Gün geçmiyor ki genç çizerlerle karşılaşmayalım, son zamanlarda Cehennem tasvirleriyle dikkat çeken yeteneklerden biri de Mutaf. Kendini en iyi çizgilerle ifade ettiğini dile getiren sanatçı daha çok illüstratif grafik işleriyle biliniyor. Hayal dünyasından yarattığı fantastik karakterler kimi zaman ürkünç, kimi zaman sempatik halleriyle şimdiden kendine seçkin bir kitle oluşturmuş durumda. Karmaşık kompozisyonlarına eşlik eden grotesk hikayeler, bizleri karanlık diyarlara götürüyor. Huzursuz çizgilerle betimlenmiş bu hikayeler, içinde yaşadığımız dijital-çağın tüm kasvetini ve hastlalıklarını gözlerimizin önüne sererler, aşırı uyarılmadan sinirleri aşınmış bir pişmiş kelle bilgisayar odasında ruhunu teslim etmektedir, üzerinde madalyalar üniformalı bir figür ise kaybettiği insanlığını tabiatta aramaktadır; kaza, yaralanma, çarpışma ve felaketler sanatçının bolca kullandığı temalardan. İnsana içkin envayi çeşit deliliği tüm çıplaklığıyla resmetmekten çekinmeyen Mutaf aynı zamanda müzik sahnesinin de ilgisini çekmişe benziyor. Make Mama Proud gibi Rock’n Roll grupları için hazırladığı illüstrasyon işlerinde becerisini tüm incelikleriyle gözler önüne seriyor. Sanatçı aynı zamanda 2020 yılında İstanbul’da ‘Neşeli Günler’ isimli ilk kişisel sergisini açmıştır.
Mutaf ‘Neşeli Günler’ Big Baboli Sergi Afişi, 2020 İstanbul
Mutaf ‘Deadly Notes & End of a City’ serigraphy (2020)
Not a day goes by that we don’t meet young talents. Mutaf is one of the artists who have recently attracted attention with his portrayals of Hell. He says that he expresses himself best in drawings, the artist is mostly known for his illustrative graphic works. The fantastic characters he created from his imagination have already created a distinguished audience for themselves, with their sometimes frightening and sometimes sympathetic states. The grotesque stories accompanying his complex compositions take us to dark lands. These stories, depicted in restless lines, reveal the sickness of the digital-age we live in, a baked head whose senses have been corroded from overstimulation is about to surrender its soul in the computer room, while a human in uniform with his medals on is searching for his innocence in nature; accidents, injuries, collisions and disasters are among the themes that the artist uses profusely. Mutaf, who does not hesitate to draw all kinds of madness inherent in human being, is also an artist who has attracted the attention of the music scene. His illustration works for rock’n’roll bands such as Make Mama Proud reveal all the subtleties of his art. At the same time, the artist opened his first personal exhibition titled ‘Happy Days’ in Istanbul in 2020.
Jaky La Brune est une plasticienne normande vivant et travaillant à Paris depuis 2012. C’est en réalisant des pochettes d’albums qu’elle découvre la peinture. Celle-ci ne la quittera plus. Ses principaux thèmes tournent autour du questionnement sur l’identité et des émotions humaines. Ses peintures naissent d’histoires inspirées de ses tourments, une sorte de psychanalyse à travers les formes et les couleurs. La toile continue à vivre à travers l’imagination et l’interprétation libres de l’observateur. C’est à ce moment-là que son travail artistique prend tout son sens.
Découvert et proposé par Bernard Laurent-Zopf
Jaky La Brune is a visual artist from Normandy living and working in Paris since 2012. It was while making album covers that she discovered painting. This will never leave her. Her main themes revolve around the questioning of identity and human emotions. Her paintings are born from stories inspired by her torments, a kind of psychoanalysis through shapes and colors. The canvas lives on through the free imagination and interpretation of the viewer. This is when her artistic work takes on its full meaning.
Shamatic Power : Jaky la Brune
Blackness in Color
Written and Prepared by Bernard Laurent-Zopf
If we suddenly decide to go for a walk in the head of Stéphane Blanquet, we can come across a doorway to the multiple heads of Jaky La Brune. To be more clear and understandable, if we are going to pay a visit to the current exhibition devoted to the artist/painter/illustrator Stéphane Blanquet “Dans les Têtes de Stéphane Blanquet” at the Halle Saint-Pierre in Paris, we must meet the masks and painted characters of the painter Jaky la Brune.
This painter is part of “Tranchée Racine” which is an artistic manifesto initiated by Stéphane Blanquet. Originally a publication of graphic images bringing together an international group of artists, it is transformed into an exhibition from May 19, 2021 to January 2, 2022, to accompany Stéphane Blanquet‘s monograph. “Tranchée Racine” which is therefore also a publication, a giant graphic tabloid (47.5 x 66 cm) of 12 pages, is sold at the sweet price of 5 euros. It presents, over its 42 issues, more than 500 works and brought together.
“Artistes viscéraux, généreux, hypnotiques, obsessionnels, ils viennent de tous les courants etcontre-courants. Agitateursrebelles, bruyants, cruels, généreux, non-conformistes”. Ils sont du monde entier.
Si on décide tout d’un coup d’aller faire un tour dans la tête de stéphane blanquet, on peut tomber au détour d’une porte sur les multiples têtes de Jaky La Brune. Pour être plus clair et compréhensible, si on va faire une visite à l’exposition actuelle consacrée à l’artiste/peintre/Illustrateur Stéphane Blanquet “dans les têtes de stéphane blanquet” à la Halle Saint-Pierre à Paris, on se doit de rencontrer les masques et personnages peints de la peintre Jaky la Brune.
Cette peintre fait partie de “Tranchée Racine” qui est un manifeste artistique initié par Stéphane Blanquet. A l’origine édition d’images graphiques fédérant une internationale de dessinateurs, elle se transforme en exposition du 19 mai 2021 au 2 janvier 2022, pour accompagner la monographie de Stéphane Blanquet. La tranchée racine qui est donc aussi une publication, un tabloïd graphique géant (47,5 x 66 cm) de 12 pages, est vendu au doux prix de 5 euros. Il présente, au fil de ses 42 numéros, plus de 500 œuvres et rassemble des “Artistes viscéraux, généreux, hypnotiques, obsessionnels, ils viennent de tous les courants et contre-courants. Agitateurs rebelles, bruyants, cruels, généreux, non-conformistes”. Ils sont du monde entier.
“Cet esprit rebelle et libertaire est le lien entre tous ces artistes, une racine démultipliée, qui interroge notre rapport à la sexualité, à la mort, à la nature, à l’animal, au végétal, à la politique, à l’image …. Leurs créations sont autant de possibles, de devenirs qui tissent leur relation dans un imaginaire ouvert”.
Outre Jaky La Brune, il vous reste donc nombre d’artistes à découvrir.
“Visceral, generous, hypnotic, obsessive artists, they come from all currents and counter-cultures. Rebellious, noisy, cruel, generous, non-conformist agitators”. They are from all over the world.
Peınture Murale Réalısée Pendant Le Vernıssage De L’exposıtıon “La Tranchée Racine” À Parıs. (2021)
“This rebellious and libertarian spirit is the link between all these artists, a multiplied root, which questions our relationship to sexuality, death, nature, animals, plants, politics, images… Their creations are as many possibilities, becomings that weave their relationship in an open imagination”.
Jaky la Brune ‘Dans Les Tetes’ totem installation (2021-2022)
Et donc, au milieu de cette exposition collective rassemblant quelques-uns des artistes de “Tranchée Racine”, votre route risque de croiser celle de Jaky. En vérité, on ne peut pas l’éviter tant ses masques suspendus dans leur container/chambre s’adressent à vous avec agressivité et joie en même temps. Ils sont surmontés d’un totem haut en couleur qui vous attirera immanquablement. De plus, les murs extérieurs de leur maison/boite sont ornés de personnages peints qui assurent la garde avec la même violence et gaité. La troupe de ces créatures hybrides provient de la même tête, celle d’une plasticienne normande vivant et travaillant à Paris depuis 2012 répondant au nom parfait de Jaky La Brune. Sa grande force particulière est ce mélange de la souffrance sombre de ses personnages et de l’allégresse des couleurs très vives par laquelle ils émergent. C’est l’occasion idéale d’entrevoir le reste de son travail, et du coup, on a eu envie de lui demander ce qu’elle avait dans sa tête de brune.
“J’ai découvert la peinture en réalisant des pochettes d’album et des clips de musique. Les logiciels sur les ordinateurs ont dû à un moment me faire mal au crâne alors j’ai trouvé refuge dans les pinceaux et la peinture. Être encontact direct avec la peinture a été révélateur pour moi et je suis restée bloquée dedans comme une junkie“.
Jaky la Brune ‘Dans Les Tetes’ totem installation (2021-2022)
Besides Jaky La Brune, you still have a number of artists to discover.
And so, in the middle of this collective exhibition bringing together some of the artists of “Tranchée Racine”, your path may cross that of Jaky. In truth, we cannot avoid it as its masks suspended in their container/room address you with aggression and joy at the same time. They are surmounted by a colorful totem that will inevitably attract you. In addition, the exterior walls of their house/box are adorned with painted figures who stand guard with the same violence and gaiety. The troop of these hybrid creatures comes from the same head, that of a Norman visual artist living and working in Paris since 2012, answering to the perfect name of Jaky La Brune. Her great particular strength is this mixture of the dark suffering of his characters and the joy of the very bright colors through which they emerge. This is the perfect opportunity to glimpse the rest of her work, and suddenly, we wanted to ask her what she had in her dark head.
Jaky la Brune with one of her paintings
“I discovered painting by making album covers and music videos. Computer softwares must have given me a headache at one point, so I found refuge in brushes and paint. Being in direct contact with the paint was eye-opening for me and I got stuck in it like a junkie.”
Jaky la Brune ‘Dans Les Tetes’ paintings (2021-2022)
Jaky la Brune ‘Dans Les Tetes’masks (2021-2022)
Jaky:“The creation of masks came later, but I find the same power as in painting: the mixture of materials, colors and the primitive aspect. It’s great to be able to decline your pictorial universe on other media, it enriches the spirit a lot! And then, my sister brings me fabrics from her travels, my mother gives me the jewelry she no longer wants and my grandmother sends me lace… I had to let me do something with all this mess! Sometimes communication is difficult in the family so it allows me to bond with my blood somewhere. (Hahaha) “.
Installation créée par Jaky La Brune dans l’exposition collection “Tranchée Racine” qui accompagne la monographie “Dans Les Têtes de Stéphane Blanquet”
Jaky : “La création de masques est venue après, mais je retrouve la même puissance que dans la peinture : le mélange des matières, les couleurs et l’aspect primitif. C’est super de pouvoir décliner son univers pictural sur d’autres supports, ça enrichit beaucoup l’esprit ! Et puis, ma sœur me ramène des tissus de ses voyages, ma mère me donne les bijoux qu’elle ne veut plus et ma grand-mère m’envoie de la dentelle… il fallait bien que je fasse quelque chose de tout ce bazar ! Parfois la communication est difficile dans la famille alors ça me permet de me lier à mon sang quelque part. (Hahaha)”.
“Généralement, je travaille la nuit avec un verre de porto dans une main et un pinceau dans l’autre. Et avec des documentaires sur des tueurs en série en fond pour m’enfermer dans une atmosphère sombre”.
Jaky la Brune
“Usually I work at night with a glass of port in one hand and a paintbrush in the other. And with serial killer documentaries in the background to lock me in a dark atmosphere.”
Jaky la Brune in her killer mood
“L’identité et les émotions sont mes thèmes principaux. On peut aussi retrouver des sujets tels que le sexe, la violence et la passion amoureuse dans mes peintures”.
Jaky : “Une idée naît lorsque que ma sensibilité est touchée (en bien ou en mal) et que je n’arrive pas à expliquer avec des mots ce que je ressens. Parfois, j’ai l’impression d’exorciser ma tristesse ou ma colère. Créer et peindre me permettent de canaliser mes émotions et d’apprendre à vivre dans ce monde de brutes”.
Jaky : “J’aime me retrouver seule pour peindre mais j’adore aussi l’idée de pouvoir travailler avec d’autres artistes. On m’a proposé récemment de coudre des masques pour un spectacle de théâtre, on verra vers quoi ça me mène ! Je n’ai pas vraiment de projet d’avenir, je ne regarde pas aussi loin devant moi”.
On a demandé à Jaky de partager avec nous un/une artiste qu’elle aimait. Jaky : “tschabalala self est une artiste très inspirante. J’adore son travail sur les corps humains et sa façon de mixer les textiles sur toiles”.
Et on n’a pas résisté à lui poser cette question ultime : D’où vient ce nom génial ? Jaky : “Je suis heureuse de savoir que mon nom trouve des admirateurs mais je ne sais pas d’où ça vient… Je demanderai à ma maman”.
Alors, bien sûr, si vous pouvez passer dans le coin de la Halle Saint-Pierre, ne vous privez surtout pas du pur plaisir d’aller voir les masques et peintures de cette brune Jaky et d’entrer un peu dans sa tête. Parce que, comme de bien entendu, c’est toujours mieux en vrai.
Jaky La Brune ‘Gorge Diable’
“Identity and emotions are my main themes. You can also find subjects such as sex, violence and love passion in my paintings”.
Jaky: “An idea is born when my sensitivity is touched (for good or bad) and I can’t explain in words what I feel. Sometimes, I feel like I’m exorcising my sadness or my anger creating and painting allow me to channel my emotions and learn to live in this world of brutes”.
Jaky: “I like being alone to paint but I also love the idea of being able to work with other artists. I was recently asked to sew masks for a theater show, we’ll see what that leads me to. lead! I don’t really have a plan for the future, I don’t look that far ahead of me”.
We asked Jaky to share with us an artist she loved.
Jaky: “tschabalala self is a very inspiring artist. I love her work on human bodies and her way of mixing textiles on canvas”.
And we couldn’t resist asking her this ultimate question: Where does this awesome name come from?
Jaky: “I’m happy to know that my name finds admirers but I don’t know where it comes from… I’ll ask my mum”.
So, of course, if you can pass by the corner of the Halle Saint-Pierre, do not deprive yourself of the pure pleasure of going to see the masks and paintings of Jaky Brune and getting into her head a little. Because, of course, it’s always better in real life.
Artist Portrait : Jaky La Brune
Original Article by Bernard Laurent-Zopf / brainto.com
Translated for general reader from French to English by Lopcuk webzine
Elif Nurşad ‘Aşık Kedi’ Grafik roman, Flaneur Books (2021)
Elime “Âşık Kedi” diye bir kitap geçmişse ondan size bahsetmemem mümkün müdür? Kitabın çizer ve yazarı “Vahşi Kedi” kod adlı Elif Nurşad Atalay. Elif bence çok yetenekli bir ressam. İyi bir illüstratör ve masal anlatıcı. Kalın ve kuşe baskı kitap, bir tasarım ustalığı içeriyor ki sadece sayfa numaralarını unuttukları için eleştirebilirim, size şu kadar sayfa diyemiyorum! Âşık Kedi’de 2015-2021 arasında çizdiği resimlerle anlattığı bir masal-öykü yer alıyor. Şöyle: kedi var, kediler var. Köpek var, köpekler var. Galata, Karaköy, Bodrum, Göztepe Parkı, akvaryumdaki balıklar var. Caddebostan sahili, deniz, ahtapotlar var! Vahşi Kedi’nin umutları, korkuları, aşkı, kâbusları, rüyaları, hayalleri var.
Yazar çizerimiz Bayan Yanı dergisinde 2015-16 yıllarında “İstanbul’un Vahşi Kedisi” başlıklı bir çizgi roman yayımlamış, sonnra bunun bir bölümünü İstanbul ve İtalya’da sergilemiş, ama hikâyeyi bitirmemiş. Ondan kısa episodlar da var bu kitapta.
Elif Nurşad, Suluboya desen, 2019
Kitabı çok sevmemin nedeni, kavuşulamayan bir aşk hikâyesi dışında, sürekli deniz, tekne, bir kedi ve bir köpek olması, bir de yakışıklı !
Sonra aklına esiyor, kuşlar çiziyor. Papağanlar! Kedilerden vazgeçti, tekneyi ziyaret eden değişik kuşlar çiziyor! Onun sevdiği her kediyi çizmek isteyip çizemediklerine hayıflanıyor. Aslında sadece kedileri değil, kadınları da çok güzel, ama çok az var bu kitapta. “En sevdiğim dostluk: Az konuşma çok iletişim. 6 yıldır aynı kayığa gelen leylek ile balıkçının arkadaşlığı…”
Senin içine süzüldüm ben, bir kapı aralığından, omurgasızlığımdan. Seni kopyaladım, bütün hücrelerimle, sen hiç dokunmasan da seninle gizlice seviştim ben! Hâlâ Seni, seni bekliyorum. Hâlâ kapıdaymışsın gibi. Öyle hissediyorum!
Kaynak : Yazgülü Aldoğan, Cumhuriyet Gazetesi (10 Aralık 2021)
Hirnplatzt is an independent record label currently operating from Linz, Austria by Gucci Bauchwho has been producing underground materials for more than ten years, since 2005 established on the experimental/ noise music and publishing super cool underground comix by important artists such as Johannes Stahl, Daniel Cantrell, Andreas Haslauer, Mavado Charon; also combining illustrations produced by the artists with various clothings, patches and skateboards in a very creative d.i.y styles.
Estrellita Mía/ Tinystar te invita a participar en el número temático dedicado al film “ERASERHEAD” estrenado en 1977 y dirigido por David Lynch (Terciopelo Azul, Twin Peaks, Mullholland Drive).
En Eraserhead Spencer, el protagonista principal, habita un desolado paraje industrial cubierto por el moho y la suciedad de un mundo post-apocalíptico, sus relaciones interpersonales son complejas y se desarrollan entre lo real y la ensoñación. Spencer repentinamente se ve en la tarea de ser padre y hacerse cargo, eventualmente, de su creación… que no es un bebé cualquiera…
Años en post-producción, dirigido, escrito, producido y editado por el mismo Lynch, Eraserhead se ha convertido en el film de culto de muchas generaciones. Inscrito del género cinematográfico del body-horror, el film propone muchas áreas de exploración visual y poética, que puede ir desde la fascinación con su estética oscura y el carácter borde de sus personajes hasta las exploraciones sicológicas y antropológicas que algunos estudiosos del cine y el arte han planteado en torno a su visualidad y desarrollo argumental: ¿es Spencer el padre que no logra hacerse cargo? ¿Plantea Lynch el futuro de las relaciones trans-humanas? ¿Qué vinculo efectivo podemos encontrar entre Lynch y Kafka y Gogol?
Estrellita Mía/ Tinystar : ERASERHEAD
Sumario de ejes temáticos referenciales para esta edición :
Iconografía de Eraserhead y cultura pop
Escenas que me impactan
Relaciones inter-personales en el mundo del desecho post-industrial
Jeg er her for frihed,ærlighed, sårbarhed, gender-fluidity, for kærlighed.
Det var usansynligt at jeg skulle blive en kanal for lyset. Det jeg kommer fra er så mudret, så mørkt – men jeg skulle igennem de dybeste lag for at forstå, at jeg er lys. Hver gang jeg har ramt bunden, er jeg blevet vist at jeg kan gå højere – at vi alle har et valg. At vi kan give slip på frygt og være i tillid til at alt udfolder sig præcis som det skal. Og vide at dét at være i overgivelse – i nuet – er lig med at være i vort højeste selv.
Skyggearbejde handler om at bevidstgøre sig skyggen (de sider af os selv vi ikke kan eller vil se og anerkende) – ikke at skubbe dem væk, løbe fra dem eller lade som om de ikke eksisterer – men i stedet vende os om og integrere mørket. Og dermed erkende at vi er begge dele: både lys og skygge. Jeg kaster min skygge ud i rampelyset for at integrere den i os alle, for at hjælpe os til at forstå at vi ikke behøver at gøre vores skygge forkert og udskamme den – men at vi kan se den for hvad den er – et bange dyr, en ego-skal bygget for at beskytte os. Se at vi er født uskyldige – som ren kærlighed.
Jeg arbejder for at kaste lys ind i den kollektive skygge – for at blotlægge misforhold i den dominerende kultur. For at frisætte os fra den programmering og radikalisering vi er blevet udsat for gennem en opvækst i et kapitalistisk patriarkat. Når jeg ser på kønnene, og mine egne oplevelser som biologisk kvinde – ser jeg en dyb diskrepans. Jeg ser en enorm forskel på begrænsningerne af den ydre og indre frihed der er for kønnene hver især. Jeg er nødt til at pege på dobbeltmoralen og hykleriet i et samfund der systematisk seksualiserer kvinder og som så – når kvinder agerer åbenlyst seksuelt – vender sig om og udskammer dem for det. Et samfund hvor mænd programmeres til at undertrykke følelser, til at lukke ned. Dette systemiske svigt kommer til udtryk som konstante indviduelle kampe om at få det godt, som enten kæmpes eller fortrænges, og som vi ikke kan vinde på et individuelt niveau. Det er et system der fratager os vores evne til at elske frit, og det er på tide vi bliver fri af det.
Jeg er her for frihed, ærlighed, sårbarhed, gender-fluidity, for kærlighed.
Does ceramics and fashion have anything in common? It certainly does for artist and author Matilde Digmann who uses their creativity as a safe space of self expression.
Matilde Digmann (Mat) is a gender fluid artist and author. Mat’s artistic practice is multi-faceted but rooted in two main principles: Work evolving around outing shadow and exposing things we usually try to keep in the dark, thereby calling out biased structures in society and discrepancies in dominant morality. Mat is working on outing shadow (in a Jungian sense) on a personal as well as on a societal level. The second focus of Mat’s artistic practice is in working towards a betterment of the artistic community – in service to particularly blocked artists via the podcast Shadow Work Podcast and in pursuit of healing a generation of men and women who have been radicalised by growing up in capitalist patriarchy – via the graphic novels Pseudo and the upcoming Bad Boys.
As their unique artwork and ceramics, Mat – who’s based in the vibrant neighbourhood of Nørrebro in Copenhagen – primarily uses bright and bold colours in their wardrobe – matched with loads of gold and glitter. Meet the Copenhagen-bases artist here, and get a preview of their unique and personal art as well as their take on personal and great style.
Matilde Digmann (Mat) Bir sanatçı ve yazar olarak çok yönlü sanat pratiğini iki temel ilkeye dayandırmaktadır: Gölgeyi aşmak ve genellikle karanlıkta tutmaya özen gösterdiğimiz yönlerimizi açığa çıkarmak; böylece çizgi-roman dili, çeşitli afişler ve grafik hyper-text’lerden de faydalanarak sanatçı toplumdaki önyargıları ve baskın ahlakın tutarsızlıklarını gözler önüne sermeyi hedefler.
Mat, hem kişisel hem de toplumsal düzeyde gölgeyi (Jungcu anlamda) aşmak için çalışıyor. Onun sanat pratiğinin odaklandığı ikinci alan ise Shadow Work Podcast aracılığıyla özellikle amatör sanatçılara yardım etmek ve kapitalist ataerkil bir ortamda büyüyerek radikalleşmiş günümüz erkek ve kadın nesline şifa olmak amacıyla sanat camiasının iyileştirilmesine yönelik çalışmalar yapmaktır.
Anthropomorphic animals, online dating, drugs, sex, shame, inability to relate to others. In short, the usual old story. Indeed no. Pseudo by Matilde Digmann fits into a genre that is now highly exploited, that of problematic animals that do bad things, but manages to have her say. Mat – this is his stage name, given that he defines himself “a non-binary multidisciplinary artist and author” – first of all he paints and sculpts. He has a studio in Copenhagen full of his creations. Enter the world of comics as an outsider and in this Pseudo, a volume of 366 pages in English with a beautiful mirror cover published by the Danish Forlaget Basilisk, this is evident. The story continues in small episodes, almost by accumulation. There is no great sense of rhythm. The drawings are raw, dark, not at all cute and in any case far from the dominant aesthetic, dropped in a black and white that cannot be blacker. All this allows Mat to get out of the sowing of today’s alternative comics, avoiding ending up in the long list of Simon Hanselmann’s emulators.
The story written by Mat talks about the almost homonymous Cat, an anthropomorphic cat who after 9 years breaks up with her boyfriend and begins a “crazy year” made up of new acquaintances, transgressive evenings and – inevitably – self-harm. Pseudo begins with the protagonist signing up for a dating site, while she spends her days indoors with Ted, a traditional four-legged cat. The first pages of the volume are the weakest and most obvious, with many situations that they already know. Then after a while things take off. Meeting after meeting we witness a gallery of men who are idiots at best, manipulative bastards at worst. In front of them the protagonist is unable to react, on the contrary, most of the time she is satisfied or even submits. The story stops being banal and becomes a psychological crescendo that plumbs Cat’s unconscious search for unhappiness.
Nomineret til Pingprisen 2022: Matilde Digmann – PSEUDO
The plot is inspired by the personal stories of Matilde Digmann, who after nine years of marriage has changed her life in a radical way. For more details, I refer you to this article / interview, which rightly frames Pseudo as a feminist parable. But there is more, for us who are lovers of the strange. For example, there is a talking spider that turns from a threat into the protagonist’s shoulder. In a chapter entitled Bad Trip, the spider enters Cat’s brain to find a wasteland populated only by giant cocks. Towards the end, a flashback shows us the encounter with a sort of “cat god” with a third eye: the same third eye that appears every now and then on Cat’s forehead before a few encounters, making her even more ashamed – if any needed – of his body.
“Pseudo” by Matilde Digmann
The finale sees the final confrontation between Cat and her latest boyfriend, even worse than the former historian. Turns out the guy is married and the father of a little girl, who he hasn’t been able to see since he hit his wife with a metal pipe. Unfortunately the last pages are broom with the initial ones, because – even taking into account that the volume is presented as the first of a trilogy – they close the story in an all too hasty way. Pseudo works fine from p. 70 on p. 341, and in any case 272 pages, so they are enough and advance. What then in these times, when novice authors tend to always look for the “round” comic with all the right ingredients and the graphic novel is a genre rather than a format, making a comic a little wrong can also be a positive thing.
The main merit of Pseudo remains its being an original feminist parable. Mat does not indulge in easy theses or didactic dissertations. With the technique of accumulating characters and situations, he rather tells the tendency to submission of the main character and the pettiness of the male gender, so much so that in some passages he reaches pure misanthropy. Beyond this, the book would be worth the cover price only for the drawings, which in their tarry black and white bring us back to less colorful and certainly more glorious times than today.
In conclusion, here are some useful links, namely Mat’s site, the Instagram page and finally his online shop where you can buy the volume.
It was unlikely that I would become a channel for the light. What I come from is so muddy, so dark – but I had to go through the deepest layers to understand that I am light. Every time I have hit rock bottom, I have It was unlikely that I would become a channel for the light. What I come from is so muddy, so dark – but I had to go through the deepest layers to understand that I am light. Every time I have hit rock bottom, I have been shown that I can go higher – that we all have a choice. That we can let go of fear and be confident that everything unfolds exactly as it should. And knowing that being in surrender – in the now – is equal to being in our highest self.
Shadow work is about becoming aware of the shadow (the sides of ourselves we cannot or will not see and acknowledge) – not pushing them away, running away from them or pretending they do not exist – but instead turning around and integrating the darkness. And thus recognize that we are both: both light and shadow. I cast my shadow into the limelight to integrate it into all of us, to help us understand that we do not have to make our shadow wrong and shame it – but that we can see it for what it is – a scared animal, an ego shell must be built to protect us. See that we are born innocent – as pure love.
A society where men are programmed to suppress emotions, to shut down.
I work to shed light on the collective shadow – to expose disparities in the dominant culture. To free ourselves from the programming and radicalization we have been subjected to through growing up in a capitalist patriarchy. When I look at the sexes, and my own experiences as a biological woman – I see a deep discrepancy. I see a huge difference in the limitations of the outer and inner freedom that exist for the sexes each. I have to point to the double standards and hypocrisy of a society that systematically sexualises women and who then – when women act openly sexually – turns around and shames them for it. A society where men are programmed to suppress emotions, to shut down. This systemic failure manifests itself as constant individual struggles to get the good that is either fought or repressed and that we cannot win on an individual level. It is a system that deprives us of our ability to love freely, and it is time we become free from it.
there´s more and more zinefest being organized in Copenhagen though, and the tables are very diverse. I see it as a sign of people being fed up with mainstream culture.
Hello Zven, would you tell us a little bit about Cult Pump and what you do? I guess you are also distributing different labels besides print limited editions and art-zines.
I am a little of everything, painter, cartoonist, printmaker, editor. I started the Cult Pump label in 2010, but before that I was also making zine and publishing books. At some point I decided only to publish my own stuff but then you meet artists and their art is great and you think: “if I dont publish this, no one else will!” So its a duty, but also a pleasure, and a way of evolving as an artist, by getting input from other artists, learning other approaches. I share my studio with other artists, some of whom I work with, but I manage the label on my own, except for “Radbrækket” a comix anthology that I am editing with Tue Sprogø. I also do a bit of distribution, mostly books related to the ones I publish.
the process of doing stuff together without knowing the final result is just as important as the actual products.
Would you like to talk about your acquaintance with Hilal Can, you worked together at the Cult Pump studio recently, what kind of artist is she, were you satisfied with the work that emerged?
Hilal Can is a bit like myself, a restless soul, working with multiple medias. We met a few times before, and this time there was time to invite her to do prints here! She made a mini-zine/ poster here which turned out really cool. The Cult Pump is a meeting place for artists, as I said, so the process of doing stuff together without knowing the final result is just as important as the actual products.
We see that the graphzine scene is very developed across Europe, especially in France and Germany. What would you say if we asked you to summarize the independent publishing and similar counterculture movements for Denmark ?
Denmark hasn’t got a lot of counterculture movements. I guess you can say that people in Scandinavia are generally satisfied with their government. There use to be a strong squat/ autonomous movement in Copenhagen, particularly in my neighborhood, but I’m not sure where it went. It’s the gentrification, like everywhere else. So historically, the zine culture is mostly tied to those very political, anarchist movements. Recently there´s more and more zinefest being organized in Copenhagen though, and the tables are very diverse. I see it as a sign of people being fed up with mainstream culture.
Contemporary Scandinavian art and design is very plain, gray and boring, and I think I do respond to that by doing the opposite.
Northern Europe has always had a plain graphic world in terms of humor and cartoons, I think you managed to break this atmosphere as Cult Pump. Is there a school or graphic discipline that you take as an example, or are you developing your own style?
We do have very good (and fun) cartoonists in Denmark ! Lesser known (and not translated) cartoonists like Storm P. and Claus Deleuran to name a few. Back when Christianity came to Northern Europe and church were built, locals were asked to decorate the churches with images from the Bible. Some of those paintings still exist, and they are super raw and weird, and very humorous too… Contemporary Scandinavian art and design is very plain, gray and boring, and I think I do respond to that by doing the opposite. And its no secret that I’m strongly influenced byAmerican Underground Comics, French Graph´zines (Dernier Cri, etc.) but also tons of other things like Pulp Art, B-Movies, Manga, Art Brut, etc… Obviously! But also the more conventional and canonized art history is interesting to me. I just came back from the post office, I bought this second hand book by Bonnard, I think his paintings are awesome.
I try to keep Cult Pump open by not “curating” it to strict. My taste can be a restriction. I hope that other people can shape it. That said, most people I work with are working with drawings and graphic art one way or the other. And I publish artists or book projects that other publishers would’nt touch, even with a ten foot pole!
GUNK – ANDY BOLUS
The Cold Fact ft. Zven Balslev, 2018
GUNK – ANDY BOLUS
Re-issue of GUNK
‘GUNK was originally a self-published photocopied zine by Andy Bolus released in 1994 and reissued once in 2008 on the french label Kaugummi books. Some of the stuff from GUNK has been printed in the anthology “Hopital Brut”, in “Deathneyland” and “Group Sex Explosion” from Le Dernier Cri. GUNK is the ultimate punk/situationist comix zine. You get hilarious, defaced romance stories, fake ads, weird collages, and Bolus´ trademark oozing drawing style: If HR Giger was working for Lucio Fulci this might be close to the result. Somehow the visual equivalent of the Boredoms loud, bizarro and abrasive noiserock.’
Zven Balslev at the book fair
the response by the public in general is very positive I must say !
You attended Chart Art Fair recently, how was the fair for Cult Pump, how was the interest in books and the serigraphy examples ? Do limited editions produced in recent years reach qualified collectors or do they appeal to a certain sub-culture?
“Chart” is this commercial art fair, organized by the Copenhagen art galleries with big money. I’ve been avoiding it ever since it started 10 years ago. But this year, they extended with a book fair, and they invited me to take part. I like books, prints, multiples, art books, I like the fact that its popular and affordable – compared to the art market. It won’t cost a gazillion euros just because some rich scumbags needs somewhere to place their blood money. The stuff I am publishing, including the limited edition prints, do not appeal to rich art collectors. But the response by the public in general is very positive I must say! At the art fair, as well as at the comic-con.
Is there a new project you are working on right now?
Right now we are working on the number eight issue of Radbrækket, for the first time we are trying to raise money via kickstarter. There’s also more books to come, one “Leporello” with the Danish artist Anna Stahn. Then I have to take a break from book publishing and work with paintings for an exhibition in January 22.
Thank you very much for the interview Zven, Good Luck !!
“Nous ne manquons d’idées, ni d’envies et comptons bien rebondir bientôt et continuer à propager la Joie Panique à travers le monde.”
L’ Interview avec Joie Panique Éditions vol.2
Bonjour Célia, l’interview que nous avons eue il y a deux ans a vraiment attiré beaucoup d’attention et elle m’a fait très plaisir. Bien que vous soyez une jeune publication, de quoi dépendez-vous pour avoir déjà un public aussi large que celui-là ?
Merci Erman ! Nous n’avons pas l’impression d’avoir un public très large… Nos publications restent encore confidentielles. Bien sûr, nous essayons d’utiliser les réseaux sociaux pour faire connaître nos livres, et nous comptons aussi beaucoup sur les libraires que nous démarchons seules !
Nous vivons en quarantaine depuis environ un an. Comment le processus de pandémie auquel les activités ont été suspendues a affecté la scène culturelle et artistique parisienne; Comment avez-vous affecté le processus en tant que JP ?
Comme tout le monde, les restrictions sanitaires nous ont durement touchées. Nous avons été freinées dans notre élan : d’abord par la fermeture des librairies, puis par la difficulté sociale qui a touché tout le monde, et enfin l’impossibilité d’organiser les événements (dédicaces, rencontres, salons, festivals) que nous avions prévus. Nous ne manquons cependant ni d’idées, ni d’envies et comptons bien rebondir bientôt et continuer à propager la Joie Panique à travers le monde. ; )
Stéphane Blanquet pour FEU (2019)
Quel genre de relation entretenez vous avec Blanquet et UDA en que JP ? Je ne savais pas que vous travailliez ensemble.
Blanquet est un artiste que l’on admire depuis toujours. Il est présent dans tous les livres Joie Panique. Et les éditions United Dead Artists sont bien sûr une référence et une source d’inspiration pour nous. Le fait que l’une d’entre nous (Célia) travaille avec lui sur la Tranchée Racine hebdomadaire est juste une ramification sans lien direct si ce n’est la curiosité insatiable, l’amour pour les belles images et le plaisir de le soutenir dans son projet fou !
Joie Panique exhibition au Bar à Bulles à Paris, 2019
Nous pensons que les émotions, fantasmes et pensées seront toujours plus forts que le medium par lequel ils sont exposés.
Souhaitez vous parler des développements depuis 2019 ? Je pense que vous avez organisé une soirée de lancement pour Prèmices et une exposition pour EAU & FEU. Quelle ligne comptez-vous continuer dans la période à venir ?
Depuis 2019, après PRÉMICES, nous avons publié deux nouveaux recueils qui se répondent en réunissant les mêmes artistes sur deux thèmes complémentaires : FEU et EAU. Nous avons effectivement fait une belle soirée de lancement à cette occasion, avec une exposition de toutes les images JOIE PANIQUE, au Bar à Bulles à Paris ! Depuis, nous réfléchissons à de nouveaux projets, sans doute hors recueils thématiques (pour lesquels nous souhaitons faire une petite pause) : peut-être des monographies d’artistes ou des duos textes-images… Le Covid nous a certes ralenties, mais nous n’avons pas dit notre dernier mot !
Feuilletage panique du recueil artistique collectif de Joie Panique Éditions : FANTASMA !
Au final, il revient à chacun de saisir la beauté, la singularité, ce qui le touche, et de laisser le reste de côté.
Dans une géographie où de nombreux artistes, éditeurs et galeristes travaillent notamment dans les grandes villes comme Paris et Marseille en France, cette situation alimente-t-elle un certain environnement concurrentiel ? Si “oui”, où vous voyez-vous dans cette atmosphère ?
Nous sommes conscientes qu’il existe une offre plurielle voire pléthorique dans l’édition indépendante de nos jours (ce qui rend plus difficile de nous faire connaître vraiment), mais nous pensons sincèrement que nous pouvons tous être complémentaires et qu’il devrait y avoir de la place pour tout le monde. Et cette profusion peut aussi être une émulation.
Qu’aimeriez-vous dire sur des écrivains comme Lydia Lunch et Kathy Acker? Qu’est-ce qui rend ces vieux artistes si spéciaux pour vous ?
Oui. À titre personnel, ces artistes font partie de nous, de nos références, depuis notre adolescence, et nous semblent parfois bien plus audacieuses et transgressives que de nombreux artistes actuels. Elles restent essentielles pour nous, et on retrouve leur empreinte dans nombre de mouvements d’aujourd’hui.
Markus Åkesson ‘Psychopomp Club’ 2014
Nous vivons à une époque où la «visibilité» à travers les médias sociaux est au premier plan; Pensez-vous que cette roue de production-consommation d’image rapide et les réseaux de partage nuisent et déprécient l’Art et l’artistique?
Oui et non. Nous pensons que les émotions, fantasmes et pensées seront toujours plus forts que le medium par lequel ils sont exposés. Mais il est vrai que les réseaux sociaux peuvent induire une surconsommation voire une surenchère qui pose question… Au final, il revient à chacun de saisir la beauté, la singularité, ce qui le touche, et de laisser le reste de côté.
Merci d’avoir pris le temps de parler, nous sommes impatients de voir les nouvelles éditions de Joie Panique, si vous avez quelque chose à ajouter pour les lecteurs, soyez les bienvenus.
Merci à toi Erman, pour ton soutien indéfectible et ton enthousiasme ! À très vite pour la suite, stay tuned !!
Confinez dans la beauté avec les livres Joie Panique !!!
Mine genç ve yaratıcı bir sanatçı, onunla Big-Baboli Şarküteri sergi döneminde tanıştık. Dergimizin ikinci sayısının konuklarından, “Hepimiz birer büyücüyüz.” diyor ve cadı olmaktan korkmamamız gerektiğine dikkat çekiyor, Mine’yle sanat, hayat ve yeni çağ üzerine söyleştik. (2021 Kış, Kadın Harekatı Dergisi)
Mine merhaba, Avrupa’ya taşındığından, çalışmalarına orada devam ettiğinden bahsettin, İstanbul’dan ayrıldığından beri neler yapıyorsun?
İkinci memleketim Danimarka’ya dönüşümden bu yana kalacak yer ve yemek karşılığında bir çok yerde çalıştım. Konakladığım yerlerdeki insanlarla tanıştıkça zamanla mekanlar için de çizmeye başladım. İlk olarak eski bir seramik fabrikası için bir iş yaptım, orada çok şey öğrendim ama çok da zorlandım, ikincisi şehirde bir hosteldi ve kaldığım oda delirtici derecede ufaktı. Şimdi şehrin dışında Earthwise isimli bir yerde çalışıyorum; her şey çok tatlı fakat kendi evim olmadığı müddetçe işime ve kendime odaklanmam hep yarım kalıyor. Şu an için part-time işlerle meşgulüm, bir yandan burdaki işlere yardım ederken diğer yandan da etrafı tanımaya çalışıyor ve kendi işlerime ayırabileceğim boş zamanları kovalıyorum.
Lumineh ‘Black Beauty’ 71×50.5cm kağıt üzerine giclee baskı
“Sanat, duyguları olduğu gibi ifade etmektir.”
Ne zamandır sanatla uğraşıyorsun, şu ana kadar Lumineh olarak nasıl bir yol izledin?
Başka sanatçılar için nasıl bilmiyorum ama “sanat nedir, ne değildir?” ya da “hangi sanatla, nasıl ve neye göre?” sorularını cevaplamak benim için pek de kolay değil ama sanatçı bir ailede doğup, büyüdüm.
Oraya-buraya boyayan bir çocuk olmak hiçbir zaman sorun olmadı fakat başka sorunlarım vardı, belki de bu yüzden boyamak hep iyi geldi.
Sanat, hayatımda hep vardı ama şu an için bile sanatı istediğim şekilde hissedemiyorum. Sanat kendini ona bırakmak gibi geliyor bana ve ben bunu henüz başarabildiğimi düşünmüyorum.
Benim için sanat duyguları olduğu gibi ifade edebilmektir. Bazı insanlar belki bunu yaşıyorlar, farkında bile olmadıkları bir akış içindeler.
A little pose for Animals in Fiction sweatshirt
Lumineh mahlası henüz yeni; eski mahlasım ‘Lillust’ı bir sebepten dolayı sonlandırmam gerekti, aynı şekilde ‘Dragons of Mine’ı da. Sadık kaldığım bir ismim (mahlasım) olsun isterdim ama beceremedim.
İşlerimi dekoratif buluyorum; bu ifade biçimine daha yatkınım. Aynı zamanda kıyafetleri boyayarak başladığım ‘Animals in Fiction’ projesi de zihinsel olarak halen devam ediyor. Hayvanları, canlıları ve tabiatı algılayışıma en yakın biçimde yorumlamaya çalışıyorum. Kimi zaman bu ihtiyacımın gerisinde kalıyorum ve bu delirtici olabiliyor. Tabiatın ve hayvanların sanat literatüründeki yorumları bana halen çok ilginç geliyor. Gerçek anlamda tanımadığımız bu varlıklardan nasıl oluyor da böylesi insanca yorumlar üretebiliyoruz, gerçekten şaşırtıcı !
Lumineh ‘Chimera’ 2018
Çizgiye dayalı bir sanatçısın, body painting’ten mural-art’a birçok farklı disiplinde işler beceriyorsun; en son devasa bir canlı-çizim performansı sergiledin, yaptığın işleri nasıl değerlendiriyorsun?
Kağıtta iş yapmak bir noktadan sonra sıkıcı gelebiliyor; beden, kumaş, duvar gibi yüzeylerde imajlarımın canlanması ise, işe ayrı bir heyecan katıyor.
Kendimi boyamak, vücudumu, zamanımın çoğunu harcadığım işe dahil etme ihtiyacımdan kaynaklandı, çizmek çoğunlukla hareketsiz bir iş olduğundan bedenim biraz sevgisiz kalmıştı ve çizgilerimle yeniden kendine geldi. Bir şeyle barışmanın en iyi yöntemi birlikte sevdiğiniz şeyleri yaparak zaman geçirmektir.
İçinde kaybolduğum canlı beden-çizimlerimin devamı gelecek, pek yakında… Bu konuda çok heyecanlıyım aslında ama hayat gailesinden ertelemek durumda kaldım. Deneysel boyutta, daha dışavurumcu çalışmalar planlıyorum.
Mural Art by Lumineh (2018)
Bir çok yetenekli gencimiz var, ama çoğu dekoratif düzeyde kalıyorlar, kendi sanatını keşfetmek, ortaya çıkarmak için sence neler gerekiyor? Sen kendini hangi düzeyde görüyorsun?
Sanat konusunda düzey tespit etmek pek kolay değil, üstüme vazife de değil. Ama sanatçılar ilgimi çekiyor, sanat yapmak da ilginç geliyor, başka sanatçılarla bir şeyler yapmak ise en güzeli. İyi hissettiren, heyecanlandıran projeleri, insanları bulup orada, onlarda birlikte olmak gerek.
Geçmişte, üretilen işin eşsiz, daha önce hiç yapılmamış çok önemli şeyler söyleyen bir iş olması gerektiğini düşünürdüm. Bizden o beklenirdi : Aile, okul, iş hayatı hep yapılanın en iyisini yapmazsak, işin değersiz olduğunu ima ettiler fakat başkalarının ötesine geçemeyiz, ancak yeterince odaklanarak kendimizin ötesine geçebiliriz.
Lumineh, Kağıt Üzerine Mürekkep, 2021
‘Revolution will not be televised, it will be internalized.’
İnternet ve sosyal medya vasıtasıyla görünürlüğün toplumsal bir norma dönüştüğü, içinde yaşadığımız bu hızlı imaj üretim-tüketim çarkında sanatı, (sanatsal olanı) sen nasıl konumlandırıyorsun ?
Kapitalizmin sunduğu, hızlı üretim-tüketim amaçlı (içi boşalana kadar harcadığı) imgelerle bağımız ne düzeyde onu düşünüyorum. Yaratıcılığımız ve hayal gücümüzün üzerine çömmüş gibi bir şey.
Lumineh, Kağıt Üzerine Mürekkep, 2021
Öz-benliğimiz bize unutturuldu,
Teknoloji ve internet’siz neredeyse birer hiç olduğumuz bize ezberletildi.
En büyük derdim bunu hatırlamak ve hatırlatmak, şüphesiz sanat bu konuda en iyi rehberlerden biri. Tabii ki internet’in faydaları ve iletişim imkanlarını da yadırgamıyorum ama garip bir yerlere gelmeye başladık ve zaman içe dönme zamanıdır.
Sergilediğin işlerde lirikal kompozisyonlar, düşsel temalar, dans ve maji hep bir aradalar; astroloji ve New-Age merakından bahsetmek ister misin; neler okuyorsun?
Çalışırken dinlediğim bazı kitaplar, söyleşiler ve yazılar var. Bu aralar ‘Teal Swan the Anatomy of Loneliness’, Matt Kahn’ın her türlü konuşması ve Maryann Rada dinliyorum. Ayrıca burada bir kaç kitap da buldum, bunlardan biri ‘The Mushroom at the End of the World’. Bir de CrimethInc yayınları’nın çok faydalı olduğunu eklemeden geçemeyeceğim. Karşımda ‘Imagining Nature, Practices of Cosmology and Identity’ ve ‘Nature Spirits & Elemental Beings’ var fakat buraya taşındığımdan beri maalesef bir türlü başlayamadım.
Ormanın Ruhu Lumineh
‘Cadı olmaktan korkmamalıyız !’
Söyleşi için çok teşekkürler, sanatınla bizleri büyülediğin için de ayrıca teşekkürler. Kadın Harekatı dergimiz ilk sayısıyla okurlarına ‘Merhaba’ dedi, son olarak kadın bir sanatçı olarak dergimiz, uluslararası kadın harekatı ve kadınlar için neler söylemek istersin?
Tüm tecrübelerime dayanarak en başta kendimize iyi bakmamız gerektiğini söyleyebilirim. Kendimize sahip çıkmamız gerekiyor. Cadı olmaktan korkmamalıyız, olduğumuz gibi olup, kendimizi inkar etmeden yaşamalıyız. Biz kendimizi inkar edersek başkaları da inkar etmeye başlıyor. Varoluşumuz bu iç-kuvvetin gerçekleşmesiyle zamanla kolektif bir güce dönüşecektir. Kadın-erkek ayırmadan : Bu durum hepimiz için geçerli. Her konuda şu an garip bir noktadayız, belki yepyeni bir algıya erişeceğimiz sancılı bir dönüşümün içindeyiz ve bu yaşadığımız süreç önceden inşa ettiğimiz çoğu şeyin anlamsız kalacağı bir boşluk dönemi de getirebilir. Buna inanmak en iyisi yoksa kafayı yiyebilirim !
Ve ben de teşekkür ederim, emeğinize, aklınıza sağlık, bereket ve kuvvet diliyorum.
Fransız sanatçı Stéphane Blanquet 1980’lerden bu yana çağdaş sanat dünyasındaki en üretken figürlerden biridir. İllüstrasyon, çizgi film, tiyatro, yayıncılık, sanat yönetmenliği gibi bir çok farklı dalda çalışan Blanquet, çocukken izlediği ‘Creature from the Black Lagoon’ filminden çok etkilenir ve bu deneyim onun mitoloji ve popüler kültür kodları arasında güçlü bir bağ kurmasına yol açar: Çizgi romanlar, şaka oyuncakları, sihirbazlık ve lunaparklar.
Hem sanatçı hem de yayıncı olarak üretken bir pozisyonda olan Blanquet çok geçmeden 1990’ların başında yeraltı sanat dünyasının liderlerinden biri haline gelir. Eserleri 1993’te Paris Regard Moderne‘de, 1996’da ise Amerika ve Kanada’da sergilenir. Çalışmaları Blab!, AX gibi çizgiroman antolojilerine girer. 1996 yılında Angoulême International Comics Festivali’nde yayıncılık alanında prestigious Alph Art du fanzine ödülüne layık görülür.
Blanquet 2007 yılından bu yana United Dead Artists isimli yayınevi işletmektedir. Roland Topor, Gary Panter, Tanaami Keiichi gibi büyük sanatçıların kitaplarının yanısıra Tendon Revolver, Muscle Carabine, Tranchée Racine gibi çeşitli dergi ve özel edisyonlar da yayımlamaktadır.
This is the 10th of 42 issues. It features artworks by the following artists:Natsuko Tanihara, Arnaud Loumeau, Pascal Doury & Bruno Richard, Zven Balslev, Tommaso Buldini, NEHAMA, Orsten Groom, Gea Philes, JJ Cromer, Thomas Ott, Laurent Benaïm, Tony Fitzpatrick.
Stéphane Blanquet & the Tranchée Racine team
‘Stéphane Blanquet is a prolific figure in the contemporary art scene since the end of the 1980s. He creates and is involved in the graphzine scene, art installations, artwork, urban art, animation movies, theater, books, publishing, art direction. He has been strongly interested by the myths and codes of popular culture: illustrated magazines, joke shops, magic tricks, optical illusions and fairground art.
In the 1990s, Blanquet was very active both as an artist and a publisher and became one of the leaders of the underground art scene.His art was exhibited at the “Regard Moderne” gallery/library (Paris, France) in 1993 and 1996, in the USA and in Canada. It has been published in Blab! (USA), AX (Japan) and in Europe. In 1996, he received the prestigious Alph Art du fanzine prize at the Angoulême International Comics Festival for his work as a publisher…‘
Tranchée Racine Hebdomadaire – N°9, 2020
La Tranchée Racine Hebdomadaire N°9
This is the 9th of 42 issues. It features artworks by the following artists: Damien Deroubaix, Alice Hualice, Jeremy Boulard Le Fur, Margaret Curtis, Aleksandra Waliszewska, Olivier de Sagazan, Gonzalo Garcia, Nazanin Pouyandeh, Erik Thor Sandberg, Les Krims, Ion Birch, Kwame Akoto.
This is the 8th of 42 issues. It features artworks by the following artists: Ryan Heshka (cover), Julia Wernig, Féebrile, Francis Deschodt, Nicolas Pegon, Paul Henderson, Hermann Josef Hack, Jon Todd, Marc Brunier-Mestas, Betty Tompkins, Philipp Kremer, Matthew Barney.
magazine de proximite
Buy it at the Halle Saint Pierre, in all the good bookstores or on blanquet.com
– you can also subscribe for the whole collection !! –
l’ensemble de la collection est disponible (pour un prix réduit) lors de la souscription
LÖPÇÜK 