It’s been long since the last time I gave an update regarding my work… hope you are happy to get some news!
I’m dropping a quick email just to let you know that next week, the 24th of January, I will be launching a Kickstarter Campaign to raise the funds for publishing Lethal Ride, my first videogame for PC and Mac.
I’ve been working on this game in my spare time for more than 3 years and it’s almost ready to be delivered… it just needs your final push!!
I’m going to send you another email with the link to the campaign next Tuesday as soon as it will start… I really hope you wish to support again my work and get yourself a copy of the game.
It would be very helpful if you contribute to the campaign in its beginning… this would allow the project to get noticed by the algorithm of Kickstarter and by so increase our chances for a successful funding!
Faut-il l’ajouter : Olivia est la dessinatrice de BD la plus moderne, la plus en avance, celle dont la sensibilité est la plus aiguë. Il serait temps que les femmes lectrices de BD commencent à s’en apercevoir. Ça vient.
EN 1973, à Actuel, on vit se pointer une jeune fille de dix-sept ans, timide et déjà un peu trop parano, qui amenait des dessins pas possibles, au trait proche de ceux des enfants, avec des scénarii bizarroïdes. Pour certains, dont je fus, il fallut plusieurs histoires pour être convaincus que c’était génial. On la publia. Elle était aux Beaux-Arts avec une bande de mecs qui voulaient tout casser. Ils firent un fanzine dont le retentissement allait être retardé de quelques années, Bazooka. De son coté, la jeune fille créait Loukhoum Breton, qui n’eut qu’un numéro. Le groupe était né, dont elle resta la seule fille.
Olivia Clavel a vingt-cinq ans. Elle a vécu l’aventure bazookienne, ses hauts et ses bas, son délire et ses galères, sa gloire et ses coups durs jusgu’au bout, en 1979. Aujourd’hui, elle travaille seule. On la voit régulièrement dans ce journal et son grand frère Hara-Kiri. De temps en temps, une illustration par-ci par-là. Question albums, il y a toujours l’admirable « Gloria Spontex » (avec Loulou et Kiki Picasso) chez Futuropolis (1977), et le Dernier Terrain Vague vient de publier son premier recueil personnel, la grande saga des aventures de Télé, ce personnage à tête de télévision qui ressemble tant à l’auteur. Titre : Matcho Girl. Pourquoi ? Eh bien, l’ami Berroyer a expliqué qu Olivia était « pédé comme une otarie ».
Faut-il l’ajouter : Olivia est la dessinatrice de BD la plus moderne, la plus en avance, celle dont la sensibilité est la plus aiguë. Il serait temps que les femmes lectrices de BD commencent à s’en apercevoir. Ça vient.
Negative: Olivia Clavel, Matcho Girl
Is it necessary to add it: Olivia is the most modern comic strip artist, the most advanced, the one whose sensitivity is the most acute. It’s time for female comic book readers to start realizing it. It’s coming.
IN 1973, at Actuel, we saw a young seventeen-year-old girl show up, shy and already a little too paranoid, who brought in impossible drawings, with a line similar to those of children, with bizarre scenarios. For some, including myself, it took several stories to be convinced it was great. We published it. She was at the Beaux-Arts with a bunch of guys who wanted to smash everything. They made a fanzine whose impact was going to be delayed for a few years, Bazooka. For her part, the young girl created Loukhoum Breton, which only had one number. The group was born, of which she remained the only daughter.
Olivia Clavel is twenty-five years old. She lived the Bazookian adventure, its ups and downs, its delirium and its galleys, its glory and its hard times until the end, in 1979. Today, she works alone. We see her regularly in this newspaper and her big brother Hara-Kiri. From time to time, an illustration here and there. Question albums, there is always the admirable “Gloria Spontex” (with Loulou and Kiki Picasso) in Futuropolis (1977), and the Last Terrain Vague has just published his first personal collection, the great saga of the adventures of TV, this character television head who looks so much like the author. Title: Matcho Girl. Why ? Well, friend Berroyer explained that Olivia was “fag like a sea lion”.
Is it necessary to add it: Olivia is the most modern comic strip artist, the most advanced, the one whose sensitivity is the most acute. It’s time for female comic book readers to start realizing it. It’s coming.
Olivia Clavel, Bande Dessinée
“Explique toi please !“
O.C. : Je vais faire un petit journal, c’est Loulou Picasso qui va s’occuper de toute la partie technique. Il y aura des crobards, des polaroids, des articles, des interviews, un peu comme un cahier de dessin. Tiré sur offset, ce sera distribué à très peu d’exemplaires. Ce sera pour les filles essentiellement. Je vais faire ça pour le pied ; faire un journal de BD pour gagner de l’argent, c’est dur. Ce qui me permet de gagner ma vie, ce sont mes BD dans Charlie, dans Métal, dans Sandwich. Pas avec ce petit journal. Un regard moderne ou Bulletin périodique, ça ne nous a pas fait vivre, mais en même temps c’était super de faire ça. Et ça a influencé plein de gens…
O.C : I’m going to write a little diary, it’s Loulou Picasso who will take care of all the technical part. There will be crobards, polaroids, articles, interviews, a bit like a sketchbook. Printed on offset, it will be distributed in very few copies. It will be for girls mainly. I’m going to do this for the foot; making a comic book to earn money is hard. What allows me to make a living are my comics in Charlie, in Metal, in Sandwich. Not with this little diary. A modern look or periodic bulletin, it didn’t make us live, but at the same time it was great to do that. And it influenced a lot of people…
Olivia Tele Clavel, Bande Dessinée
Et ça continue… En ce moment, à part Charlie, on ne te voit plus beaucoup dans les Journaux. Tu en avais marre ?
O.C. : J’ai eu une période difficile dans ma vie, Je n’avais pas d’appart’ fixe, j’etais malade. Je produisais peu. Bazooka s’est arrêté, on s’est séparés. On allait mal, on a erré à droite et à gauche. Bon, maintenant, j’ai un appart’, ça repart. J’ai fait une pochette de disque, an groupe de filles suédoises, des filles de dix-huit ans, punks mais sympathiques. Là, je n’ai pas honte ; Kiki Picasso, lui, il avait même fait la pochette de Nicoletta : un peu dur !
Tu ne fais jamais de pub ?
O.C. : Non, je ne peux pas en faire, ce n’est pas une question de morale, c’est pour la simple raison qu’on ne peut me faire de commande. Par exemple, si on me demande de dessiner un rasoir ou un pot de lait, je ne peux pas. Je ne peux faire que ce que j’ai envie. Donc pas de pub. Et en plus, mon dessin n’est pas très pub.
And it goes on… At the moment, apart from Charlie, we don’t see you much in the Newspapers anymore. Were you fed up?
O.C.: I had a difficult time in my life, I didn’t have a fixed apartment, I was sick. I produced little. Bazooka stopped, we separated. We were going badly, we wandered right and left. Well, now I have an apartment, it starts again. I did a record cover, a group of Swedish girls, eighteen year old girls, punks but friendly. There, I am not ashamed; Kiki Picasso, he had even made the cover of Nicoletta: a little hard!
Do you ever advertise?
O.C.: No, I can’t, it’s not a question of morality, it’s for the simple reason that I can’t be commissioned. For example, if someone asks me to draw a razor or a jug of milk, I can’t. I can only do what I want. So no ads. And in addition, my drawing is not very publicity.
Lulu Larsen et Olivia Clavel raccontent brievement Bazooka
Bazooka mag.
Est-ce que tu arrives quand même à t’en sortir financièrement ?
O.C. : Assez mal en ce moment, mais je commence à y arriver. Du temps de Bazooka, on gagnait plus d’argent. Il y avait Libération tous les mois… Mais mon livre va se vendre (rires) ! Et il y a d’autres circuits que le monde de la BD, les filles vont l’acheter…
Tu as l’impression que les filles aiment lire la BD moderne ?
O.C. : La nouvelle génération, genre fille de dix-huit ans, oui.
Je suis pessimiste. J’avais l’impression qu’il y allait avoir une énorme révolution. Dans les débats, dédicaces, ou à An-goulême, quand une fille vient, c’est toùjours pour accompagner son Jules, comme au foot. Avec l’éclatement de la BD, le succès des dessinatrices, Je croyais que ça allait changer, mais non. Depuis dix ans, ça n’a pas bougé d’un poil. Pour la plupart des femmes, le tabou demeure : la BD, c’est pour les enfants et les débiles,. Tu crois qu’on en sortira un Jour ?
O.C. : Oui. Les copines de ma sœur, par exemple, qui ont dix-huit-vingt ans, lisent les BD. Donc, rien n’est perdu (rires).
Olivia Tele Clavel, Bande Dessinée
Do you still manage to get by financially?
O.C.: Pretty bad right now, but I’m starting to get there. In Bazooka’s time, we made more money. There was Liberation every month… But my book will sell (laughs)! And there are other circuits than the world of comics, the girls will buy it…
Do you think girls like to read modern comics?
O.C.: The new generation, like an eighteen-year-old girl, yes.
I am pessimist. I felt like there was going to be a huge revolution. In debates, dedications, or in An-gouleme, when a girl comes, it’s always to accompany her Jules, like in football. With the explosion of comics, the success of designers, I thought that was going to change, but no. For ten years, things haven’t changed a bit. For most women, the taboo remains: comics are for children and the weak. Do you think we’ll get out of it one day?
O.C.: Yes. My sister’s friends, for example, who are 18, read comics. So nothing is lost (laughs).
Olivia Clavel’s “Super Meuf” with participations by Pascal Doury, Jacques Pyon, Keleck, Kiki…
Il y a combien de temps que Bazooka s’est dissous ?
O.C. : Un an-deux ans. Les derniers travaux communs, ça a été le générique de « Chorus » et un journal dans un disque qui s’appelait « la Perversita ». Loulou continue, il vient de faire une expo importante. Lulu Larsen, je ne sais pas bien… Kiki Picasso, ça va très bien pour lui, il est marié, père de famille, il fait de la pub et…
Olivia Clavel, bande dessinée
How long ago did Bazooka disband?
O.C.: One year-two years. The last joint works were the credits of “Chorus” and a diary in a record called “La Perversita”. Loulou continues, he has just done an important exhibition. Lulu Larsen, I’m not sure… Kiki Picasso, things are going very well for him, he’s married, a father, he advertises and…
…
Olivia Clavel, 1980
N’oubliez pas de visiter la fan-page de l’artiste pour plus d’oeuvres et de bandes dessinées:
During Paris early 80s, the “Skinhead” movement arrives in France, and is about to defray the chronicle for the decade to follow, with their provocations, attacks and racist crimes. Street gangs will form and react against this assault, in a urban warfare for control of the streets of Paris. They are the Red Warriors, the Ducky Boys and Ruddy Fox. Paris youth will nicknamed them “Skinheads Hunters”. Their motivation: to fight against fascism and racist acts by any means necessary, even turn against their opponents the violence they have suffered.
Through exclusive interviews, members of the most recognized gangs return to their history, their commitment and deliver the testimony of the situation of youth street from 20 years ago. Using exceptional archives footages and photographs, “ANTIFA” is a return to the streets of the 80s and the society of that time. The film looks at a pivotal time, in a generation whose ailments were already warning of urban today’s tensions. Resistance Films revealed this story through the documentary, to keep track of a movement never documented.
A film directed by Marc-Aurèle Vecchione – Résistance Films 2008
The story of the Street Gangs from Paris that stood up against Fascist & neo-Nazis Skinheads in the late 80’s. Meet the Red Warriors, Ducky Boys, Ruddy Fox…!!
Marc-Aurèle Vecchione a réalisé en 2008 un film sur les combats entre antifascistes et skinheads d’extrême droite dans les années 80, «Antifa, chasseurs de skins». Suite à la mort Clément Méric, un antifa tué mercredi par des militants d’extrême droite, le cinéaste analyse, pour Next, les rapports entre ces deux mouvances, aux apparences identiques mais diamétralement opposées politiquement.
Comment expliquer que les groupuscules d’extrême droite et les antifascistes se soient entichés des mêmes marques, Fred Perry et Ben Sherman en l’occurrence ?
C’est une chose complètement acceptée. Certains antifa ne partagent pas ces codes-là, mais dans le noyau dur du mouvement, ils s’habillent de la même façon et avec les mêmes marques que le camp d’en face. Parce que les racines de leurs mouvements sont les mêmes: les skinheads. Les deux ont divergé entre redskins et skins d’extrême-droite, mais l’origine est la même.
Ce n’est donc pas étonnant de voir des groupuscules diamétralement opposés politiquement revendiquer les mêmes signes d’appartenance ?
Non, depuis que les antifa se revendiquent plus ouvertement skinheads, et se rasent même la tête, ce sont les mêmes au niveau du look. Avec les mêmes bombers, les mêmes Dr Martens, les mêmes origines culturelles, et la même fascination pour la baston. Ce sont les frères ouverts contre les frères fermés, en somme.
Les boutiques qui vendent ces marques sont donc source de tensions ?
Oui, c’est un grand classique. Les boutiques qui vendent des fringues «rock» au sens très large du terme sont peu nombreuses, donc c’est un lieu de croisement. Dans le XVe arrondissement parisien, une boutique qui distribue ces marques est surtout visitée par les skinheads d’extrême dro… Il vous reste 100% de l’article à lire.
Antoine Paris is drawing at Maison Alfred Bruneau, photo.by Misha Zavalniy, Paris 2022
“It’s interesting because as in life, chalk drawings are here for a short time, and they go away with the rain. As in the last monologue in Ridley Scott’s Blade Runner « Tears in Rain ».
Antoine Paris is a thirty-five year old French painter, living in Paris since fifteen years, native of the north of France. His work has been exhibited for ten years in London, Berlin, Bruxelles, Stuttgart, Boston, Montreal and Roma. He was born into an artist family: Paris’ father had a little Theatre and he saw many Ionesco and Absurd Theatre, also plays when he was a child.
Antoine Paris creates some transitory chalk drawings in the streets, and sometimes people join to draw with him. He says: “It’s interesting because as in life, chalk drawings are here for a short time, and they go away with the rain. As in the last monologue in Ridley Scott’s Blade Runner « Tears in Rain ».
Artist at work
« C’est intéressant parce que comme dans la vie, les dessins à la craie sont là pour une courte période, et ils s’en vont avec la pluie. Comme dans le dernier monologue du Blade Runner de Ridley Scott « Tears in Rain ».
Antoine Paris est un peintre français de trente-cinq ans, vivant à Paris depuis quinze ans, originaire du nord de la France. Son travail a été exposé pendant dix ans à Londres, Berlin, Bruxelles, Stuttgart, Boston, Montréal et Rome. Il est né dans une famille d’artistes : le père de Paris avait un petit Théâtre et il a vu beaucoup de Théâtre Ionesco et Absurde, également des pièces quand il était enfant.
Antoine Paris crée des dessins à la craie éphémères dans les rues, et parfois les gens se joignent à lui pour dessiner. Il dit : « C’est intéressant parce que comme dans la vie, les dessins à la craie sont là pour une courte période, et ils s’en vont avec la pluie. Comme dans le dernier monologue de Ridley Scott dans Blade Runner « Tears in Rain ».
Grosse Victim Magazine #03
He created a magazine named Grosse Victime Magazine, and he is about to finish the 5th issue. The last one was on the thematic of Blade Runner and has been selected in the great Angoulême International Comics Festival in France. A lot of artists worked on it : Martes Bathori, Lucie Morel, Laure Crubilé, Nikolaï Dumpty… A lot of cool and talented artists. It’s like a collective at large.
His inspiration are George Grosz, Otto Dix, Picasso, Dali, Winsor Mac Cay, Topor, Combas. He loves literature and spend most of his time in bookshops: Baudelaire, Céline, Henry Miller are just a few of his favorite authors. He loves poetry and writes rap songs since he was a teenager, also he has created a Graphic-Poem during first lockdown in France and trying to publish it nowadays. Paris works inspired by everything, especially cinema, music and theatre.
Antoine Paris ‘Dessin’ 2022
Il a créé un magazine nommé Grosse Victime Magazine, et il est sur le point de terminer le 5e numéro. Le dernier était sur la thématique de Blade Runner et a été sélectionné au grand Festival International de la Bande Dessinée d’Angoulême en France. Beaucoup d’artistes y ont travaillé : Martes Bathori, Lucie Morel, Laure Crubilé, Nikolaï Dumpty… Beaucoup d’artistes sympas et talentueux. C’est comme un collectif au sens large.
Exhibition Posters: Un Regard Moderne (2022), Espace Seven Galerie De Vos (2014), l’ Espace Seven, 2013, Paris
Antoine Paris, Dernière toile en date à l’atelier de l’ Espace Seven-Galerie Jacques De Vos, 2013
Art is a Relay Race !
Two of his books and some fanzines/ magazines were published in France : Peau d’encre, a book on a guy who was born tattooed and another one which is complicated to explain, inspirited by Edward Gorey.
He is interested in original forms, the new forms of creation like Burroughs’s cut-up technic. Paris is inspired by Surrealism, but also Dada with George Ribemont Dessaignes, and Cravan « J’étais cigare », Scum Manifesto, Hugo Pratt’s Watercolors, many treasures, and he adds: “Art is a relay race !”
Antoine works with a Belgian group who makes great labyrinths in alternative spaces (with slides, many stairs, hidden bars.) « Hey là bas », he draws for Soldes Almanach. And Devos Gallery in Paris supports his works since ten years, also he works with many bookshops. He makes some pop-up books for « les Libraires associés » which is a hidden bookshop in the north of Paris which is like Ali Baba’s Cavern. I work with L’Officine, a little and cute gallery in Ménilmontant in Paris.
Antoine Paris, penture, 2013
“Quand j’ai commencé à écrire, je ne sais pas où ça va, je me suis laissé aller à chercher le mystère et à suivre mon instinct. Il en va de même pour les toiles et les dessins.”
Deux de ses livres et quelques fanzines/magazines ont été publiés en France : Peau d’encre, un livre sur un mec né tatoué et un autre compliqué à expliquer, inspiré par Edward Gorey.
Il s’intéresse aux formes originales, aux nouvelles formes de création comme la technique du cut-up de Burroughs. Paris s’inspire du surréalisme, mais aussi de Dada avec George Ribemont Dessaignes, et Cravan « J’étais cigare », Scum Manifesto, les Aquarelles d’Hugo Pratt, de nombreux trésors, et il ajoute : “L’art est une course de relais !”
Antoine travaille avec un groupe belge qui fait de grands labyrinthes dans des espaces alternatifs (avec des toboggans, de nombreux escaliers, des bars cachés.) « Hey là bas », il dessine pour Soldes Almanach. Et la Devos Gallery à Paris soutient ses oeuvres depuis une dizaine d’années, aussi il travaille avec de nombreuses librairies. Il fait des livres pop-up pour « les Libraires associés » qui est une librairie cachée dans le nord de Paris qui ressemble à la Caverne d’Ali Baba. Je travaille avec L’Officine, une petite et mignonne galerie à Ménilmontant à Paris.
LES DIEUX DE L’OLYMPE (2013) Réalisation : Boris Chomon et Sun Noh // Avec : Abdel-Rahym Madi, Maxime Berdougo, Sylvère et Antoine Paris // Scénario : Antoine Paris // Prise de son : Boris Chomon // Musique : Eikon
“When I began to write, I don’t know where It goes, I let myself go looking for mystery and follow my instinct. The same goes for canvases and drawings.”
With some friends he made some short films, which were selected by some festival, and showed in great cinemas like St-André-des-arts (lesfilmsducagibi.org).
Avec des amis, il a réalisé des courts métrages, qui ont été sélectionnés par certains festival, et des projections dans de grands cinémas comme St-André-des-arts.
Il est certain que ce jeune artiste, passionnément attaché à la vie, a plus à nous dire avec son art.
Un poète de rue Antoine Paris
It is certain that this young artist, passionately attached to life, has more to tell us with his art.
The veil of secrecy behind covid-19 and wuhan laboratoire is finally being opened; yes! We got a DC virus on our hands, but don’t panic because it’s coming with its 3d vision glasses and 4 color protection layers to investigate it. 34 pages of virus research, drawings, all based on scientific observations presented to the reader as a genetic code waiting to be deciphered.
Le voile du secret derrière covid-19 et wuhan laboratoire est enfin ouvert ; oui! Nous avons un virus DC entre les mains, mais ne paniquez pas car il vient avec ses lunettes de vision 3D et ses 4 couches de protection de couleur pour l’enquêter. 34 pages de recherche de virus, de dessins, le tout basé sur des observations scientifiques présentées au lecteur comme un code génétique à déchiffrer.
“EYE CLIMAX”, l’exposition de Pakito Bolino & Pascal Leyder à la Galerie Réplique
“EYE CLIMAX”, l’exposition de Pakito Bolino & Pascal Leyder à la Galerie Réplique
“EYE CLIMAX”, l’exposition de Pakito Bolino & Pascal Leyder à la Galerie Réplique
Parole de Miam Pakito Bolino
Pakito Bolino 2021
’70s French Punk claims Debord’s legacy and shows No Mercy! Pakito Bolino is still working and producing like crazy as an artist approaching his maturity period. You really have to be a little crazy to be able to perceive his art and the language he uses. Undoubtedly, he is one of the rare artists in the art-world today who put forth his power against the imperialist digital-culture that strives to turn us into a meta-trash. In his art, you can easily come across the legacy of Jean Dubuffet and the dreams of Topor. In the 21st century hell, when modernist utopias are dying, he still continues to fight to the last drop of his blood as LDC with his artist friends in pursuit of his dreams. He honors French Surrealism with his investigative spirit, enthusiasm and humane use of new technologies.
Le punk français des années 70 revendique l’héritage de Debord et montre No Mercy! Pakito Bolino travaille et produit toujours comme un fou en tant qu’artiste approchant de sa maturité. Il faut vraiment être un peu fou pour pouvoir percevoir son art et le langage qu’il utilise. Sans aucun doute, il est l’un des rares artistes du monde de l’art d’aujourd’hui à faire valoir son pouvoir contre la culture numérique impérialiste qui s’efforce de nous transformer en méta-poubelle. Dans son art, on retrouve facilement l’héritage de Jean Dubuffet et les rêves de Topor. Dans l’enfer du XXIe siècle, alors que les utopies modernistes se meurent, il continue de se battre jusqu’à la dernière goutte de son sang en tant que LDC avec ses amis artistes à la poursuite de ses rêves. Il honore le surréalisme français par son esprit d’investigation, son enthousiasme et son utilisation humaine des nouvelles technologies.
PAKITO BOLINO – 3D HELL
PAKITO BOLINO – 3D HELL
This crazy dadasof really deserves praise who makes us re-look at history and ourselves in a 3D HELL, -with LDC books, each worth a manifesto- also gives a whole new dimension to the European and Asian comics tradition and graphic arts.
Ce fou dadasof mérite vraiment des éloges qui nous fait re-regarder l’histoire et nous-mêmes dans un 3D HELL, -avec des livres LDC, chacun valant un manifeste- donne aussi une toute nouvelle dimension à la tradition de la bande dessinée et des arts graphiques européens et asiatiques.
Detail: Mallie Hellström, Collage on carton, A4, 2022
Her Above Everything*
Mallie Hellström
She come from far, In the wildeness of her life, To reach the optimum, She is protection, Her senses are passion, Fired hearts in a thunderstorm of raw feelings, The universe melts emotions, Let you and her feel like it will be the best last bit of everything.
*Poem for the collage self-titled
Mallie Hellström, Tryptic ‘No.1: Her Above Everything’, ‘No.2: Beauty Dies Last’, ‘No.3: One Step Back Three Steps Forward’ Photo Montage, 2022
Mallie Hellström is a contemporary analog collagist and interdisciplinary artist works in her own studio based in Berlin, Lichtenberg. Mallie is a young artist, but it is possible to come across an intense experience in her art already. She is synthesizing the modernist collage tradition with the surrealist attitude, bringing it to the present day and creating miracles.
She also curates regularly group-exhibitions and art-events such as Karnival Of Arts – that is a three days art-event since 2020 (with focus for flinta artists since 2022), and in solidarity from this year with artistic and cultural associations with social interests.
She has been interested in colors since her early ages, has improved herself by making detailed drawings and posters over time. In the paintings which she creates by releasing the subconscious with surrealist automatic technique, a decorative intensity, a textural elegance, interesting symbols and expressions waiting to be revealed are hidden.
Sie erwarteten nichts und doch, Verwechselten sie Ängste mit Liebe, Die eine Liebe die sie verdienten, Konnten sie sich nicht erfüllen, Um schlussendlich zu realisieren, Es war Ilussion, eine Zeitlang gut, Wieder aufgebaut auf Trümmern, Ihrer einst so tiefen Zuneigung, Lass los, lass laufen, Es wird für beide ein großes Los sein, Was nicht zusammengehört, Wird nie zu etwas unendlichen führen, Vorallem wenn beide so fühlen, Sie bleiben sich trotzdem zugewandt, In ewiger freundschaftlicher Treue, Gehen sie nun Ihre eigenen Wege.
*Poem for the collage self-titled
Mallie Hellström ‘Golden Smog Golden Lungs’ Collage on handmade paper, 22×17,5 cm, 2022
Mallie Hellström, ‘Untitled’ Mixed media collage, 2022
These are not enough for Hellström, with the collage technique she has developed, the artist begins to create touching and critical scenes over time.
Her work honors the Dada aesthetic in the 21st century. Mallie takes the viewer on a tour through many layers of thought and history in her compositions created with the traditional method, these visual poems can also be read as serious paintings that examine many concepts.
She also takes active part in artist collectives and open to receive requests for exhibitions as well collaborations under her Instagram @artbyhellstrm or by email artbyhellstrm @ gmail.com
Resimlerinde müstehcen konulara eğilse de aslında çekingen birisi o, becerikli, zerafet sahibi, titiz çalışmalarıyla genç yaşta kendini gösteren yeteneklerden Zeynep Mar; onu resimleriyle tanıdık ama gelin görün ki dövme konusunda da bir o kadar iddialı, yarattığı karakterlerdeki ürkünçlük, absürdlük bizlere ne kadar da yakışıyor. Fantastik yaratıklar, cinlere karışmış çocuklar, tuhaf hayvanlar, kötücül varlıklar, iblisler, ifritler, ucubeler ve envayi çeşit garipliğe rastlamak mümkün onun çizgilerinde, her bir karakterin stilizasyonuyla vücuda işlediği bu mikro-evrenler, gözlerimizin önünde canlı birer tiyatroya, grotesk bir fantazmagoriye dönüşüyor adeta.
Zeynep Mar’ın her biri farklı hikayelerden fırlamışçasına duygusal yoğunluğa sahip karakterlerinin, dikkatlice bakıldığında ciddi detaylardan mürekkep oldukları anlaşılıyor, bu yaratık-figürler, stresli hallerinin tersine son derece sade ve rahat çizgilerle betimlenmişlerdir; bu diyalektik sanatçının resimlerinde de dikkat çekiyor. Mar, hüznü ve melankoliyi, erotizmin kösnül ışığında en hassas ve acı verici katmanlarına kadar işlemekten korkmayan cesur bir ressam. Bu flash karakterlerin topluca sahnelendiği kompozisyonlar ise çok geçmeden gözlerimizin önünde doğaüstü bir masalı canlandırmaya başlarlar.
1994 İstanbul doğumlu genç ressam, Avni Akyol Güzel Sanatlar Lisesi’ni bitirdikten sonra 2012’de Mimar Sinan Güzel Sanatlar Fakültesi resim bölümünü kazanıyor ve 2019 yılında mezun oluyor. Uygulamalı atölye olarak fresk seçiyor ve okul dönemi boyunca serigrafi, gravür, lif sanatı ve ebru derslerini alarak kendini geliştirmeye devam ediyor. Yurt içi ve yurt dışı olmak üzere birçok karma sergi ve fuara katılan sanatçı aynı zamanda çizimlerinden nakış yaparak da bir çok iş üretmiştir.
Zeynep Mar, Tattoo drawings
Zeynep Mar, Tattoo Arts
Zeynep Mar, 60x45cm, Kağıt üzerine akrilik, 2021
ZEPTILIAN, 2020
Conversation with Zeynep Mar
Multidisciplinary Istanbulite Artist
Çağla Bölek March 2019
Zeynep Mar is a young artist who is currently based in Istanbul. Born in 1994 in Istanbul, the painter begins to study painting at the age of 10. After studying at Avni Akyol Fine Arts High School, she won the Mimar Sinan Fine Arts Faculty painting department in 2012 and graduated in 2019. She chooses frescoes as a hands-on workshop and focuses on self-development by taking classes in serigraphy, engraving, fiber art and marbling throughout the school term. The artist, who participated in many group exhibitions and art fairs in Turkey and abroad, also produced many works by embroidering from his drawings.
Although she tends to obscene subjects in her paintings, she is actually a shy person. Zeynep Mar is a resourceful, graceful, and talented artist who showed herself at a young age with her meticulous work; we know her with her paintings, but come see how ambitious she is about tattoos, and the eerie and absurdity of the characters she creates suits us. It is possible to come across fantastic creatures, children mixed with demons, strange animals, evils, freaks and all kinds of strangeness in her lines, the micro-universes that are embroidered into the body with the stylization of each character, transforming into a living theater, a grotesque phantasmagoria in front of our eyes.
Zeynep Mar, Tattoo drawings
Zeynep Mar, Tattoo Arts
Zeynep Mar, Nakış/ Textile works (2018)
“If I had the chance I would like to learn all the fields and match them with my works.”
Zeynep Mar is a striking young artist who is currently based in Istanbul. We talked about her inspirations, working process, and her divergent style. Enjoy the ride!
You create in various fields; painting, illustration, embroidery… Can you interpret your style and elaborate your technique?
I have always been fond of variety. I do not think that one should focus solemnly on one area, at least I know that I cannot. I paint since I was a child and then I got the painting education but after a while painting only fell short. It is like eating apple everyday or looking from the same perspective. Jumping one field to another gives me peace because when I turn back to the old works that bored me then, I have a clearer, purer approach and find the right angle with new accumulations. It is a loop inside me. One might think that multiple fields can block progression but for me, everything is connected. If I had the chance I would like to learn all the fields and match them with my works.
Zeynep Mar, Nakış/ Textile works (2018)
Zeynep Mar, Tuval üzerine akrilik (2017)
What does your carnivalesque, bright and bold usage of colors mean to you? What is your relationship with colors?
Simplicity is not so close to me. I always want to be a productive artist but my exhibited works are not many. Actually, it is related to the difficulty of the creation process. When the moment comes I feel the excitement of a four-year-old with chaos in my head, I want to express everything and match coherent fields together and afterward feel the relaxation of that newly formed chaos. Perhaps it is related to my age and what is being experienced. I cannot be sure what kind of evolution would take place in the future…
Zeynep Mar, Tuval üzerine akrilik (2017)
I see repetitive figures and conceptions in your works. Such as women from different cultures, psychedelic effects, and nudity. Can you talk about their meaning for you?
Woman figures and portraits are something I often use and nudity because of my academical past maybe. I haven’t thought about why I paint nudity but aren’t clothes boring? There are already dresses on everyone and everything… Those figures and conceptions are my experiences, emotions, and dreams as I am at some sort of a dimension and apparently my work here still continues. Those repetitions are not disturbing and it is okay to mingle around until they reach the next dimension. Aesthetics have been examined for centuries and consciousness is present right from the start and we question the cause of existence. All of these are fundamental, special and personal. Things that open to interpretation.
Zeynep Mar, Tuval üzerine akrilik ve posca (2017)
“My style is not particularly Eastern or Western, the goal is to find the balance between the two.”
In an earlier interview of yours, you mentioned that East Asian cultures and combinations of the opposition are inspiring for you. Considering your creative process, can we say that co-existence and acceptance of diversity are necessary in order to form a complete artwork?
Yes. Different range of emotions, different materials, the unity of different ways of expressions… In the end, the universe consists of these and everything becomes more beautiful with solidarity. I believe it is important to accept and embrace it.
Your last group exhibition was at Mecra titled ‘Aysel Gürel Sergisi’. Aysel Gürel was a colorful, local artist that labeled as ‘marginal’. How was the experience of visualizing her as a radical and protest artist like yourself?
I haven’t been painting for a long time and haven’t been participating in an exhibition. So, when the invitation came I was delighted. Her personality accommodates with my style easily. Because I think her as a mother, a hard-working woman, with working ethics of her own and also a woman that doesn’t care about social pressures and doesn’t have regrets. There is not a single personality and a single role in life and Aysel Gürel is a good representation of it. After I found a suitable composition for her the rest flow fluently. I took a break from embroidery and felt a strong urge towards painting because of this work. It became one of the rare works that satisfied me.
Can you talk about opportunities and disadvantages of being a rebellious young artist in Turkey?
My works did not put me in a rough situation before. I often receive positive criticism and the negative ones mostly are from my school in which I can see their points. I am glad about my current position. It is necessary to experience the conflict of extremes if the aim is creating something distinctive. Focusing on one area might harm the holistic point of view. My style is not particularly Eastern or Western, the goal is to find the balance between the two. Also when the study material is the self, process flows easily. The key is to continue… I have some projects in mind to work on. Also, I plan to attend Base this summer and I am open to exhibition invitations.
Pan su üzül yaprakları Süzülsün manevrasıyla Çaprazlama ateşin Moleküler yürüyüşünü karda yaptı Moleküler uykusuna Güneşle ayın arasındaki bükülmüş metal Patlayıp, yattı. Peric komik biri Peric skandal sandallarıyla Zen nehirlerine Salya akıtabilmek için Parmaklarını sürtünmeyle açıp Uçurtmak Uçuşunu buzda yaptı moleküler İlk uçuşuydu bu Kar tanelerinin doldurduğu pattern, Haricisim otlağında Birkaç katmanlı katı mantarın Çimine ulaşmak için Sinematograf hayvansı bedenle sürünüyor. Dört ayaklı bir ondört ayaklı. Koku dokunun özünden fırlamış ve dili uzatıyor dışarı. Bu dil öyle bir dil değildil. Peric ayıklığı en içkin içkimdir Rüyay görür çürür
Eren Burhan “Dance” Kağıt üzerine pastel 2020
Lamba Kutusu Bir Dudak
Eren Burhan
Oranlıları yer, cesetlerine yenil Sabahın erken saatlerinde ilk serinlikte Korkuyla Koskocaman bir dünyaya geldim Mıknatıslama akımı
2. Ve 3. Harmonikleri Sık sık yaktırttığı kulak kanat Cehenneme dalan bağlantı grubuna
Kendilerine bir saat kurulduğunu anımsar Tırnaklarının ölümcül çıkış diyagramları
Nasılsa aynı nokta Binlerce yaşamın ateşli Yük alma fitili Yazınında karşılaştığımız Kuş yerini de çiğnedi eren irin Sesi de gün boyu Değişirdi Oran katı bir gökyüzüyle Birimler, görevliler, hat tıkacı soluğu Kumanda taşları arasında bu yolcu Sindirdi yemini
Sanat yapıtlarıyla olan tüm elementler Kök damar veya Kör damar diye tabir edilen Örnek kalınt hattaki kırık, iz dökme By- pass ayırıcı denir bu ayırıcıya Su bloke biçiminden gelen Kesin sesli sinyal Bağırıyor kesin sesinizi diye
İç ihtiyacı beslemeye yeter Lamba kutusu bir dudak Deneyimler jeneratörler sayıların müziğini Sepya kuyruğunda uzay doğunun
2017 Çanakkale
Otopside Buz Kal
Eren Burhan
Küçük gezegen kolyen Yapışkan vuruşları Obsi diyen kış göğsünle Siren Bişisel yarım küreyi Yapışkan örü, dışı örtü Robotla, yuvarlar yu’vav Anne, antik asemik Buzsun milyar parçadan Bozulmamış
Buzkal
Eren Burhan ‘Dağ Orkestrası’ Lethe Kitap, 2019
98′ model bir şairressam Eren Burhan.
Dağ Orkestrasıyla sesleniyor.
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JoiePanique Fantasma art book artists edition new artbook ghosts fantasies Joie Panique
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Yazar’ın üç duvarlı odası ormana açılıyor. Manzara National Geographic. Yeşilin bitiminde hemen bir göl başlıyor. Göle yansıyan ağaçlar. Pastoral bir cehennem. Yazar dalıp gitmiş ve kamera hemen sırtından dolaşıp, önüne geçiyor, yüze yakın plan!
Koyu kahve takım içinde, kravatı pis ve buruşuk. Yeşile bakıyor. Mimiksiz. Kamera uzaklaşıyor. İnsan kendine en son rastlıyor. Bazıları için romantik doğadaki bok kokusunu Yazar hissetmez. Sadece yalın ayak durur ve ona yaklaşmaya götü yemediği için, tüm temkiniyle bakar. Gözleri yaşarıncaya kadar açık, gözleri akıncaya kadar açık, gözleri kendi gözleri olmayana dek açık. Bir kadın olduğunu unuturcasına ve bir erkek olduğunu unuturcasına, pigmentler akarken, yağmur beklenirken, kamera kayda devam ediyor. Odadan çimlere uzanan kablo yığını. Küçük elektirik kaçakları ve çıtırtılar. Böcekler gibi. Yazar geri çekiliyor ve üç duvarlı odayı geçip, diğer odaya dalıyor.
Ahşap döşemeli bir 90’lar faciası. Aplikler ve loş ışık içinde oturan çekirdek aile. Baba elit ve ayrı yıkanan temiz ev gömleğiyle çayını içiyor. O sırada araya porselen tabak seti, kadın pedi, çamaşır suyu ve meşrubat reklamı alınıyor. Bir erkek çocuk, üzerinde siyah bir pelerin var. Kamera kayıtta. Oğlanın yüzüne yakın plan. Oğlan az önce ağlamış ve şimdi mimiksiz şekilde kendi çükünü düşünüyor. Karşısında oturan üvey annesi tarafından tacize uğrayarak geçen geceler. Televizyonda üvey annenin taciz görüntüleri dönüyor. Ailecek çaylarını içip izliyorlar. Babanın yüzündeki tebessüm kocaman bır yarığa dönüşüyor. Yazar tam ortalarında, aile bireyleri onu başlarıyla, sakince, oturaklı, ölçülü bir şekilde selamlıyorlar. Kamera kaydediyor ve kablolar, müthiş el dokuması yeşil halının üstünde geziniyor.
biz kadınlar ve erkekler sigaralarımız yakıp güzel kıyafetler giymeyi kur yapmayı, götleri, birbirimize ait olmayı bedenen devletler oluşturmayı devlete ait olmayı, faturalanmış bir akış sağlamayı imzalı parasal seçimleri, şarküteri alışverişlerini kırmızı ruja sadık kalmayı, azıcık resmi giyinmeyi ama asla fazla resmi görünmemeyi, bacakları, kalpleri suratları tıraşlamayı, aynı yerlere sıçmayı, sıvalı duvarlar arasında alt alta olmayı, üst üste olmayı, seks oyuncaklarını akrabanın altın dişini, sik sıvazlamayı ve göt parmaklamayı sulanmış amcıkları, cenaze evi için yemek pişirmeyi, azıcık sanattan anlamayı haberlere bak-mayı,Pazar kahvaltılarını, hayvanat bahçelerini iyi havalandırmayı, gay barları, hetero barları, mini barları manik arkadaşlara üzülmeyi, ormana gidip fotoğraf çektirmeyi doğa yürüyüşlerini, zencilerden bahsetmeyi, uzay açılarını şişman çocukları, zayıf çocukları, uyuşturucuyla mücadeleyi, terörle mücadeleyi, herhangi bir şeyle mücadeleyi rus klasiklerini ve dini bayramları çok severiz.
Dış ses susuyor. Aile salonundan çıkılır. Kapıdan çıkarken kısa bir plan alınır. Kamera sırttan takibe devam eder. Yazar üçüncü odaya girer. Küçük bir ofis. Fotokopi makinası ve bilgisayarlar. Genç bir kadın Yazar’ı gördüğünde alt dudağını ısırır. Masanın altından bacaklarını birleştirip sıkar ve kamera bunu çoktan kaydetmiştir. Klima sesi. Klavye sesleri. Yazar mimiksiz.
Yeni başlayan aksiyon dizisi reklamı. Patlayan bombalar, havaya uçan arabalar ve silikon memeli tehlikeli kadınların macerası. Ter, erkeklik, tam otomatik silah, gece elbisesi, jartiyer. Yakın plan. Yazar’ın buruşuk deri üstünde gezinen göz yaşları. Kızın eline bacak arasına kayıyor ve kamere takipte. Asla tepki vermiyor. Adam fermuarını açıyor ve aletini salıyor. Ofisin ortasında otuz bir çekmeye başlıyor. Akan zevk sularına yakın plan. İçeriye sızan güneş ışığıyla parıldayan damlalar. Şakaktan akan ter. Beyaz ofis. Beyaz kadın. Apış arasında gezinen kırmızı ojeli yalanmış parmaklar.
dış ses: insanın ne olduğu yüzünden anlaşılmaz insan yüzü bir sapmadır hayvan yüzü doğrudur Kamera havalanıyor. Birbirine bağlı üç oda tepeden görünüyor. Uzaklaştıkça bir yıldıza dönüşüyor. Yazar o sırada ilk odadan, baştan başlıyor.
160. Kilometre işbirliğiyle gerçekleştirilen etkinlikte Emre Varışlı “diye bir şey bilmiyorum”, “Ölüm ve Piyasa” kitaplarından ve kitaplaşmayı bekleyen şiirlerinden seçtiklerini okuyor.
GFX: Liza Kaka
Factors Which Threat Our National Security
Emre Varışlı, 2016
Translation from Turkish to English by Deniz Cansever
what on earth you are looking for – with a rifle, getting away from some foggy place with a camera on your hand, hostages corrupted by a company which won’t let us take a nap under the midnight peacefully, just jerk off when priests are kissing boys in their eyes, drain the semen. When the boys start to kiss your padishah-eyes, just jerk off
when you see a robot movie, just jerk off I’m not a martyr… I didn’t mean to be a religion for you… I’m not one of your militants… I just wanted you to stroke my feathers… I’ve left the company behind me
Turkey was moving, I had to get rid of my clothes – this country is really moving, before my third eye turns into a piece of art, I have to get rid of my eyes… you’re organizing permited protests, paying some money for damned books, with foods and smartness, with travelings, with bills, with hearses that you’re occuiped with doing. You’re just a civilized man who’s waiting for a nippy. Whereas the Nuclear planet is sooner, with parasites and you can hare the noises of electric crahes if you try to be fucking quiet for a while, neutralize your mind, hey, where is the mid-asian prophet, just tell me where the hell is that mid-asian prophet, a murder in the mid-october, a confusion in the mid-october, rise and fall for everyone, start to worshiping right through the crimson trees, reversed goat of the company, blood spots all over the snow-white and smooth walls of the company, a rusty machine in the middle of the company’s womb, the company, polytheism, shit nappies all over the illuminated panels., what on earth they are looking for – with a rifle, while young-dead-naked fleshs was crashing to the streets, the drum is blessing you, the rumbling devices knows that you’re really looking for, i wish that the company kills you as soon as possible, while the young-aged-bodies was crushing to the cold stone…
the bare sound of dead-naked fleshs – like a market property -do you ever realize that young-naked-fleshs are just about to loose their purchasing power – do you ever realize that young-naked-fleshs won’t be able to make your economy great again dead-naked-fleshs won’t be able to buy a damn car which was on that commercial anymore- dead-naked fleshs won’t be able to work like 20 hours – young-naked-fleshs won’t be able to follow your damn pioneer company – you’ve taken the right of police chasing from the dead-naked fleshs – dead-naked fleshs won’t be apply to the ministry of health for quit smoking anymore – you’ll not let dead-naked fleshs to watch some porn young-dead-naked fleshs won’t be able to see season off sales – dead-naked fleshs won’t lose weight healthy, dead-naked fleshs won’t be settled and get bussy with organic farmery – dead-young-naked fleshs won’t get the Italian food and it’s marvelous tastes – dead-naked fleshs can’t have a coffee and try to work at the same damn time – dead-naked fleshs won’t be able to try your new medicines – dead-naked fleshs can’t go and pray during holy friday anymore – dead-naked fleshs won’t follow the collumns anymore – dead-naked fleshs won’t participate to the customer satisfaction survey -dead-naked fleshs
sunny lands my pants sticking to the ass, drenched it’s not some sweat beacuse of working hard just dust looking for the dead spawn just came looking for the dead spawn on the land of Anatolia, looking for the dead spawn anatolian dead spawn thedeadspawnofanatolia just came for love and to kill somebody
GFX: Liza Kaka
Milli Güvenliğimizi Tehdit Eden Unsurlar
Emre Varışlı, 2016
Elinde tüfekle neyi arıyorsun, elinde kamerayla sisin içinde uzaklaşıyorsun, şirketin elinde rehinler bizi gecenin altına yatırmayacaklar, meniyi boşalt padişah gözlerinden oğlanlar öperken, meniyi boşalt robot filmleri izlerken, meniyi boşalt ben sana şehit değilim ben sana din olmadım ben senin militanın değilim ben senden tüylerimi okşamanı istemiştim tüylerini okşamak istemiştim şirketi arkamda bırakmıştım Türkiye hareket ediyordu, giysilerimden kurtulmalıydım – bu ülke hareket ediyor, üçüncü gözüm bir sanat eserine dönüşmeden önce, gözlerimden kurtulmalıyım izinli gösteriler yapıyorsun, birkaç kitaba para ödüyorsun, yemekler ve zarafetler içinde, seyahatlerle faturalarla cenaze arabalarıyla meşgul oluyorsun. Garsonu bekleyen bir medenisin. oysa Nükleer gezegen yakında, parazitlerin ve elektrik çakımlarının sesini duyabilirsin biraz sessiz olursan, aklını toprakla, orta asya peygamberi nerede, bana orta asya peygamberinin yerini söyle, ekim ayında bir cinayet, ekim ayında bir kargaşa, yükselmiş ve düşmüş herkes için, kıpkırmızı ağaçlara tapmaya başlıyoruz, şirketin ters keçisi, şirketin beyaz pürüzsüz duvarında kan lekesi, şirketin rahminde paslı makine, şirket, şirk, şirketin ışıklı panosuna dolan bok sinekleri.. onlar tüfekle neyi arıyorlar, genç ölü çıplak etler sokağa çarparken, taşa çarparken, sen ne yapıyorsun, bir heykelin altında duruyorsun, oryantal bir heykel seni koruyor, davul seni koruyor, gümbürdeyen aygıtlar senin ne istediğini çok iyi biliyor, şirketin seni gebertmesini diliyorum, genç ölü bedenler soğuk taşa çarparken.. ölü çıplak etlerin sesi – pazar malı gibi – genç çıplak etlerin alım gücünü kaybettiğini biliyor musunuz – ölü çıplak etlerin ekonomiye artık can veremeyeceklerinin farkın mısınız – ölü çıplak etler reklamını yaptığınız o arabayı alamazlar artık – ölü çıplak etler artık yirmi saat çalıştırılamayacaklar – genç çıplak etler yurt dışı tatillerinde öncü firmanızı takip edemeyecekler – ölü çıplak etlerin polis tarafından kovalanma hakkını ellerinden aldınız – ölü çıplak etler sigarayı bırakmak için bakanlığınızdan yardım alamayacak – ölü çıplak etlere porno izletemeyeceksiniz – genç ölü çıplak etler mağazanızın sezon indirimden yararlanamayacak – ölü çıplak etler sağlıklı kilo veremeyecekler, ölü çıplak etler köye yerleşip organik tarım yapamayacaklar – ölü genç çıplak etler İtalyan mutfağının eşsiz tatlarını deneyemeyecekler – ölü çıplak etler kahvesini yudumlayıp çalışamayacaklar – ölü çıplak etler yeni ürettiğiniz ilaçları deneyemeyecekler – ölü çıplak etler cumaya gidip dua edemez artık – genç ölü çıplak etler köşe yazılarını takip edemeyecekler – ölü çıplak etler müşteri memnuniyeti anketlerine katılamayacaklar – ölü çıplak etler
tüfekle ne arıyorsan – bırak… ölüm bir şeydir, sıklıkla istenen bir şey, embriyonik gelişim, kurtuluş marşları, ben yaz akşamları kimin elini tutup filmlere, korkunç sokaklara gideceğim bu aşk saatinde arazilerdeyim güneşli arazilerdeyim pantolonum kıçıma yapışıyor sırılsıklam alnımdan emek teri akmıyor toz toprak Ölü dölü bulmaya geldim buraya geldim ölü dölü bulmaya geldim Anadoluda ölü dölü bulmaya anadolü ölü dölü anadolüölüdölü geldim bir şeyi sevmeye bir düşman kazanmaya
LÖPÇÜK 