Anarchy of a Wolfheart: Crippa Almqvist

Crippa Almqvist, January 1996, Berlin

Crippa Almqvist is Swedish artist who lives and works in Berlin since he moved in 1996, he says he is an ‘The Incredible Strange Creature Who Stopped Living And Became Mixed-Up…with weird comix.” and not unfair either; he is one of the most interesting profiles in europian modern comix movement with his splatter lines, laconic humor, collabrations with different artists, old school punk attitude and Garfield abstractions. Also he is an important part of the Berlin based underground comics festival Bilderberg Konferenz, a DIY comic feast that makes many talented artists have found their way to an international audience.

And now is the time to talk and get to know this festival’s creator artist Crippa Almqvist and let’s see what he will tell us!

A Garfield Rip-Off by Crippa (2023)

“And nowadays I fast get bored of having to write and post the same ol’ shit again and again all over the place on social media. It feels like I’m trying to shovel my own shit into people’s throats ’til they f**kin’ choke. It’s veeery annoying.”

Hello Crippa, we have been following your drawings and comics for a long time. For readers who don’t know you, would you like to tell a little about yourself?

I was born on the 6/7-67 in a small town called Finspång, just outside of Norrköping in Sweden, by two Finnish parents. There I lived my first 2 years before moving to Västerås. It was in Västerås I lived my important part in life called childhood and teenage ..and it was also there I discovered comix and punkrawk. In January 1996 i moved to Berlin, Germoney, where I’ve been living for over 27 years. I was a Finnish citizen until 1989, when I changed it into getting a Swedish citizenship. This just to get rid off having to do the mandatory Finnish army service. ‘Cuz there I would’ve been forced to cut my then very long hair to become really short. (Hmm, is this enough of “telling a little about myself?”)

When have you been started to interested in art? What drew you to this underground comics adventure?

I became interested in so called “comic art” at the early age of 4-5 years in 1971-72. It was then I discovered kids’ comic books like Pellefant, Bamse and Peo, which I loved even though I couldn’t read. Then after I learnt how to read, I moved on to classic Franco-Belgian comics such as the Smurfs, Spirou, Asterix, Lucky Luke, Gaston and of course Hergé’s Tintin. But my absolute fave was the great Swedish adventure comic “Felix” by Jan Lööf. And it still is, actually. Well, at least one of them. Felix is known as the Swedish Tintin, but has a more typical 1970s radical left wing political view that nearly all Swedish childrens culture had around that time. Especially most stuff made for kids on TV. Jan Lööf was also part of the great classic Swedish TV-series called “Tårtan” (=The Cake), plus he made an amazing stop-motion series called “Skrot-Nisse” (=Scrap metal-Nisse). But I wouldn’t say that “Felix” was an underground comic, even if Jan Lööf probably was quite inspired by some American underground comic artists, I guess. Felix is more an all-age adventure comic, just like Tintin, but drawn in a black and white really cool and somewhat naive style. It was first in 1979 that I discovered real underground comix. And like most other people it was by seeing iconic comic drawings such as “Keep on truckin’ “ by Robert Crumb.

Crippa Almqvist x Zeke Clough collabration drawing

“Cuz I know that when I see other people just using social media to always sell something, it then has a pretty negative effect on myself. That I then chose not really to follow and read what they post up.”

Was it punk rock scene or comics that drew you to the underground publishing? What types of fanzines have you published so far apart from comics?

Well, I started to draw comix before I even knew what punk was. As an 11 year young kid I dreamt of creating my own Tintin/Felix- character who would experience weird adventures full of thieves and monsters that then would be released in album format by Carlsen Comics. It never happened. In 1979 Semic started an amateur comic book called “Svenska Serier”, to which I was about to send in my comics. And even if I knew about Swedish comic zines after reading some issues of Thud! (now called Bild & Bubbla), I still never actually thought about doing my own comic zines.

Crippa’s cover version of a page that Jan Lööf made for his comic book “Felix och Varulven” (=Felix and the Werewolf). Crippa made this cover version as a homage to Jan Lööf for the absolute first Bilderberg publication in 2015.

Modernes PoP nummer 1 (1981)
Crippa Almqvist, Krister Dahlberg and Conny Kronholm from the punkband called “Syrebrist” 1982

It was more after I got into punk in 1981, and having bought my first ever punk zine called “Modernes PoP” (from my hometown Västerås), that I came up with the idea of making my own punk zine called “Muzik Zwett”. I made an interview with a punk band called Slobobans Undergång after they had played a gig in Bryggis 1982. I also made a letter interview with another punk band from Gothenburg called Sötlimpa, and of course an interview with my own band called Syrebrist. (I was singing and played a 2-stringed bass, while Krister Dahlberg played drums and Conny Kronholm was on guitar and vocals. We all then were 14-15 years young kiddie punx.) When it got time to print the zine, I noticed it wasn’t gonna be as easy as I thought. I had hoped that I could sneak into the schools photocopy room, and there use their copy machine for free. That didn’t work out. Around this time there wasn’t as many copy shops as there is now, and the only place I found with a Xerox was way too expensive for my poor economy. So I ended up doing just one lousy copy of the zine for myself. Sadly this only copy got thrown away by my dad, and is now long gone forever. The zines I’ve made afterwards has all been comic zines. Some I’ve done alone, and others has been made together with the people I’ve drawn the comix with. For example “Dollmatrix Rrrrawk” I released together with Zeke Clough and Marc van Elburg. And “Skinny Mummy” was released with Zven Balslev in 2 different versions.

Swedish Punk Compilation Tape dated in 1985 which Crippa Almqvist was playing tambourine and singing in the background with Panikbazill band at the songs 3, 4, 5 and 6 on the first side, side A..

A page taken from Cripps’s comic called “xXx-Files – You Can Do What You Want” (2016)

Bilderberg zine (2022)

“The whole process of doing a zine from drawing the comix to doing the actual layout, photocopying, folding and stapling is pretty fun. It’s more the actual part of selling and getting rid of those finished zines that is a pain in the ass. It then feels like I must turn myself and the zine into becoming some kind of marketable product.”

And nowadays I fast get bored of having to write and post the same ol’ shit again and again all over the place on social media. It feels like I’m trying to shovel my own shit into people’s throats ’til they f**kin’ choke. It’s veeery annoying. ‘Cuz I know that when I see other people just using social media to always sell something, it then has a pretty negative effect on myself. That I then chose not really to follow and read what they post up. Well, I know I could also trade my zines with other people and get their zines. I have also done that. And yeah, of course there’s many great zines being made, but let’s be honest here. There’s exist plenty of shitty zines. Really boring ones that is a sad excuse for cutting down trees in the rain forest just to produce shitty zines out of. And trust me, my flat is full of them. I absolutely prefer to send in contributions to different anthologies, and let those people take care of this boring part of selling them.

From Bilderberg Konferenz
‘CRIPES! #2’. A 54-page zine (2022)
One of the panels Crippa made to “Skinny Mummy”. A comic that was drawn in collaboration with Zven Balslev in two different versions.

I’m pretty content nowadays being a part of Bilderberg, where I just can draw my comix a bit with the layout ..and then having all those zines to be given away for free to all people attending our Konferenz. Easy peasy. Btw, the last years topic for our Bilderberg publication was actually “Underground comix/DIY punk/Zine culture”, so finally I’ve now been part of releasing a punk zine as well. And it was fun to do, and it also became a really good zine. It seems like many others also liked it very much, so I now might continue to do a spin-off to our Bilderberg publication. Well, of course we will continue to do the annual zine/book for the actual festival. Our annual publication which always will investigate different genres of comics. We already been having topics such as Garfield, Chick-tracts, cross-gender Tintin(a), autobiographical Tijuana Bibles etc. But hopefully we now will continue to do a punk zine with 1 or 2 issues per year. Zines with a good mix of underground comix and art ..and interviews, articles and record reviews etc. We still haven’t decide a name for it yet, but maybe it’ll be ..uh!, “Bilderburger”, or something.

Some exquisite corpses by Crippa Almqvist
Colorful collaborations together with Daniele Murtas and Wolfie Wolf and my 11 year old Crippa Almqvist
Colorful collaborations together with Daniele Murtas, Wolfie Wolf and my 11 year old Crippa Almqvist

Do you have an academic education or are you a self-taught artist?

Naah, I have absolutely no education at all. Autodidact. I started to draw in a very early age, and then just continued to draw in my own quite stiff style. Well, I sometimes did try to copy other comics when I was young. It was humor comics like Knasen/Beetle Bailey by Mort Walker, and Don Martin in Svenska MAD. Yeah, you know ..stuff like that.

Crippa x With Karla Paloma no.2 (2019)

I had the chance to get to know you with those symmetrical portrait drawings you produced with different artists, I love the flutter on these faces. Did you produce these for a specific project or were they purely arbitrary?

Well, I don’t know exactly which of all the exquisite corpses & -faces you now mean, but I guess it might be those that was included inside our Bilderberg adaption of “HansWursts Hochzeit” by Goethe. If so, then they were all drawn together with my fellow BK conspirators Al, Daniele, Mat, Fufu and Karla for that portrait gallery which you found in the middle of the story. Goethe wrote a list of nearly 200 wedding guests with funny names, so there was many portraits that had to be done under that summer. All these portraits should be drawn as homage to Basil Wolverton and his spaghetti and meatballs school of cartooning. I thought if some of those portraits would be drawn as exquisite corpses ..that it then would produce some really funny grotesque looking faces. And yeah, it sure did.

Then, when I started to browse through your comics, I realized that you had been dealing with these jobs for a long time. Would you describe yourself as an illustrator or a comic book artist?

Dunno. Probably as a cartoonist when I draw comix, and maybe illustrator when I just draw stuff. But I think I’ve actually never called myself an illustrator. Sounds pretty ..uhhm, “pretentious” to me. Same goes for the word artist. You know, like:

-“Hellö, I’m Crippa. And I am an aaawrtist!” Naaah, I just draw silly comix, so that makes me a cartoonist, I guess. But hmm, mostly I just say that I draw comix.

Two pages taken from the Bilderberg DIY Punk Underground Comix Zine in 2022. Left: Mat Pogo / Right: Crippa Almqvist & Wolfie Wolf
A page from Crippa’s Autobiographical Tijuana Bible called “Love Sucks …but Loves Suck”, which he did for the Bilderberg publication in 2021

How do you publish your works? Were there any magazines you drew regularly? Or are you more active in independent publishing and fanzine world?

I selfpublish my own comix under my own label called “DeepPressInk”. These zines has all been photocopied, since I have a genuine love for such cheap and great looking punk aesthetic. Otherwise most of my newer comix has been published by Bilderberg in different printing techniques. Everything from Xerox and laser print to risography and offset. I also have contributed with comix, drawings and collages to the great Dutch successful megazine called “Kutlul”, which is edited by fellow Bilderburger Dirk Verschure and Joost Halbertsmaa. I’ve never drawn regularly for any magazine, and I think I never will. This since I presume no-one will ever ask me for doing so. And I’m still happy doing independent D.I.Y. publishing in the fanzine world.

Bilderberg Konferenz 8 Poster (2022)

I want to talk a little bit about Bilderberg Konferenz. How long have you been organizing this Berlin-based comics festival?

Me and Oska Wald already started to talk loosely about doing our own festival in 2010, but never really came to it. Then in the springtime of 2015 we both felt that we had enough of all the existing comic festivals in Berlin. We thought they were just getting more and more lame. It felt like they tried so hard to be taken seriously, and were more directed to commercial graphic novels, than they really cared about the Berlin underground comix scene. Me and Oska had just been to the Millionaire’s Club in Leipzig, and thought that such cool underground zine festival was exactly what Berlin was missing. A festival that would show people how much both underground comix and punkrawk has in common with D.I.Y. attitude. Berlin also has a very much alive and thriving punkrock scene, and we both personally know many people playing in bands here. Especially Oska, since he himself plays in both Chuckamuck and Die Verlierer. And of course we also know most of the other underground comix artists living here in Berlin. So we asked them one by one if they wanted to join, and soon we were a loose group of over 10 people. Our first festival was on the 23rd of September in 2015. It turned out great, and we all had a real cool time, so we decided that this we had to continue doing. And that’s how it started.

EGG MAN on top of the World !! (2022) Bilderberg Konferenz

“…it’s exactly this somewhat anarchist approach with a slight chaotic feel to it, which also is what makes that certain charm of the whole Bilderberg Konferenz.”

You mentioned that you work as a group of near 20 people as Bilderberg-Konferenz, would you like to talk about how you act as a team and the division of labor?

Well, we’re a loose group of around 15-20 people, with no leader. Everyone has as much to say and decide what we will do in a most democratic way. The inner crew members who mostly attend our meetings are the following:

Me, Oska Wald, Al Burian, Hannes Niepold, Andrzej Wroblewski, Fufu Frauenwahl, Dirk Verschure, Caro Wedekind, Daniele Murtas, Shou, Harald Kuhn, Vinz Zurwesten, Tinet Elmgren, Mariana Acebal Rodriguez, Cristina Vivez Brozgol, Ernesto Lucas HO, Romig Le Ourle, Ricaletto, Charlie Ramsbrock and Christian Zomber.

Then we also have a couple of outer crew members who never attend our meetings. This since they have no time for it, or they don’t even live here in Berlin. There’s been some people coming and going as well. Being a loose group with no leader can sometimes lead to unnecessary misunderstandings. Still we’ve managed to now do 8 festivals, with as many publications. That’s 8 festivals with even more great concerts. On our meetings we try hard to become a more functional team that divides the things between us. It’s not that easy, since we all get older, and some also have other real jobs and families to support. Still I think we’re just getting better organized for each year that goes. I presume it’s exactly this somewhat anarchist approach with a slight chaotic feel to it, which also is what makes that certain charm of the whole Bilderberg Konferenz. Please also remember that when I now talk about Bilderberg, that I’m then just speaking for myself, and not for the entire group. ‘Cuz we sure are a group of very many different individuals.

Bilderberg Konferenz group photo in 2018

Johnny and the Rotten (2022) Bilderberg Konferenz

What kind of difficulties do you encounter when organizing a festival without sponsors?

I wouldn’t say that there’s any more difficulties as if we actually would have sponsors. Well, maybe with sponsors we then wouldn’t have to pay for the beer and drinks out of our own pockets. I mean, we probably could ask some local brewery to sponsor us with free beer, but that would then just mean having their shitty logo plastered all over. Maybe even having their logo printed in our publication. And how very un-R’n’R would that be on a scale from 1 to 10? I’d say 11. We’re quite OK with paying everything from our own pockets, just so we don’t have to see any such stupid logos in our publication or elsewhere. And as long as we get enough money from the Zwangsspende and selling beer to cover all the costs for rent, PA, paying the bands a little money and for the printing of the book/zine and hopefully also having spare money over for next years festival ..yeah, that’s good enough for us. We all do this for the fun of it, and not for earning money. We just want to create a fun festival for everyone with rawkin’ bands, and release a great zine/book that goes with it. This also to show others that it actually is possible to create an uncommercial event, if you just find a bunch of like-minded weirdos who all are willing to work for free.

A Garfield detournement by Crippa

Do you have any advice for young people who want to organize similar events?

Just do it. Find enough friendly weirdos with a similar interest, and then just do it. You don’t have much to lose really, and absolutely more to win. ‘Cuz it actually isn’t thaaaaat difficult to start an underground comix festival, if you just set your mind to it. Of course it’s good if you find a place with cheap rent to have it. And maybe knowing people who play in bands. A comic festival is mostly fun, but can become a bit boring after some hours if there’s nothing more for people to see there than just comix. Like having great bands playing. Or people doing amazing live animations. Or people doing some kind of vaudeville circus show. Or showing animated short films. The more fun different weird stuff going on ..the better.

How many times has the Bilderberg Konferenz been held so far?

As I already mentioned before, then our first Konferenz was on the 23rd of September in 2015, and we’ve done an annual festival ever since. This year will be our 9th festival. So yeah, next year in 2024 we will actually have our ..ta-daa!, 10th anniversary. Yay! ..time to celebrate!

Poster: Bilderberg Konferenz 6 (2020)
Crippa Almqvist

“We want every underground comic artist all around the World to become a part of our Bilderberg Konferenz.”

We know that there are many different comic book festivals organized throughout Europe, as Bilderberg Conference, are there any points that you think make your festival special in Germany and continental Europe?

Well, I don’t wanna come off as a used car salesman here by saying that our festival is sooo veeery special. I just honestly think it rawks. Yeah, much more compared to the others here in Berlin. This due to that we not just have tables full of great comic books and -zines, posters, t-shirts etc, but also a lineup of really great rawkin’ bands playing. And often having Shou doing her amazing live animation, and also Ernesto entertaining us all with his unique and most wonderful personality. Hopefully our festival shows people how much underground comix and good ol’ punkrawk has to do with the genuine D.I.Y. culture. This by seeing how things actually can be done just for the love of doing cool stuff for yourself and others, more than doing it for a profit. I think we share a similar D.I.Y attitude as other underground comic/print festivals such as Crack in Rome, Gutter Fest in Barcelona or F**k Off Angoloueme in France etc.

Is there an opportunity to participate from abroad, or are only local artists included?

We’re absolutely open for having other underground comic artists from all around the world to participate in our festival. Except that we can’t pay for the travel or hotel rooms for them to come and stay here. But there always will be free tables for people to come and sell their own zines, books and stuff. No charge, ‘cept that it would be nice if they would give a free copy of their comic book/zine to our comic collector Andrzej, which then would end up as a contribution to our Bilderberg archive in the back room.

Is there any fixed date for the next festival?

Yes, this year, like always, it’ll be on the same weekend as the Berlin Marathon, which will occur on Saturday and Sunday the 24th/25th of September 2023.

Thank you very much for informing us about this interesting festival, which is not mentioned much on the internet in terms of preserving its authenticity.

Well, we like to keep a somewhat low profile on social media, since this is part of our secret Bilderberg image. There is some of us who have a genuine disgust for social media. Well, you still can find us on FB. There’s also a blogspot, but I guess there’s no one who’s updating it. We had an Instagram account, but closed it since a very stupid and most unnecessary incident happened some years ago.

Is there a political side to dealing with printed media and fanzines in this age where digitalization, internet and social media surround us and push the limits in a totalitarian way? If there is, what is it, can we learn? I don’t think you chose the name Bilderberg Konferenz just for a joke.

Well, we didn’t chosed the name Bilderberg Konferenz just as an unfunny joke. The German word “Bilderberg” also means a “mountain of pictures” in English, which fits perfect. Plus most of us Bilderberg’ers do have a somewhat radical anarchist/autonom point of view, as opposed to that other Bilderberg Group. So yeah, if now that evil capitalist elites can have their own boring Conference with God knows what evil, corrupt plans they talk about there ..well, then also we can have our most elitist underground comix Konferenz to reach World Domination. The word “elitist” is tongue in cheek. Or it? I forgot. Maybe it isn’t. Hmm, but are we not actually the very elit of the Berlin comic scene?

Q: Are we not men?

A: No, we are D-evolution.

We want every underground comic artist all around the World to become a part of our Bilderberg Konferenz.

Collabration drawing by Crippa Almqvist & Fufu Frauenwahl

“…we’re probably already doomed.”

I think and feel that we live in a century where value judgments are overturned in many respects, including in the field of culture and art, and societies are drugged.

-You mean that Television is the drug of a nation? the revolution will not be televised? Or that Big Brother ain’t watching you mate. It’s you .. you’re watching him. Or do you mean that information wants to be free? Internet maybe started as some kind of real revolution there in the 90s, but the leeches in power very soon took care of that. Nowadays it’s more used to stupify people, and keep ’em busy with their egos.

I am trying to draw attention in my own publications and in the events I organize to the fact that a bondage has emerged especially with the digitalization that has developed since the 2000s. Even though you live in a relatively rich and democratic country like Germany, don’t you think something’s wrong?

Well, I will now just speak for myself, and not for all the others in Bilderberg.:

Yes, I am pretty sure that there’s something seriously wrong with the state of the World, and how it has been ruled these last couple of thousand years. I sometimes would even go so far to say that we’re probably already doomed. There was a time when I was afraid of the coming apocalypse. Not anymore. I’d say that the human race has sadly now become sooo very stupid that we actually deserve whatever apocalypse that is approaching us. We humans do all know better deep inside ourselves, and this since a very long time, but still we’re chosing to continue rape and kill our Planet. To really save the Earth would mean that we ALL have to start living in a complete new way from how we are used to. I think most people like to say that they are willing to do so, but when it comes to a real change of lifestyle they never will. Most humans has now sadly become so very used to their comfortable modern lazy lifestyle. A lifestyle of having Deliveroo to deliver their food; or taking an electro-scooter for buying a packet of cigarettes just around the corner etc. I should stop here before I come off as a negative ol’ geezer who has lost every bit of hope that the human race ever will wise up.

Chuckamuck ‘Men kiosken runt om hörnet där jag bor’ 2021
Crippa Almqvist (A photo taken just after they closed the Bilderberg Konferenz in 2016, and was all just about to go home.)

“Cuz most young people of today seem to be very self-absorbed having extreme ego problems. They just care more about what other people think of them and how they look, than they ever will care about the environment.”

If we consider that Germany where in the past serious radical left organizations sproud such as R.A.F., S.P.K. can we talk about a real counter-culture for Berlin (today) has a strong political ground like in the 60s and 70s?

Well, we can talk about it if you want, yes. Except that I was born and raised in Sweden, and not in West Germoney. But I sure grew up knowing the existence of R.A.F. in Sweden as well. One of their so called commandos took hostages in the West German embassy in Stockholm 1975. And then later another commando planned to kidnap the swedish foreign minister Anna Greta Leijon, in exchange for some R.A.F. members to be released in 1977. When I was a young naive teenager I kind of had strong sympathies for R.A.F., and also for Brigada Rosso, I.R.A. etc. ..but I can’t say I still have. I think Ulrike Meinhof had some very intelligent things to say, but can’t say the same about Andreas Baader. It seems like he more wanted to be some kind of terrorist rockstar. I presume he just wanted to get laid by as many radical left-wing hippie chicks as possible. Well, nothing wrong with that maybe.

Crippa Almqvist “Kein Mampf!” 2013

When it comes to if it exists a counter-culture with a strong political ground right now here in Berlin, then I think I am not the right person to ask. I do know that there is many young people who support Fridays For Future, Extinction Rebels and die Letzte Generation. In a way it makes me happy to see that there IS young people who DO care about the climate crisis, and who actually do wanna save our Planet. But I can’t really see their point of throwing instant mashed potatoes on artworks inside Museums to make people more aware of the seriousness of the climate change. I think the majority of that grey mass of people they want to reach with their actions ..mostly is people who follow shitty media such as Bild, RTL2, Berliner Zeitung, PRO 7 and their way on how to spread news. Meaning that the grey majority will think that die Letzte Generation just do imbecile and very annoying actions, instead of raising more concern about the climate change. And when I sometimes on a Friday evening go with the U-bahn, and there must hear what young people around me say, and see how they behave ..well, then I lose all my hope for the young generation pretty quick. ‘Cuz most young people of today seem to be very self-absorbed having extreme ego problems. They just care more about what other people think of them and how they look, than they ever will care about the environment. But maybe all young generations before has always been this very shallow? Naaah, I don’t think so. Never this amount of shallowness.

A message from Crippa

“Make comix NOT conflicts.”

What can be done to create a serious alternative to the current techno-industrial system, what would you recommend, beyond creating its own economy by making all this sub-culture and punk-rock adventure into a show?

I’m not really sure if I understand your question here, but I guess I’d say that more people should actually start to think even more about their own attitude to what they consume. I know many friends telling me that they’re sick’n’tired of consumerism, and the way how capitalism produce crap products that just rapes and kills our Planet. Still I sometimes see exactly the same people themselves buy completely unnecessary shit. Everything from new entertainment products, to cheap souvenirs as presents when they are tourists. But hmm well, to each their own, I guess. I don’t wanna come off as someone telling other people how to live their lives. This I did enough when I was young and thought I knew everything. But at least people could think a bit more about not consuming too much crap they don’t really need, or not even having the money for. “People buy things they don’t need for money they don’t have to impress people they don’t like”.

Crippa Almqvist

Well, just one last thing for people to think about: Maybe that all the money people actually would save from not buying unnecessary crap products, they instead could use to try making some of their dreams come true. Maybe buying a li’l cottage in the woods, and there live together with a bunch of friends and a couple of cute cats? Or perhaps releasing a nicely printed big fat book with all the best comics that they have drawn? Hmm, this maybe even I should do? F**k yeah. R’n’R.

As Bilderberg Konferenz, is there any Utopia you want to share with us, people?

Uff!, that sure is a question which I probably could continue to ramble on for hours and hours. But I better not. I just would like to say this: Make comix NOT conflicts.

DoN Toraneko ‘Mad Foxes Video Club’

Thank you very much Crippa for the interview, I tried to ask and learn as much as I could as Löpçük Fanzine, Thank you on behalf of all readers for informing us from such living city in Europe like Berlin, from the depths of the underground. If you have anything to add, please do.

Hmm. Buy my comi..more spaghetti. And don’t forget to eat your vegetables. Cheers.

For communication:

Crippa Almqvist

Bilderberg Konferenz

Like Tears in Rain: Antoine Paris

Antoine Paris is drawing at Maison Alfred Bruneau, 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 (

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.

Antoine Paris: le_colis_piege


Woman Behind the Sun: Mallie Hellström

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.

Mallie Hellström, sketch, ink on paper, 2017

Mallie Hellström, Collages on carton, Left: ‘Untitled’, Right: ‘Seculum’ A4, 2022

One Step Back

Three Steps Forward*

Mallie Hellström

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 @

Don’t forget to visit artbyhellstrm for more art.

Dövmedeki Çizgiler: Zeynep Mar ‘A Grotesque Phantasmagoria’

Zeynep Mar, Tattoo drawing

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
Reptilian Mar, 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 Marr (64) dekupe
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.

Interview by Çağla Bölek, March 2019 / yabangee – All photos courtesy of the artist.

For more information and contact:

Instagram: ZEYNEP MAR

Tumblr: ゼイネップ

Moleküler Adımlarıyla Şair: Eren Burhan

Eren Burhan, 2022

Haziran İki Bin Yirmi İki,

Bir Gecesi Gördüğüm Rüya

Eren Burhan

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
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 
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 
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 
jeneratörler sayıların müziğini 
Sepya kuyruğunda 
uzay doğunun

2017 Çanakkale

Otopside Buz Kal

Eren Burhan

Küçük gezegen kolyen
Yapışkan vuruşları
Obsi diyen kış göğsünle
Bişisel yarım küreyi
Yapışkan örü, dışı örtü
Robotla, yuvarlar yu’vav
Anne, antik asemik
Buzsun milyar parçadan


Eren Burhan ‘Dağ Orkestrası’ Lethe Kitap, 2019

98′ model bir şairressam Eren Burhan.

Dağ Orkestrasıyla sesleniyor.

Orkestra mümkün olan her yerde!

“munch; çığlık, rimbaud’un keskin dumanı; çığlık!
göktürk; çığlık, derinlik; çığlık, uzay; çığlık
sanayide yontuluyor mermer
dikilmek için toprağa; çığlık
gökyüzünden inen boş kargo; çığlık
demir; çığlık, kablo; çığlık, çığlık; çığlık!
ruhun sırtında taşıdığım odun ordusu; çığlık…

Dağ Orkestrası

Vinyet: Ek Dergi


Instagram: errenburhan

Perfect Punk Emre Varışlı ve Otopoetika

GFX: Nils Bertho


Emre Varışlı


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
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
bir şeyi sevmeye
bir düşman kazanmaya



You have to make a decision son!


Welcome to the Bizarre Theatre of VAVA !

Double Dragon: Valerie Sury & Caroline Sury, 2010

Vava (Valerie Sury) was born in 1966 in Laval, France. From 1997 to 2003 she opened an experimental art venue called Zoobizarre focused on underground culture in Bordeaux: a scene for international and local bands, a gallery with a library, performances, art vidéo and concerts.

In 2003 she moved to Montreal and lived there until 2009. She again opened a structure equal to the Zoobizarre in France. She plays the local Montrealer and American scene. In parallel she pursues her artistic career and carries out a new art project “Art Kill Texas” comprising 11 pieces, these paintings were greatly inspired by her trip at the 2005 Music Festival South by SouthWest in Austin, Texas. Back home in Montréal she used her sketchings from the festival to create a silkscreen art book. From this art book emerged 36 x 36 inch paintings. She was currently shown in different galleries in Canada and USA.

left: Corns Gang (ex-Unicorns), right: ‘Helmet’ 90cm x 90cm acrylic on canvas, ‘Art Kill Texas’ Series, 2006 -Ask For Price-
Maximo Park, 90 cm x 90 cm, acrylic on canvas, 2006 -Ask For Price-

Vava (Valérie Sury) est née en 1966 à Laval, France. De 1997 à 2003, elle ouvre un lieu d’art expérimental appelé Zoobizarre axé sur la culture underground à Bordeaux : scène de groupes internationaux et locaux, galerie avec bibliothèque, performances, vidéo d’art et concerts.

En 2003, elle s’installe à Montréal et y habite jusqu’en 2009. Elle ouvre à nouveau une structure équivalente au Zoobizarre en France. Elle joue sur la scène locale montréalaise et américaine. En parallèle elle poursuit sa carrière artistique et réalise un nouveau projet artistique « Art Kill Texas » comprenant 11 pièces, ces peintures ont été grandement inspirées par son voyage au Music Festival South by SouthWest en 2005 à Austin, Texas. De retour à Montréal, elle a utilisé ses croquis du festival pour créer un livre d’art en sérigraphie. De ce livre d’art ont émergé des peintures de 36 x 36 pouces. Elle est actuellement exposée dans différentes galeries au Canada et aux États-Unis.

De retour en France, elle vit à Marseille. Elle est diplômée d’une licence de céramiste décoratrice puis d’une licence d’animation culturelle. Elle est choisie pour être artiste résidente pendant 3 mois dans le lieu artistique Buropolis ouvert dans un bâtiment abandonné. Vava crée un nouveau projet artistique “Skate Parasyte” comprenant une nouvelle série de peintures sur le thème du surf plus plus d’une douzaine de peintures réalisées sur skateboard.

En 2022 Vava vit actuellement à Marseille où elle travaille comme travailleuse artistique dans un centre social et donne des ateliers artistiques.

Gossip, 90 cm x 90 cm, acrylic on canvas, ‘Art Kill Texas’ Series, 2006 -Ask For Price-
VAVA at work!

Back in France she lives in Marseille. She graduated from a ceramic decorator licence and then a cultural animation licence. She is chosen to be an artist resident for 3 months in Buropolis artistic place opened in a derelict building. Vava creates a new art project “Skate Parasyte” comprising a new series of paintings on the theme of surfing plus more than a dozen paintings made on skateboard.

In 2022 Vava currently lives in Marseille where she works as an artistic worker in a social center and gives artistic workshop.

VAVA “Skate Parasyte” Series, original paintings on board, 2022
VAVA “Skate Parasyte” Series, original paintings on board, 2022
VAVA Style !!




VAVA “Skate Parasyte” Series, original paintings on board, 2022
VAVA SURY artiste plasticienne présente sa toute dernière collaboration artistique sous forme d’un clip vidéo autour de son exposition intitulée “Trecento”
VAVA ‘Peinture’ 2021

View from the artist’s atelier
SK8 PARASYTE: View from the artist’s workshop
Books by VAVA

French artist Vava is a painter, illustrator, autor, sculptor. She studied in Nantes Fine Art School with complementary courses from Montpellier Fine Art School. During “Itinéraires d’artistes Forum” organized by the French Aquitaine Regional Council her sketchbooks were awarded a special distinction by the jury. At the same occasion the Rotary Club buys her a portfolio comprising illustrations, silkscreen prints with etching inclusions. In 2000 she’s chosen to be part of an artist residency at Lakeside studio in Michigan USA. Her works are further shown in full at the Lakeside Gallery. Some of these artwork from this exhibit plus some new pieces are put together a year later in a joint exhibit specially organized for the March Gallery in Chicago. Her paintings and papier mâché dolls carry the intensity linked with Art Brut through complex compositions and meticulous application of textures and colors. Her acrylic paintings sometimes borrow the idea of ex-voto paintings using contemporary pop iconography taken for the most part from popular culture, some of her works show a strong influence from the cartoonesque world of Asian Manga, Mexican popular and global subculture. Working on papier mâché let’s Vava create her forms quickly taking on quirky figurative shapes reminiscent of Niki de St Phalles or Louise Bourgeois. It is tempting to describe Vava’s silkscreen art books as artsy and edgy comics. The result is challenging visuals, at times almost childish, as well a mix of French and English views giving a unique perspective on American experience and French artistic influences.


facebook: valerie.sury

instagram: vava_french_brut_artist

Caroline Sury: carolinesurymi

Comprendre Michaël Potier comme une Arme Biologique ‘Understanding Michaël Potier as a Bioweapon’

Michaël Potier

Un maroilles d’inepties acrimonieuses plante une chimère dans mon oreille tandis que je chorégraphie nos asphyxies sur l’opacité d’épouvantables sonorités

Il y a ce hideux cheptel de suffocations et d’étranglements qui tord mon être en biais et je nous envoûte de perlimpinpin hystérique pour nous préserver de ces marais insondables de l’immobilité

Bientôt je surgirai de l’habitacle de nos vengeances comme une agression lardée d’extériorités naïves pour faire de nos apitoiements une amplification de brûlures taboues.

Amour Sale : Les créations crucifiées / Michael Potier capharnaüm (2022)

J’eucuménise nos salissures de goujaterie en explorant toute la vaginité des pourritures ergonomiques qui nous fellationnent en morceaux d’inaptitude fluo-pop

Un blockhaus de passions impossibles a poussé dans les limbes de mon Satan abdominale et des larves partouzardes viennent se laver le ventre dans mon cerveau qui digère le Golgotha des utérus-cercueils qui nous ont projeté dans les nuits nécrophages de l’acte anatomique

Le seul oeil qui me reste se gonfle de petites apocalypses pour scruter l’évidence tranchante de ma disparition prochaine dans les chaos onctueux de l’atome.

Michaël Potier, collage, 2023
Michaël Potier, collage, 2023
Michaël Potier, collage, 2023

Inépuisé par mes branlettes de chevalerie chinoise je m’insinue entre les craquèlements de mon cadavre empourpré de désobéissance bleue et d’aubades sacrificelles

Les sons fracturés d’un enspermement de cataclysme nous engraisse de ketchup lesbien et nous sommes tout crevés d’herpes géométrique, complètement agités par des sommeils déchaînés

Je veux jouir de la cruauté de mes théâtres d’infidélités ovoïdes et nous plonger dans les catéchismes pâtissiers de nos pensées tressées de sutures de tressaillements dialectiques

La pourriture des amourettes trépanées se répand sur nos ailes chiffonnées par le tempo bâtard des poésies vénériennes.

Michaël Potier, Peintures Portraits, 2022

Le Poète de la Folie: Michael Potier

Michaël Potier comes from the luminous forces of Jazz and he has played in many groups all over France. He relentlessly writes trashy-surreal poetry, paints, draws and uses his body as an object of Raw Art. He also likes the disturbing and the caustic humor and borrows the carcasses of art to invent a sound poetry without restrictions.

Archéologie ténébreuse des sexes by Michaël Potier.
Michaël Potier, Dessins Ornithorynque, 2022
Cicatrices sur les nerfs by Michaël Potier.
Michaël Potier, Dessins Ornithorynque, 2022

Ornithorynque de l’art

Musicien Gonflable

Écriture Hallucinée

“Je viens des forces lumineuses du jazz et j’ai joué dans de nombreux groupes en peu partout en France J’écris avec acharnement de la poésie trashy-surréaliste Je peins et je dessine et je me sers de mon corps comme un objet d’art brut J’aime ce qui dérange et l’humour caustique J’emprunte les carcasses de l’art pour inventer une poésie sonore sans restrictions.”

Avortement des Larsens by Michaël Potier, 2022
Michaël Potier, Peintures Portraits, 2022

Nos coccyx de carton glacé se détraquent sur la clarté des amanites de la puberté psychotronique

L’haleine crayonnante que j’exhale sur la féminité des silences sodomites réapparaît subrepticement dans la cranule de mes poupées aux poumons géants

Mes clarines d’isolement sonnent l’heure de nos destins frôlés par l’araignée des fantasmagories déconstruites par la brise de l’endolorissement matinal et je jure sur la naissance de mes cochons métaboliques ne plus dire je t’aime aux sorcières de l’autodestruction

Tout est profondément nocturne dans les crevasses de nos hargnes illisibles et c’est Jésus qui m’encule quand j’assiste à mon propre enterrement.

Un feu terrible by Michaël Potier.
Le Sang d’un poète

Michaël Potier Facebook

Michaël Potier Musique


Marc Caro: Strapazin #18

Hätte Marc Caro im 19. Jahr­hundert gelebt, er wäre ein bombenwerfen­der russischer Nihilist gewor­den. Erfreulicherweise ist Marc Caro ein zeitgenössischer französischer Comiczeichner, wobei wir die Gegenwart aus gegebenem Anlaß 1976 beginnen lassen. Was sich 1976 andernorts in der Rockszene mani­festierte, veränderte in Frankreich das Aussehen der Comickunst nachhaltig.

1975 gründeten Olivia Clavel, Christian Chapiron, Loulou Picasso, Lulu Larsen und Bernard Vidal — größtenteils ehemalige Studenten der Kunstakademie — die Gruppe Bazooka. In einer Mischung aus teilweise gewolltem Dilet­tantismus und hochgradiger Perfektion zertrümmert Bazooka voll anarchistischer Freude die Selbstverständ­lichkeiten des klassischen Comic. Ihren ausgeprägten Gefallen am Schockierenden, Absei­tigen teilen sie mit vielen der gleichzeitig oder nach ihnen erscheinenden Comicschaffenden, die neben nervöser Grafik auch Fotos verwenden (Polizistenfotos, Leichenfo­tos, etc.).

“(Diese Richtung) ist gekennzeichnet durch einen schmutzigen, rohen, unfertigen Strich und durch die gewollte Obszönität einer mor­biden und/oder sexuellen Thematik.” Aus der nachfolgenden Genera­tion seien genannt: Matt Kon-ture, der gelegentlich an den frühen Caro erin­nert, La Casinie-re, Mokeit, J.C. Menu, der auch das her­vorragende LE LYNX (nach 7 Nummern leider eingegangen) herausgege­ben hat, Jocelin, der vor allem im eigenen AMTRAMDRAM seine kubo-expressionistischen Bilderserien ab­druckt. Hingewiesen sei noch auf SEDUCTION, hervorragende Fanzine-Zeitschrift, die in Troyes herauskommt. Hier, wie in den zahllosen Graphzines und 30-Exemplare-Produkten trifft man immer wieder auch Bruno Richard, Placid, Muzo, Marc Caro, gelegentlich auch Gotting und Loustal. Viele der Genannten ar­beiten zugleich auch in der Malerei, in der Musik (was man halt so nennt) und im Trickfilm.

Nach ersten Veröffentlichungen in Fanzines kam Marc Caro 1976 aus Avignon nach Paris und begann recht bald, einzelne Arbeiten und kurze Comics (eine Geschichte von Caro ist lang, wenn sie 4 bis 6 Seiten umfaßt) in Comiczeitschriften zu veröffentlichen. 1981 erschien TOT, eine Sammlung bis dahin veröffent­lichter Comics. Mit Jean-Pierre Jeunet, für dessen Anima­tionsfilme er bereits früher Trickfiguren gebaut hatte, drehte er 1981 den Kurzfilm Le Bunker de la derniere rafale. Er beginnt, die Möglichkeiten der Computergrafik zu benutzen, interessiert sich für das Video. Er produzier­te Musikvideos für Jean-Michel Jarre (Trickfiguren für Zoolook) und die erfolgreiche, aber nicht weiter bemer­kenswerte Popgruppe Indochine (Les Tsars). 1987 er­schien mit IN VITRO eine Sammlung seiner späteren, holz­schnittartigen Comics. Heute zeichnet er fast gar nicht mehr, produziert gelegentlich Musikvideos. Die frühen Sachen, in Fanzines wie FALATOFF, Keimzelle des Kleinverlags Artefact, und ab 1976 auch in Metal Hurlant, Char­lie, BD-Hebdo erschienen, erzäh­len von Selbstverstümmlern, Elektroschock-Rollkom­mandos, Kannibalis­mus im Bunker, von Rock­musikern, welche sich auf der Bühne Gliedma­ßen abschneiden. Es ist bereits die Zeit der Indu-strial-Tendenz, mit der Caro die Faszination für Gewaltsysteme, das Verstümmeln und sonstige Pathologien teilt.

Marc Caro and Jean-Pierre Jeunet “Bunker of the Last Gunshots” (1981)

Marc Caro sagt, seine früheren Sachen seien rea­listischer. Die Bildflächen sind mit verschiedenarti­gen Schraffuren und darüber hinaus mit dunkleren oder helleren Rastern fast vollständig bedeckt.

Die menschlichen Figuren sehen ungefähr menschlich aus, meist etwas deformiert. Etwa an George Grosz erinnernd, nur mit den Mitteln der realistischen Illusion dargestellt, die Zeichnung ist körperlicher. Ich kenne 27 Geschichten von Marc Caro, nur in dreien sind Sprechblasen mit erzähltechnischer Bedeutung, in den übrigen gibt es einen Text über dem Bild. Man dächte, daß der Text unter solchen Bedingungen eine doppelt gro­ße Erzähllast tragen muß, in der Tat erzählt uns der Text aber oft etwas anderes als das Bild. In TOT ist eine Ge­schichte, worin der Text die Briefe eines US-Soldaten aus Vietnam an seine ‘liebe Louisa” wiedergibt, er berichtet von der zweifelhaften Kampf­moral seines Mitsoldaten. Die Bilder sagen, daß er “verrückt” wird und vietnamesiche Leichen schän­det. Vielleicht ist dies auch eine der “anthropologi­schen” Geschich­ten, die Caro im Gespräch meint.

Die späteren Comic­geschichten, gesammelt in IN VITRO, verwenden häu­fig den Holz- oder Linolschnitt. Ein Übergang, der gröbere, eckige Li­nien, aber auch eine größere Klarheit des Bildes bringt. Diese Geschichten sind vierfar big, gelegentlich sogar ziemlich bunt, und vom In­halt auch fröhlicher: eine Sommer-Sonnen-Strand-Ge­schichte mit lustigen (der junge Mann klebt sich Toastbrot auf die Ohren um der jungen Frau zu gefallen) und kaf-kaesken Elementen (2 Meter große Fliege).

In diesen späteren Geschichten wird fast ausschließlich die Halbtotale benutzt, die filmischen Mittel der Bilddrama­turgie nur wenig verwendet. Die Geschichten sind daher weniger eindringlich, weniger “realistisch”. In den früheren Geschichten gibt es oft den acteur-narra-teur- einen, der erzählt oder sonstwie den Text liefert und zugleich die Hauptfigur ist. Diese Figur besitzt selten ein entwickeltes Innenleben, dafür sind die Geschichten auch zu kurz. Oft ist die Hauptfigur, am Ende der Handlung tot, denn er kann so ja eigentlich nicht mehr die Ge­schichte erzählen.

Ich glaube, es wäre falsch, das Schockieren­de in den Geschichten Caros übermäßig zu betonen. Er betreibt kein epater le bourgois, seine “Geschmak-klosigkeiten” sind nicht dazu da, moralisch empfindenden Menschen Alp-träu- me zu bereiten. Auch geben seine Ge­schichten, trotz düsterer Bunkerwelten, nur wenig zu einer emphatischen Apokalyp-sensentimentaliät her. Es ist geschrie­ben worden, Marc Caro betreibe Schwar­zen Humor. Vermutlich sind seine Comics hu­moristisch, schwarz sind sie sicher. Das Interview mit Marc Caro fand am 8. Mai 1989 in Paris statt, wir danken Thierry Groensteen für eine freund­liche Hilfeleistung.

Heinrich Raatschen

JP Dionnet interviews Eberoni, Max, Caro and Placid & Muzo

Wann hast du angefangen zu zeichen?

Als Junge, aber angefangen… ich mag das Wort Professionel­ler nicht, aber angefangen, in Zeitungen zu publizieren, 1976, 1977. Kleine Arbeiten, Zeichnungen…

Für die Zeit fällt mir als erstes Bazooka ein…

Das waren schon ein wenig die Vorreiter, aber eigentlich gab es eine ganze Bewegung, eine ganze neue Generation von Zeichnern. Neben Bazooka gab es “Elles sont de sortie”, mit denen ich mehr zu tun hatte… Das war eine ganze Strö­mung, die ein wenig vom Punk [sprich: pönk] her­kam. Es gab viele neue Leute, die in der Zeit her­ausgekommen sind.

Am Anfang eines Comic, steht da ein Bild, oder gibt es erst die Geschich­te, den Text?

Nun, zuerst gab es diese kleinen Texte, die ich geschrieben und dann illustriert habe. Die Ge­schichte mit Zeichnun­gen erzählen. Wie kann man eine Geschichte mit mög­lichst wenig Bildern erzählen. Für die späteren Geschichten in IN VITRO ist es die Geschichte, die dominiert. Die Bilder sind wichtig, und die Geschichte ist auch wichtig, es sind ja keine Gemälde.

Du gebrauchst, wie z.B. im chinesischen Comic, fast nie Sprechblasen.

Nein, ich habe nie Sprechblasen verwendet. Der Text ist immer oben drüber. Man kann das vergleichen mit dem, was im Film die Off-Stimme ist, so eine Erzählweise… Da sind diese kurzen Texte, Textfragmente und dann, tad, ein Schnappschuß. Was mich interessiert, ist so eine kleine Verschiebung, eine Diffe­renz zwischen dem Bild und dem Text. Die ist aber nicht unbedingt absichtlich hergestellt. Ich mag es, wenn das Bild etwas unbestimmt ist, damit ich hineinlegen kann, was ich Lust habe, darin zu sehen. Was ich den Leuten gebe, was die Leute sehen, wenn sie meine

Sachen anschauen, weiss ich nicht genau. Aber Comics, das ist für mich eigentlich ziemlich alt, das ist eine abgeschlossene Periode. Den größten Teil der Comics aus der Zeit habe ich irgendwann zerrissen, die gibt es nicht mehr.

Das war wichtig für die Zeit damals, aber heute interessieren mich andere Sachen. Wieviel hast du publiziert?

So viele Comics habe ich gar nicht gemacht, und fast alle sind in den bei­den Alben. Da fehlen vielleicht 4,5 Geschichten die nirgendwo veröffent­licht worden sind. Ich habe viele Zeichnungen gemacht, kleine Illustrationen, aber nie eine 60-Seiten Geschichte.

War es für dich einfach, deine Sachen in Zeit­schriften unterzubringen?

Ich glaube, im Comic ist das ziemlich einfach. Na ja, jetzt gibt es nicht mehr soviele Zeitschriften, wie vor 5,6 Jahren… Ich hatte Glück, eines Tages bin ich zu Metal gegangen und habe ihnen Zeichnungen gezeigt. Sie mochten es, dann wollten sie noch eine haben und später auch Comics-Geschichten.

Hast du auf Bestellung gearbeitet ?

Ja, sicher. Für die Sondernummern. Das meiste in TOT war für METAL Special Rock, METAL Special Guerre, METALSpecial Irgend­was. Ich mußte die dann, inner­halb eines Monats abliefern. Das hat mich ganz schön ins Schwitzen ge­bracht. Ich bin ein ziemlicher Fau­lenzer, eigentlich, he he…Nachdem Me­tal 36000 Mal den Besit­zer gewechselt hatte, habe ich das irgendwann fallen lassen, weil ich mich mehr zum Video etc. oriehtiert habe. Die Zeitschriften sind normaler ge­worden, das ist wirklich eine Rückkehr zum alten Comic.

Diese Katholiken, die jetzt all die Comicverlage aufkau­fen, findest du das beunruhigend?

Ach, das möchte ich so nicht sagen: Seit ich angefangen habe, selbst zu zeichnen, hat mich das alles nicht mehr so interes­siert. Ich weiß nicht…

Hast du viel in Fanzines veröffentlicht?

Nein, nein, ich habe überall veröffentlicht. Ich finde es gut, in Sachen wie Telerama zu arbeiten, Marie-Claire sogar, jetzt erscheine ich gerade in einem deutschen Blatt [Boxer no. 1 ], in Italien (FRIGIDAIRE)… Da erreiche ich ganz verschiedene Leute. Wenn du immer in den selben Graphzines erscheinst, dann erreichst du immer nur die selben Leute. Ich zeige das lieber Leuten, die darauf nicht gefaßt sind, die das noch nicht kennen.

Dann denkst du also an das Publikum?

Wenn ich an etwas arbeite, geht es mir nicht um das Publikum, sondern mehr um mich, daß ich sagen kann: Ah, da ist mir etwas gelungen, das mir gut gefällt, wofür ich mich nicht schämen muß.

Hinterher mögen es die Leute oder sie mögen es nicht, es erscheint oder es erscheint nicht. Findest du, daß man sich beim Comicmachen Beschränkungen auferlegen muss, weil man ja z. B. verständlich bleiben will?

Ich versuche natürlich, den Zusammenhang zu wahren. Aber man kann nicht unbedingt sagen, daß die Geschichten tatsäch­lich immer ganz verständlich sind, hebe… Das sind keine Schulaufsätze. Diese ganzen späteren Sachen in IN VITRO, das sind für mich eher so eine Art Aphorismen, so kleine Blödheiten. Viele kleine Bilder, und am Ende steht eine kleine Moral von der Geschichte.

Die früheren Geschichten sind da, glaube ich, anders. Die sind meist ziemlich grausam und bizarr…

Sicher, ich zeige ekelhafte Sachen, ich muß den Leuten aber nicht sagen: Schaut, wenn man dies oder das tut, das ist böse. Das ist mehr ein Art Anthropologie… Ich sage: Seht her, das existiert. Es gibt nichts in TOT, was es nicht wirklich gäbe. Gut, es ist ein wenig wahnhaft und phantastisch, es ist nicht dokumentarisch. Aber das alles gibt es ja, es ist nur in den Vordergrund gestellt. Trotz­dem, glaube ich, gibt es da keine Faszi­nation für das Morbide. Ich sage ja nicht: Schaut mal, wie lustig! Schaut, die schneiden sich in Stücke, wie lustig! Und nun gut, die netten kleinen Geschichten, wo alle glücklich und zu­frieden sind, ich meine, ich habe nichts dagegen, daß es das auch gibt.Den Vorwurf, den man mir vielleicht machen kann, ist, daß das ein wenig pessimistisch ist. Das ist keine sehr angenehme Beurteilung des mensch­lichen Wesens.

Machst du noch Musik?

Nein, ich mache keine mehr, nicht in der Gruppe. Was mich eigentlich interessiert, ist nicht die Musik allein, sondern eher eine Verbindung. Im Comic ist es eine Verbin­dung von Text und Bild, im Video ist es eine Verbindung der Wörter, des Textes mit dem Ton und dem Bild. Immer so eine Art Ganzes. Du mußt etwas herstellen, wo man weder die Musik, noch die Wörter, noch das Bild entfernen kann.

Glaubst du, du wirst irgendwann wieder Comics zeichnen?

Es interessiert mich, Sachen zu machen, die ich noch nicht gemacht habe. Eine Serigraphie? okay. Eine Serigraphie in Plexiglas mit einem Wecker drin? Oh ja, das wäre lustig. Oder ein Flaschenetikett für die Leute von Papiers Gras? Ist okay, obwohl ich eigentlich keinen Wein mag.

Ein Medium, eine Technik, die mir noch nicht vertraut sind, das interessiert mich. Auch als ich noch Comics gemacht habe, hat mich Animation schon sehr interessiert, ich habe Trickfiguren für Kurzfilme gebaut… Es ist eher so: Du schaust dich um, findest gute Ideen. Ob das Zeichnungen sind, oder etwas Filmisches… Für mich ist es ungefähr das gleiche, ob ich einen Film mache oder einen Comic. Aber beim Comiczeichnen fehlte mir immer etwas. Du sitzt da ein wenig allein in deiner Ecke, es fehlen die Eindrücke, die Bewegung. Beim Video bist du ausgefüllter, du mußt ein Story-board machen, du mußt zeichnen… Es gibt da viele unterschiedliche Aufgaben, das gefällt mir. Ich arbeite auch gerne mit Leuten zusammen. Und außerdem, mit Papier als Träger, wen erreichst du… Wenn du eine kleine Videosache machst, erreichst du 10 mal mehr Leute, als wenn du ein Album machst, das gut läuft.

Weißt du, wieviel Exemplare von deinen Alben gedruckt und verkauft wurden?

Gedruckt, weiß ich, aber verkauft, das war immer etwas matt, hebe… Also ich glaube, jedes Album ist in ungefähr 5 000 Exemplaren gedruckt worden. Das ist nicht viel. Es verkauft sich nicht besonders gut. Ich glaube, eine Zeitlang wurde ein Exemplar im Monat verkauft. Ah nein, eins pro Tag, immerhin, eins pro Tag, hebe… Das ist trotzdem nicht gerade viel. Aber, wenn es noch in 50 Jahren verkauft wird – das wäre doch nicht schlecht?

Strapazin No. 1, June 1984, Art work by Pierre Thomé

Strapazin is in Munich founded and today in Zurich sedentary comic – magazine . The quarterly magazine offers a platform primarily to independent artists.

In 1984, employees of the city newspaper Blatt founded the Strapazin in Munich. According to co-founders Herbert Meiler and Pierre Thomé, one of the role models was Art Spiegelman’s magazine RAW. Strapazin was “intended as a podium in a comics scene from the start”. The first number with contributions from, among others, Poussin , Muñoz – Sampayo and Ralf König appeared at the first comic parlor in Erlangen and was subtitled “Magazine for Durable”. After that there was nobody in Munich who could guarantee regular publication of the magazine, which is why the Swiss comic publisher and aficionado David Basler began to publish Strapazin from Zurich. In Zurich, illustrators from the so-called “Zurich School” such as Thomas Ott , Ursula Fürst, Andrea Caprez and Peter Bäder were associated with the magazine. From the 1990s onwards, many artists from the former GDR were there in Germany.

In 2010 the 100th edition appeared, with contributions from Chinese comic artists. At the same time, the Chinese publisher Special Comix published a strapazin special with contributions from many well-known Swiss illustrators and a cover photo by Kati Rickenbach . In the same year, according to David Basler, “almost half of the audience […] was female.”

In 2018, the City of Zurich awarded the Strapazin a cultural award in the field of literature : “Founded in 1984 by Swiss and German publishers, it has since had the wonderful variety of picture-narrative formats in large, lush, colorful, wild, and sometimes explosive formats demonstrated and pioneered the establishment of the ‘comic’ as the ‘ninth art’. “

In 2019 the Strapazin celebrated its 35th anniversary with the June issue. The edition is 2000 copies (also as of 2019).  The offices in Zurich and Munich still exist today.

Strapazin No. 2, September 1984

The Strapazin prints comics by, in some cases, little-known and often avant-garde comic artists. The aesthetics of the Strapazin comics are shaped by punk and Dadaism, among other things, the draftsmen have often studied at art schools. Ralf König , ATAK and Thomas Ott published here before their breakthrough.

From number 37 ( L’ASSOCIATION ) onwards, the editions were increasingly, later continuously, under a certain topic appearing in the title with a geographical allocation (e.g. Scandinavian comic world , comics from Tel Aviv ) or a common content (e.g. instructions for use , Comics without protagonists ). A number can also be dedicated to outstanding illustrators such as George Herriman (2002). Every time there are “interesting texts on the meta level” for the comics.

Marc Caro: Metal Hurlant n°98

Marc Caro, dans Metal Hurlant n°98




Marc Caro, dans Metal Hurlant n°98

Mode d’ emploi

« La liasse des ordres » doit se lire en extraits d’égale longueur comme si on en alimentait un appa­reil.

Faire cette lecture sans manifester la moindre expres­sion ni le moindre sentiment, sans hausser ni baisser le ton, de manière pseudo-classique ou pathétique. Mots et phrases doivent se succéder à un rythme égal.

Acte pesant, la « liasse » doit se présenter à l’audi­teur comme le livret des événements matériels.

L’ordre 05 pourra être lu par un second récitant, pa­rallèlement aux autres ordres ; ses phrases, entrecou­pées de longues pauses, couvriront le temps de lec­ture des ordres 01 à 09.

L’ordre 10 sera lu en guise de conclusion par le pre­mier récitant.



ordre 01

Quarante mille, sur un rang !
Repos. Les yeux fixés sur le manomètre : souder.
Regards fixes alignés.
Vérification de la ligne : salve.
Tir le long de la ligne.
Obus à dix millimètres des fronts.
Trente fronts effleurés : au rebut.
Régiment A à l’Est.
Colonne 10 à l’Ouest.
Vingt-neuf mille : sur place.

ordre 02

Chronomètres en marche
Aux métiers !
Attention maxima.
Trente secondes de pause.
Opération B.
Procédé deux, procédé quatre.
Série 20, au travail.

Marc Caro, dans Metal Hurlant n°98

ordre 03

Médecins, auprès des rangs.
Augmenter la température.
L’élever de neuf dixièmes.
A la première dizaine
Petite pause.
Augmenter à cent.
Grande pause.
A mille E.
Aux métiers, aux truelles, aux microscopes !
Augmenter encore.
A cinq dizièmes.
Au million C.
A trente villes.
A vingt gouvernements.

ordre 04

Liasse de vingt appartements.
Mise sous presse.
Écraser en parallélogrammes.
Serrer de trente degrés.
Roues et vis.
Mouvement en diagonale.
Couper les rues sans dévier.
Mille calories supplémentaires aux ouvriers.

Marc Caro, dans Metal Hurlant n°98

ordre 05

Office des morts dans le cimetière des planètes.
Clameur dans les catacombes des mondes.
Par millions, dans les trappes du futur.
Par milliards, renforcez vos armes.
Bagne de l’esprit.
Cœur dans les fers.
Ingénieurisez les bourgeois.
Enfoncez la géométrie dans leurs crânes.
Les logarithmes dans leurs gestes.
Gâtez leur romantisme.
Des tonnes de mécontentement.
Normalisation des mots d’un pôle â l’autre.
Phrases selon le système décimal. Salle des machines des discours. Détruisez la littérature. Gutturalisez les tunnels. Contraignez-les à parler. Ciel peint en rouge pour créer l’excitation. Roues dentelées : vitesse supérieure. Cerveau-machine : changement. Œil-caméra : mise au point. Nerfs-électricité : travail. Artères-pompes : pompez.

ordre 06

Asie : entièrement en ré. Amérique : un accord au-dessus. Afrique : en si bémol. Radio-maître-de-chapelle. Violoncelle-cyclone en solo. Sur quarante tours : archet en mouvement. Orchestre le long de l’Equateur. Symphonie le long du septième parallèle. Chœurs le long du sixième méridien.
Cordes électroniques au centre de la terre.
Maintenir le globe terrestre dans la musique
pendant les quatre saisons.
Quatre mois de jeu pianissimo sur orbite.
Quatre minutes de volcan-fortissimo.
Interrompre une semaine.
Éclater en volcan-fortissimo-crescendo.
Maintenir six mois sur volcan.
Atténuer jusqu’au zéro.
Terminer le concert.

ordre 07

Bureau de répartition sur le Mont-Blanc. Commutateur Washington commandant l’Amérique. Radio-Calcutta pour le continent oriental. Télégraphistes : dormir pendant deux heures. Réveiller les opératrices pour cinq heures. Réhausser les plates-formes aériennes tous les dix mille kilomètres. Réparer vingt millions de culs-de-jatte. Chevaliser les habitants de l’Australie. Rajeunir de trente ans les Canadiens.