. Yine de kendimi, keşke Danny Boyle, John Lydon’ı kıskandığı ayan beyan ortada olan Steve Jones’un anılarına bu kadar bağlı kalmasaydı da, ona haksızlık yapmasaydı, daha iyi olmaz mıydı, demekten alıkoyamıyorum!
Gökhan Gençay, Uyumsuzlar Fraksiyonu
Sid Vicious’u neden mi seviyoruz?
Çünkü müzik dünyasında sadece virtüözlerin sahneye çıkabileceği, yalnızca onların müzik yapabileceği kuralını güle oynaya yıktı. Bas gitarla nota basmayı bilmeden elinde bas gitarla Sex Pistols konserlerinde grubun asli bir üyesi olarak yer aldı. Güzellik ideolojisine yanıt olarak sahnede kendini jiletledi, kanını ve tükürüğünü seyircilerle paylaştı. Provokasyonu toplum karşıtı bir savaş stratejisi olarak popüler kültürün gündemine soktu. Düzeni yıkamasa da kendisini tam manasıyla yıkmayı başardı. Yetmez mi?!
Mattt Konture is a French underground comics author and musician. He is one of the founders of the French publishing house L’Association and is a forerunner of the French autobiographical comics movement.
Konture grew up in Lozère, where his influences included Métal Hurlant artists like Marc Caro,Doury, Rita Mercedes, and Moebius.
Konture published his first comics in 1983 (at the age of 18) in magazines such as Viper (“L’ajeun”) and Le Lynx (“Les Exploits de Ted” with Jean-Christophe Menu). When Konture went to Paris he published his first comics, Nerf, on an old Xerox machine. L’Association later reprinted this first book. His first comic book was Ruga Zébo Violent, first volume of the “Pattes de Mouche” collection published by L’ANAAL, to become L’Association.
At this time, Konture’s drawings were very dark and full of strokes and looked like the growing American underground style. Konture later discovered 1960s American underground cartoonists such as R. Crumb and Gilbert Shelton, who inspired him to create psychedelic and autobiographical comics. In 1988, Konture started autobiographical comics such as Krokrodile Comix 1, or Galopu, that was a forerunner of the French underground movement.
In 1989 Konture returned to Lozère. There he drew a few comics and continued Ivan Morve (a pun on “Mort-vivant,” “living dead”). Ivan Morve is a series of half-autobiographical stories published in the pages of Psykopat.
During the same period Konture started “Jambon blindé,” an improvised comix commissioned by his friend Stéphane Blanquet. This new way of telling stories drove Konture to draw a series of “comix” edited by L’Association in the collection Mimolette. “Autopsie d’un mort vivant” (“Autopsy of a living dead”) is a dark retelling of Konture’s life. In these books all his characters reappear: Galopu, Mister VrO, and Ivan Morve — each of them represents the author’s mood.
Mattt often draws with artist friends, publishing works such as Galopinot (L’Association) drawn with Lewis Trondheim, and, more recently, L’Abbé Noir (Arbitraire) drawn with Lilas and Willy Ténia, La Comète à 4 pattes (L’Association), drawn with Lilas, Willy Ténia and Freaky Nasa, and Borrut Popotte(Marseilles based silkscreen and publishing house Le Dernier Cri), drawn with Lilas.
For a long period of his life, Konture worked at home. Now he’s part of a collective artist’s space (workshop, gallery and boutique)En Traits Libres,which is open to the public.
Konture has also played in many musical groups (Les Tordus, Pumpkin Guts, Cosmogol, Rhinoplastic Démodex…), including his original one-man group Courge, which later changed its name to Lucky and the Courges, and which produces CDs and plays concerts in the Montpellier area where he lives.
Mattt Konture, L’Éthique du souterrain
Documentaire de 64 minutes réalisé par Francis Vadillo, qui a suivi Mattt Konture pendant plus de deux ans, chez lui, dans différents festivals, et lui offre enfin le portrait qu’il mérite. C’est l’occasion de le voir au travail, dessinant dans ses carnets et réalisant des fanzines, ou jouant sur scène avec son groupe Courge. On pénètre dans son quotidien en l’accompagnant dans sa pratique compulsive du dessin, seul ou entouré de ses nombreux amis fanzineux, mais aussi par l’évocation de la maladie qui l’affecte, la sclérose en plaques. C’est enfin un portrait d’une scène underground musicale et graphique vivace et festive, que Mattt Konture n’a de cesse de parcourir pour apporter sa contribution.
On y croise J.-C. Menu, Pacôme Thiellement et Killoffer, qui se souviennent de leurs rencontres, au début des années 80, et reviennent sur l’importance de son œuvre autobiographique.
64-minutes documentary directed by Francis Vadillo, who followed Mattt Konture for more than two years, at home, in various festivals, and finally offers him the portrait he deserves. This is an opportunity to see him at work, drawing in his notebooks and making fanzines or playing on stage with his group Courge. We enter his daily life by accompanying him in his compulsive practice of drawing, alone or surrounded by his many zinester friends, but also by evoking the disease that affects him, multiple sclerosis. Finally, it is a portrait of a vivacious and festive musical and graphic underground scene which Mattt Konture constantly explores to make his contribution.
We meet J.-C. Menu, Pacôme Thiellement and Killoffer, who remember their meetings in the early 80s, and discuss the importance of his autobiographical work.
During filming, Mattt Konture produced a new “comixture” which accompanies the DVD. This new comix, without possible comparison with a simple making-of, opens a dialogue with the documentary, offers it unexpected extensions and gives all its coherence to the whole.
No Contact is a 184-page publication focused on visual arts and the artists operating within the field of Black Metal and its satellites.
Each copy is stamped and sealed with human blood.
Exclusive and official distribution by Metastazis, Paris.
Originally the intention was to deliver a fanzine experience similar to the one editors produced in the ‘90s. However, the xeroxed DIY primitive roughness of clandestine print media was traded for high-end production means and a sharp design.
No Contact was printed in two tones (deep blue and gold) on 130g coated stock, with red thread visible on the exposed binding.
For those who need labels, the result could be described as ‘art-zine’.
Soaked in the analogue, xeroxed activist Black Metal madness of the ‘90s, No Contact is a timeless item in which a multitude of fragments emanating from the past and present come clashing together. In addition to countless moments of outrage, profanity, and provocation, accounting for the lion’s share of the publication, it features portfolios of active visual artists, exclusive interviews, rare and re-published ones, as well as a full dossier about psychoactive spirituality, and reviews of records and demos.
“This project seeks, on the one hand, the re-signification and revaluation of those traditonal Piggy artifacts made of Greda (Clay) from the town of Pomaire, mainly because it represents an object belonging to both a living folk tradition and to the identity of the people living in the central/southern area of Chile. On the other hand, I consider that, as a visual form in the field of the arts, “Chanchos de autor” offers a different and innovative medium, much closer to the public, which helps to bring different social and cultural segments closer to art”,
says Daniela Greve, organizer of the project and founder of the Por Chanchos de Greve platform.
Pigs of author is a project that brings together more than 100 piggy banks of clay painted mostly by a curated group of both chilean and international artists that will be on display to the public from this May 2 at the CEINA (Extension Center of the National Institute).
Curated and produced by Daniela Greve,Chanchos de Autor is a traveling exhibition that has been already displayed in different art spaces in Santiago and is preparing to be exhibited in other Chilean cities museums.
Different techniques, stories and stylistic approaches converge in a project that evaluation and circulation of a significant object within our identity and popular/cultural history.
In Chilean popular culture, the ‘Clay Pig’ occupies a particular place, both in terms of decoration and in the appreciation of the work of popular pottery that began to develop in different areas of the center / south of Chile, even before than the arrival of the Spanish conquerors.
From the pig from Quinchamalí (Ñuble Region) to the one made in the Quebrada de las Ulloa (Bío Bío); From the Pig of Pomaire (Metropolitan Region) to the Pig of Pilen or the figure of Vichuquén (Maule), in each area different artisans have been making pigs with very particular features and attributions, that range from the functional (decoration/savings) to the magical/pagan (good fortune/make a wish). No pig is the same as the other, the story states that, to maintain their magical attributions, each one must have a character. Throughout this vast area of pottery production, different stories and mythologies have been generated around this figure, which today has also become the livelihood of local micro-economies.
A few years ago, Daniela Greve, a political scientist, cultural manager and art collector, began to acquire the classic clay pigs (which, depending on their region of origin, have particular characteristics, tones, materials and functions). Almost like a natural instinct during the quarantine process that the pandemic brought, Greve and her daughter began to intervene and decorate them, giving them an even more unique character.
In the midst of the pandemic, Daniela began to travel to Pomaire, to learn about the manufacturing process of the piglets and to begin, together with local potters, the production of more than 200 figures. The contingency of confinement and the affection that the figure inspires in each one, resulted in a collection of unique works made by artists from different disciplines and styles.
In the year 2021 Daniela Greve founded Chanchos de Greve, a project whose concept seeks to connect the cultural and identity attributions of the pig of clay in our cultural heritage by inviting different visual artists to capture their gaze and connection with the object.
‘Canchos de Autor’ is an eclectic and energetic collection of clay piggy banks made by Chilean potters where artisan work intersects with an also eclectic and wide selection of visions and techniques and more than one reflection on our current situation.
After a successful first version, at the Ralli Museum in Santiago, ‘Canchos de Autor’ is currently presented at the Exhibition Hall of the Cultural Corporation of Las Condes, located in the Pueblito de los Dominicos and this Monday, May 2, it will be will open at the CEINA (Extension Center of the National Institute).
The creators summoned include Víctor Castillo, Vivian Werbin, Vicente Irarrázaval, Leonardo Portus, Gonzalo Cienfuegos, Rodrigo Cociña, Carmen Piemonte, Javier Aliste, Marcia Bravo, Leonardo Casas, Carmen Valbuena, Cristián Elizalde, Sol Guillón, among others.
“This exhibition (at CEINA) is very important to us, since it is a space where many students come, especially from the National Institute, and it is they, the young people and children, who enjoy the exhibition the most, because of the colors, the concepts and the forms; In addition, this exhibition generates interest in art and a desire to learn from it in some”,
concludes Daniela Greve, who is already preparing the exhibition to be exhibited in the city of Melipilla, where the same artisans and the general public of the city of Pomaire will be able to appreciate the project in its aesthetic dimension.
This essay will focus on an American Punk that both enlighted the spirit of rebellion which anarchy would take place in but also brought up a huge cinism: GG Allin who manifested himself as a part of an “image” throughout his body and the “hate” he possessed. GG Allin in The USA was a popular phenomenon with a non-discoursive punk attitute which included speeches of both self-awareness that turned into a cinism and self-reputation by using his own bodily rejections such as urine and feces. “I hate you motherfuckers” began to officialize his state of self-manipulation and he became one -or maybe the first- of the most hated artists of all time. It’s been officially heard from his own speech that the day he met rock’n’roll was a salvation which prevented him from becoming a serial killer. It is no coincidence that he received fan letters from the infamous serial killers whose positions within societies were highly related to the industrialization and idolization of the “other” as the modern day anti-heroes. GG Allin borrowed the same cultural influence by sloganising “legalize murder”. Still a hate against the members of a society would never prepare an enough space for a legitimate homicide in any sense GG Allin believed in. Was it a flashpoint when he started to reflect the anger to himself and the hate to his body?
GG Allin concerts were full of “artistically” self-mutilation that both affected himself and the audience. The throwing of his own feces to the face of an audience simply resulted with a lawsuit which has been lowered as killing rock’n’roll if he ever was sentenced. He simply declared that all his actions were licit as long as he really believed in that. Thus, his lowering continued as avoiding an artist to be put in a political context since “socio” was eliminated by self-oriented, lucid behaviours. That’s why GG Allin should be evaluated as a “body image” through the visual methodology of Panofsky which consists of pre-iconography, iconography and iconology. This method will contextualise the Punk attitutes which turned into a body image rather than a political discoursive commune.
Dr. Burak Bayülgen
Hated: GG Allin and The Murder Junkies (Todd Phillips, 1993) presented GG Allin from the public eye rather than judging his actions. The film stripped GG Allin from the comments which metaphorically covered up his body. Almost the whole film presents GG Allin in performance, naked and uncovered from the accusers. Phillips depanded on fans, long time drinking buddies and audience. The film saved GG Allin’s phenomena for the pre-iconography as if no over-voice has been dubbed onto his career. This leads the way from an undubbed representment to a critically approached “body image” in which GG Allin shall be deduced. This is an approach to see GG Allin through a reasonable eye, yet this structure makes his actions apparent to lead the way to iconology. Phillips’ film focused on representations of his artistic reality while avoiding the apprehensions of his hate against everything that were reflected and cinically submerged. The reflection of GG Allin as a non-discoursive artist will stick to Phillips’ film but the first part of this reading necessitates avoiding an over-voice.
Phillips structured his film from “what he did in front of people” rather than “how he is accepted”. As pre-iconography, GG Allin was nothing more than he artistically thought. Since GG Allin behaved in the name of rock’n’roll, he became a cornerstone that rather changed himself instead of his time and space. He did not offer a salvation but his short life submitted a kind-of-joy for the eyes of his fans, apoliticized from all the rules and regulations.
“He kept threatening to kill himself, yet he poured every ounce of himself into living his life to the fullest and doing it his way. He was committed to his art. Over the course of his life, he made numerous recordings, overcoming lack of money, lack of consistent collaborators, lack of anything even close to record label support. He recorded output ranges from catchy as hell songs like “I Wanna Fuck Myself” to sinister dirges like “Snakeman’s Dance.” He was unrepentant about everything he did. He was on a mission. And it ended too soon”.(Johnson, Richard, 2015: 5)
According to some of his fans, GG Allin was totally an idol that was on a mission. Nevertheless, even Phillips’ film does not determine the motivation of a fanhood and agglomerate a GG Allin fan with a punk music fan. That’s why the iconography should focus on how GG Allin treated himself and his body in terms of “hate”, “rock’n’roll” and “mission”.
The most significant part of iconography is the assumption of a discourse as an out-of-discourse. In other words, how did GG Allin extinguish the signs of a discourse into none? It requires 2 steps in which his lyrical themes are included.
The first step is to look at his body as an “image” which has been seen through the eyes of fans. He’s been treated as a fictious character who could be adapted into anything that is “other” than a leading artist. The anthology called Blood For You managed to do that:
“It’s not meant to aggrandize the man of apologize for the shit he did in his life. It’s designed to put this character that had no place in the real world into worlds where he makes sense, and maybe to make sence out of who he was”. (2015: 5)
The Second Step is to attribute a fantasy that refers to any other arts. The image is so loaded with fantasy that his licit attitutes make sense as if they were fictious. GG Allin’s image is not only the rejection of urine and feces but a rejection and apoliticization of real-time/space. GG Allin’s image becomes fictious if the punk attitute has been drawn out of a political context which brings out toleration and endurance of his stage acts.
Iconography’s schematics lead their ways to look at GG Allin in terms of visual methodologies such as artist-artwork-audience relationship in which the audience take part in both iconography and iconology. As Greenberg stated for Pollock paintings, the kitsch was where there was no other explanation beyond the viewing or every viewers would feel the same. Out of his performative characteristics, GG Allin’s visual body was kitsch that could not complete itself to a camp behaviour. He broke his teeth with the microphone, hurt and cut himself with razors, injected microphones and bananas to his anus. He intended to rape his female audiences. He shit and smeared. All these actions were beyond an explanation and were self-mutilations of a body image that was viewed but not interpreted as if reading a newspaper by hearingly repeating the slangs “who cares?” or “suck it then”.
Iconography is also related with the context of his music. Since most of his recordings were poorly produced in audio quality, he performed music from punk to spoken word, from rock’n’roll to country. He gave stand-up shows and most of them resulted with brutality. He stood as if he convinced to say something to his audience, but he only burned newspapers which he read and attacked his female audience which resulted with being attacked by her boyfriend. The repetition of words “hate”, “fuck”, “scum”, “die”, “myself”, “ass”, “cock”, “suck”, “shit” in almost all of his songs still make no sense out of slang, self-mutilation and cinism. These songs refer to end his own self rather than ending a society or a commune. Whenever he had a message to convey, it consisted the words “fuck it, suck my cock, die” as a formulation. His disbelief in any authorities applied every outlaw casts to himself and only left a few of them to the audience. His defense against “killing rock’n’roll” prevented him from flapping and as much as he flapped, rock’n’roll survived beyond authorities.
“GG Allin is like a cartoon character – a horrible, obscene cartoon character with a rich history of fucked up behaviour and a messiah complex, not to mention all the cum, shit, self abuse and abuse of others. He’s got an army of obsessive fans that is balanced out by those who hate and deride him”. (2015: 4)
Iconology strips GG Allin from the time/space of a fantasy in which the toleration of a devoted fan took place both artistically and visually. To give him an extra-diagetic life brought him an utopian safety to ensure his extreme actions. That was the moment when punk attitutes made sense in GG Allin’s context. His lyrics made sense unless they were not applied to a fantasy. Then, he became a flashpoint of where and when everything had possibilities like “legalizing murder”. His fans stated that GG was their God, yet, it was still the fantasy which was applied to their self, rather than a consciously focus on politics. Hated did a great work which apoliticized GG Allin from his fans’ discourse. The film did not bring out a determinist basis for becoming a fan who wanted to be apoliticised from the discourses they have been embarked. That was how the audience perceived GG Allin as if as much as they see GG Allin and apoliticize them from a discourse, they see themselves away from the politics of the environment that sorround them and dominantly embarked on them by governments, states and nations.
“As GG Allin stated in the mass media’s populer phenomenia on serial killers, he is a cartoon character to whom mass audiences follow, like and enjoy. He preached violence, but was almost always polite and respectful offstage. In some interviews he was soft spoken and thoughtful, while in others he was clearly putting on a show. He happily invited as many punches as he threw”. (2015: 4)
This essay has evaluated GG Allin as a non-discoursive artist despite his actions meant much for his fans. In order to determine a “non-discoursive” statement, GG Allin has been taken as a “body image” that required perspectives of pre-iconograpy, iconography and iconology. Pre-iconography followed Hated: GG Allin and The Murder Junkies’ structure to present him as the object of an eye without an over-voice. Iconography part took his actions and his lyrical themes to a level of fantasy which staged him to a fantastical view rather than politically acquired. The artist-artwork-audience framework has been given in terms of artist-message-receiver but the body image of GG Allin has only been what it was seen without an interpretation. Finally, iconology stripped GG Allin from all the real time/space to create him in a world of cartoon in which the toleration for his actions took place.
Bal, Mieke (1996) “Reading Art?” In Generations and Geographies in the Visual Arts: Feminist Readings, G. Pollock (ed). London: Routledge, pp. 29-52.
Barthes, Roland (1977) “The Rhetoric of the Image.” in Image-Music-Text, S. Heath (trans.) Glasgow: William and Collins and Sons, pp. 32-51.
Blood For You; A Literary Tribute to GG Allin (2015) Ed. Johnson, MP, Sam Richard, Weirdpunk Books.
Foucault, Michel (1978) “The Incitement to Discourse.” In The History of Sexuailty, Vol. 1. New York: Pantheon Books, pp. 17-35.
Rose, Gillian (2001) “Discourse Analysis I-II.” In Visual Methodologies. London: Sage, pp. 135-186.
“The sub-culture is more pernicious, more virulent, more vicious than art. We know where to find art, it is warm, even if it calls itself violent or anarchist, it will remain warm under its gilding. The subculture does not pretend, does not give itself medals, or chocolate. The subculture is still in danger, hidden in the jungle, between a packet of laundry detergent and cheap plastic toys. Even if sometimes I flirt with the warm and comfortable environment, even if I slip a finger or even an arm there, the rest of my body is in the bad weather of the basements.”
Presented at the Halle Saint Pierre in 2011/2012 as part of the exhibition HEY! modern art & pop culture by Anne and Julien, Stéphane Blanquet specially designed an installation there. This carried very high the challenge of the exhibition: to affirm the vitality of these individual and autonomous artistic expressions which break with the conventions and the dominant codes and reverse the established values of the “beautiful” and the “ugly”, of the “good” and “bad” taste. The artist is now returning to our walls to deploy his sprawling imagination: a carte blanche which will also be an opportunity for him to invite artists with whom he shares the same taste for our underground humanity.
Dans La Têtes de Stéphane Blanquet
By Martine Lusardy, director of the Halle Saint Pierre
Translated from French for English readers / resource: hallesaintpierre.org
Illustrator, visual artist, art director, Stéphane Blanquet has behind him a long career in the world of publishing where he founded in 1990 the mythical Chacal Puant, awarded at the Angoulême comic book festival in 1996 for the graphzine La Monstrous then the United Dead Artists. Considered one of the major figures of the underground art scene, his tormented universe goes far beyond the framework of his graphic production. Installations, live performance, scenography, animated cinema, costumes and theater sets, toys, dolls and other atypical and subversive objects, Chinese shadows, are all creative spaces where Stéphane Blanquet signifies his bias: “The sub- culture is more pernicious, more virulent, more vicious than art. We know where to find art, it is warm, even if it calls itself violent or anarchist, it will remain warm under its gilding. The subculture does not pretend, does not give itself medals, or chocolate. The subculture is still in danger, hidden in the jungle, between a packet of laundry detergent and cheap plastic toys. Even if sometimes I flirt with the warm and comfortable environment, even if I slip a finger or even an arm there, the rest of my body is in the bad weather of the basements.”
“If you look closely, I draw a twig as if it were a organ, grass like hair, it’s an organic vision of everything, everything sweats more or less, and everything is alive… And then, it’s much more exciting to draw, to bring pieces to life, it becomes like landscapes, cliffs of gorges, forest of vulvas, it becomes more interesting than a short walk in the countryside”
The basements would therefore be the matrix universe of Blanquet, a real cultural underground where his abrasive images are born, but also the symbolic place from which comes the voice that animates them. His influences would be to be found on the side of cheap erotic comics from the 70s to the 90s, in particular that of the sulphurous French publisher Elvifrance. This licentious station literature, with explicit sex and unbridled horror, will have been a direct inspiration.
The artistic exploration of our psychic and mythical worlds according to Stéphane Blanquet reveals what we thought we knew: the world of impulses, sex and the organic “If you look closely, I draw a twig as if it were a organ, grass like hair, it’s an organic vision of everything, everything sweats more or less, and everything is alive… And then, it’s much more exciting to draw, to bring pieces to life, it becomes like landscapes, cliffs of gorges, forest of vulvas, it becomes more interesting than a short walk in the countryside”. This language from the depths of the human body is able to make accessible the unspeakable, the unthinkable, the unacknowledged. But if Eros is generous here, if it secretes in a joyful abundance, its vital and creative force is no less disturbing in its generation to the point of obscene, in its proliferation to the point of monstrosity. “Throwing up one’s own work, facing the void, facing the thick ink, facing one’s own disgust, oneself, that’s where the impact is. Face to face. To be alone and vomit your own molasses, your own juice, black or red, as long as it is not transparent”. The body, for Blanquet, is established as an inexhaustible reserve of vitality, a veritable factory where each organ does not stop at a biological function but then takes on an expressive status, unwinding its symbolic secretions onto the surrounding world. Does desire impose itself with too much force? He must then explode the heads, the sexes, make them cascades of liquids.
The world according to Stéphane Blanquet is a world reduced to its instinctual and organic underpinnings. But the artist establishes his own topography, creating in an exuberant, almost frightening style, new relationships between words, images and bodies. He reveals them as much as he covers them with their cruel, grotesque, excessive strangeness. An extreme that we already find in many of his titles: Goudron Pressage – Sillon Tympan, Vide point. pink hole, Black jaws, Blanquet gangrene Tokyo, Blanquet opens his belly, Labyrinthine intestine, Room with a view of my nightmares, Meet Me in You, The Poisonworm with two spurs, Willies in the basement!, The news with worse, Cold Meat and Co., The Ghost of Others, My Mean Me, Lachrymal Monograph.
Blanquet shocks, provokes, disturbs, likes to create discomfort by manipulating our frustrations and his own obsessions. His tortured, anguished universe is populated by men, women and children whom we see inhabited by the demon of perversity. But this tension between innocence and cruelty, between sexual jubilation and death drive is not hopeless despair. Blanquet skins the repressed, resurrects the flesh, the bodies freed from guilt and the fear of dying.
“To wear to the rope, stiff, stiff and red. The radicality of a work is not collective, it cannot be, it is with oneself, without posture, naked in the face of death”.
Presentation of the exhibition by Stéphane BLANQUET
It is very rare that you are given the keys to a place to invest it entirely, over a long period, leaving you free to deploy there from bottom to top, on all the walls, in all the spaces, to invest it with images, drawings, sculptures, visual experiments, bright red colors and lights, new pieces dreamed up for the place. You have to invest it, spread it, open yourself up and go find your own material. It’s inside oneself that it happens, inside me that are my images, my universe, my universes. One head is not enough to contain all my desires, I always need more, as usual, more of everything, more colors, more space, and obviously more heads. More universe requires/calls for/requires/means more heads.
In the mind of Stéphane Blanquet – in my minds.
A year-long exhibition cannot remain static, I am too restless to let it sleep comfortably. I need discomfort and my discomfort will be generous. Dividing a year into three stages, evolving exhibition in three stages, every four months reinvesting the space, making it evolve with new images, new installations, little-seen works, new tapestries, new totems, new heads . Why stop there? It’s not enough, it’s never enough, so let’s deploy. Above me, upstairs, above my heads, I want to show other universes, sister universes. Guests from all over the world. Painters, collagists, draftsmen, artists from all over the world, in two successive exhibitions, around fifty artists. We must deploy in generosity. So, at the same time as the walls, launch a newspaper, a weekly, La Tranchée Racine. Every week, throughout the duration of the exhibition, a graphic excrescence, in color, printed on beautiful paper. 40 issues, 500 artists from around the world. You need at least that, it’s a minimum. You need the maximum. In my mind, that’s how it is.
« La sous-culture est plus pernicieuse, plus virulente, plus vicieuse que l’art. L’art on sait où le trouver, il est au chaud, même s’il se dit violent ou anarchiste, il restera bien au chaud sous ses dorures. La sous-culture, elle, ne fait pas semblant, ne se donne pas de médailles, ou alors en chocolat. La sous-culture est toujours en danger, cachée dans la jungle, entre un paquet de lessive et des jouets en plastique bon marché. Même si parfois je flirte avec le milieu chaud et confortable, même si j’y glisse un doigt ou bien même un bras, le reste de mon corps est dans les intempéries des sous-sols ».
Dans La Têtes de Stéphane Blanquet
Par Martine Lusardy, directrice de la Halle Saint Pierre, 2020
Présenté à la Halle Saint Pierre en 2011/2012 dans le cadre de l’exposition HEY! modern art & pop culture par Anne et Julien, Stéphane Blanquet y conçut spécialement une installation. Celle-ci portait très haut l’enjeu de l’exposition : affirmer la vitalité de ces expressions artistiques individuelles et autonomes qui rompent avec les conventions et les codes dominants et renversent les valeurs établies du “beau” et du “laid”, du bon” et du “mauvais” goût. L’artiste revient aujourd’hui en nos murs déployer son imaginaire tentaculaire : une carte blanche qui sera également pour lui l’occasion d’inviter des artistes avec qui il partage le même goût pour notre humanité souterraine.
Dessinateur, plasticien, metteur en scène, réalisateur, Stéphane Blanquet a derrière lui un long parcours dans le milieu de l’édition où il a fondé en 1990 le mythique Chacal Puant, primé au festival de la BD d’Angoulême en 1996 pour le graphzine La Monstrueuse puis les United Dead Artists. Considéré comme l’une des figures majeures de la scène artistique underground, son univers tourmenté déborde largement du cadre de sa production graphique. Installations, spectacle vivant, scénographie, cinéma d’animation, costumes et décors de théâtre, jouets, poupées et autres objets atypiques et subversifs, ombres chinoises, sont autant d’espace de création où Stéphane Blanquet signifie son parti pris : « La sous-culture est plus pernicieuse, plus virulente, plus vicieuse que l’art. L’art on sait où le trouver, il est au chaud, même s’il se dit violent ou anarchiste, il restera bien au chaud sous ses dorures. La sous-culture, elle, ne fait pas semblant, ne se donne pas de médailles, ou alors en chocolat. La sous-culture est toujours en danger, cachée dans la jungle, entre un paquet de lessive et des jouets en plastique bon marché. Même si parfois je flirte avec le milieu chaud et confortable, même si j’y glisse un doigt ou bien même un bras, le reste de mon corps est dans les intempéries des sous-sols ».
Les sous-sols seraient donc l’univers matriciel de Blanquet, un underground culturel réel où naissent ses images abrasives, mais aussi le lieu symbolique d’où provient la voix qui les anime. Ses influences seraient à chercher du côté de la bande dessinée érotique bon marché des années 70 à 90, notamment celle du sulfureux éditeur français Elvifrance. Cette littérature de gare licencieuse, au sexe explicite et à l’horreur débridée, aura été une inspiration directe.
« Si on regarde bien, je dessine une brindille comme si c’était un organe, de l’herbe comme des poils, c’est une vision organique de tout, tout transpire plus ou moins, et tout est vivant… Et puis, il est bien plus passionnant de dessiner, de faire vivre des morceaux, cela devient comme des paysages, falaises de gorges, forêt de vulves, ça devient plus intéressant qu’une petite balade dans la campagne ».
L’exploration artistique de nos mondes psychiques et mythiques selon Stéphane Blanquet met à découvert ce que nous pensions connaître : le monde des pulsions, du sexe et de l’organique « Si on regarde bien, je dessine une brindille comme si c’était un organe, de l’herbe comme des poils, c’est une vision organique de tout, tout transpire plus ou moins, et tout est vivant… Et puis, il est bien plus passionnant de dessiner, de faire vivre des morceaux, cela devient comme des paysages, falaises de gorges, forêt de vulves, ça devient plus intéressant qu’une petite balade dans la campagne ». Ce langage issu des profondeurs du corps humain est à même de rendre accessibles l’indicible, l’impensabl e, l’inavoué. Mais si Éros est ici généreux, s’il sécrète dans une joyeuse abondance, sa force vitale et créatrice n’en est pas moins inquiétante dans son engendrement jusqu’à l’obscène, dans sa prolifération jusqu’à la monstruosité. « Vomir sa propre œuvre, face au vide, face à l’encre épaisse, face à son propre dégoût, soi- même, c’est là qu’est l’impact. Face à face. Être seul et vomir sa propre mélasse, son propre jus, noir ou rouge, pourvu qu’il ne soit pas transparent ». Le corps, pour Blanquet, est instauré en une réserve de vitalité inépuisable, une véritable usine où chaque organe ne s’arrête pas à une fonction biologique mais prend alors un statut expressif, dévidant sur le monde environnant ses sécrétions symboliques. Le désir s’impose-t-il avec trop de force ? Il doit alors faire exploser les têtes, les sexes, les faire cascades de liquides.
Le monde selon Stéphane Blanquet est un monde réduit à ses soubassements pulsionnels et organiques. Mais l’artiste en établit sa propre topographie, créant dans un style exubérant, presque effrayant, de nouvelles relations entre les mots, les images et les corps. Il les dévoile autant qu’il les recouvre par leur étrangeté cruelle, grotesque, excessive. Un extrême que l’on retrouve déjà dans nombre de ses titres : Goudron Pressage – Sillon Tympan, Vide point . rose trou, Mâchoires noires, Blanquet gangrène Tokyo, Blanquet s’ouvre la panse, Labyrinthique intestin, Chambre avec vue sur mes cauchemars, Rendez-vous Moi en Toi, La Vénéneuse aux deux éperons, Chocottes au sous-sol !, La nouvelle aux pis, Viande froide et Cie, Le Fantôme des autres, Mon méchant moi, Monographie lacrymale.
Blanquet choque, provoque, trouble, aime créer le malaise en manipulant nos frustrations et ses propres obsessions. Son univers torturé, angoissé est peuplé d’hommes, de femmes et d’enfants que nous voyons habités par le démon de la perversité. Mais cette tension entre innocence et cruauté, entre jubilation sexuelle et pulsion de mort n’est pas désespérance sans issue. Blanquet fait la peau au refoulé, ressuscite la chair, les corps délivrés de la culpabilité et de la peur de mourir.
« S’user jusqu’à la corde, raide, raide et rouge. La radicalité d’une œuvre n’est pas collective, elle ne peut l’être, elle est avec soi-même, sans posture, à poil devant la mort ».
Présentation de l’exposition par Stéphane BLANQUET
Il est très rare que l’on vous donne les clefs d’un lieu pour l’investir entièrement, sur une longue période, en vous laissant libre de s’y déployer de bas en haut, sur tous les murs, dans tous les espaces, de l’investir avec des images, des dessins, des sculptures, des expérimentations visuelles, des couleurs et lumières rouges vives, des nouvelles pièces rêvées pour le lieu. Il faut l’investir, se répandre, s’ouvrir soi-même et aller chercher sa propre matière. C’est à l’intérieur de soi que ça se passe, à l’intérieur de moi que sont mes images, mon univers, mes univers. Une tête ne suffit pas à contenir toutes mes envies, il m’en faut toujours plus, comme à mon habitude, plus de tout, plus de couleurs, plus d’espace, et évidemment plus de têtes. Plus d’univers nécessite / appelle / exige / signifie plus de têtes.
Dans les têtes de Stéphane Blanquet – dans mes têtes.
Une exposition d’un an ne peut pas rester statique, je suis trop agité pour la laisser dormir confortablement. Il me faut de l’inconfort et mon inconfort sera généreux. Diviser un an en trois temps, exposition évolutive en trois moments, tous les quatre mois réinvestir l’espace, le faire évoluer avec de nouvelles images, de nouvelles installations, des œuvres peu vues, des nouvelles tapisseries, des nouveaux totems, de nouvelles têtes. Pourquoi s’arrêter là ? Ce n’est pas suffisant, ce n’est jamais assez, alors déployons. Au-dessus de moi, à l’étage, au-dessus de mes têtes, je veux montrer d’autres univers, des univers frères, des univers sœurs. Des invités du monde entier. Des peintres, des collagistes, des dessinateurs, des artistes du monde entier, en deux expositions successives, une cinquantaine d’artistes. Il faut se déployer dans la générosité. Donc, en même temps que les murs, lancer un journal, un hebdomadaire, La Tranchée Racine. Chaque semaine, sur toute la durée de l’exposition, une excroissance graphique, en couleurs, imprimée sur un beau papier. 40 numéros, 500 artistes du monde entier. Il faut au moins ça, c’est un minimum. Il faut le maximum. Dans mes têtes, c’est comme ça.
Nedircikler hayatına 2015 yılında web üzerinden yayımlanmak üzere tasarlanmış kişisel bir yayıncılık mecrası olarak başladı. Beş yıl boyunca ekoloji alanından Zen Buddhacılık ve Tao’ya, şiirlerden radikal politik metinlere pek çok çeviri ve telif yazıya ev sahipliği yaptı. Ancak yıllardır süren bir özlemle, yayıncılığın en doğrudan yolunun nasıl olabileceğinin arayışı içindeydi. Kadim Çin köy matbaaları örneğindeki gibi zanaatkârca kendi kâğıdını yapanların bu kâğıtları Yol’un özünü taşıyan şiirler ve metinlerle buluşturduğu bir yayıncılık yolu ahir zamanda mümkün müydü? Dolayımdan olabildiğince azade, her şeyi doğrudan kendin yaparak, her şeyde olduğu gibi yayıncılığın da endüstrileşmesine sessiz sakin kafa tutan bir “Yavaş Yayıncılık” olabilir miydi? 2020 yılının sonlarında bu düşüncelerle ilk kâğıtlar yapılmaya başlandı ve Nedircik Yayınları doğdu.
Geri dönüşüm kâğıtlarının yanı sıra ellerimizle yetiştirdiğimiz ve doğadan topladığımız bitkilerin lifleri de bin bir emekle kâğıda dönüşüyor. Türlü bitkiden mürekkepler elde ediliyor. Nedircikler atölyesiadeta bir simya atölyesi gibi çalışıyor ve tüm bunlar en nihayetinde zihnin ve gönlün simya evinden çıkma sözlerin büyüsüyle buluşarak el yapımı kitaplara, defterlere ve baskılara dönüşüyor. Her kitapçık sınırlı sayfa sayısında oluyor ve sınırlı adette (50-100 adet arası) basılıyor. Bunların beraberinde Nedircikler elektronik kitapları, sesli yayınları ve gelecekte olası başka ifade biçimleriyle de yayıncılığın her alanında başka türlü bir söz üretmenin gayretini gösteriyor.
Kalemle, kâğıtla, yazıyla, çevirilerle ve çoğunlukla doğanın bağrında geçen bir ömrün semeresi Nedircik Yayınları. En dolaysız, en doğrudan tecrübenin, köklerin ve kaynağın arayışında bir yolculuğun hem yolcusu, hem taşıtı hem yolun kendisi biraz bu macera. Yavaşlayarak, yaşamın kendi ritmine uyan adımlarla talim ederek düşlerin ve gerçeğin patikalarını; kelimelerin ve şeylerin, mürekkebin ve liflerin hakkını vererek, SÖZ’ün gerçekten de YOL olduğu ve insanın YOL’la bir olduğu bir yaşamın izinde bir seyrüsefer.