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

Elif Nurşad’ın Aşık Kedisi

Elif Nurşad ‘Aşık Kedi’ Grafik roman, Flaneur Books (2021)

Elime “Âşık Kedi” diye bir kitap geçmişse ondan size bahsetmemem mümkün müdür? Kitabın çizer ve yazarı “Vahşi Kedi” kod adlı Elif Nurşad Atalay. Elif bence çok yetenekli bir ressam. İyi bir illüstratör ve masal anlatıcı. Kalın ve kuşe baskı kitap, bir tasarım ustalığı içeriyor ki sadece sayfa numaralarını unuttukları için eleştirebilirim, size şu kadar sayfa diyemiyorum! Âşık Kedi’de 2015-2021 arasında çizdiği resimlerle anlattığı bir masal-öykü yer alıyor. Şöyle: kedi var, kediler var. Köpek var, köpekler var. Galata, Karaköy, Bodrum, Göztepe Parkı, akvaryumdaki balıklar var. Caddebostan sahili, deniz, ahtapotlar var! Vahşi Kedi’nin umutları, korkuları, aşkı, kâbusları, rüyaları, hayalleri var.

Yazar çizerimiz Bayan Yanı dergisinde 2015-16 yıllarında “İstanbul’un Vahşi Kedisi” başlıklı bir çizgi roman yayımlamış, sonnra bunun bir bölümünü İstanbul ve İtalya’da sergilemiş, ama hikâyeyi bitirmemiş. Ondan kısa episodlar da var bu kitapta.

Elif Nurşad, Suluboya desen, 2019

Kitabı çok sevmemin nedeni, kavuşulamayan bir aşk hikâyesi dışında, sürekli deniz, tekne, bir kedi ve bir köpek olması, bir de yakışıklı !

Sonra aklına esiyor, kuşlar çiziyor. Papağanlar! Kedilerden vazgeçti, tekneyi ziyaret eden değişik kuşlar çiziyor! Onun sevdiği her kediyi çizmek isteyip çizemediklerine hayıflanıyor. Aslında sadece kedileri değil, kadınları da çok güzel, ama çok az var bu kitapta. “En sevdiğim dostluk: Az konuşma çok iletişim. 6 yıldır aynı kayığa gelen leylek ile balıkçının arkadaşlığı…”

Senin içine süzüldüm ben, bir kapı aralığından, omurgasızlığımdan. Seni kopyaladım, bütün hücrelerimle, sen hiç dokunmasan da seninle gizlice seviştim ben! Hâlâ Seni, seni bekliyorum. Hâlâ kapıdaymışsın gibi. Öyle hissediyorum!

Kaynak : Yazgülü Aldoğan, Cumhuriyet Gazetesi (10 Aralık 2021)

Elif Nurşad eseriyle birlikte, 2021

Aşık Kedi

Sanatçıya ilişkin bilgi ve iletişim : elifnursad


Hirnplatzt x Cantrell zine (2019)

Hirnplatzt is an independent record label currently operating from Linz, Austria by Gucci Bauch who has been producing underground materials for more than ten years, since 2005 established on the experimental/ noise music and publishing super cool underground comix by important artists such as Johannes Stahl, Daniel Cantrell, Andreas Haslauer, Mavado Charon; also combining illustrations produced by the artists with various clothings, patches and skateboards in a very creative d.i.y styles.

Mavado Charon ‘Homo Justice’ Gay Superhero Comic

For more info and contact :

Gucci Bauch

Hyper Brutalist Hirntrust Media

Hirnplatzt Special 2021 Winter Creation
Daniel Cantrell ‘Terrible Hexing Map’


Woman with a Manifest: Matilde Digmann

Matilde Digmann, Copenhagen, 2022

Jeg er her for frihed, ærlighed, sårbar­hed, gender-fluidity, for kærlighed.

Det var usansynligt at jeg skulle blive en kanal for lyset. Det jeg kommer fra er så mudret, så mørkt – men jeg skulle igennem de dybeste lag for at forstå, at jeg er lys. Hver gang jeg har ramt bunden, er jeg blevet vist at jeg kan gå højere – at vi alle har et valg. At vi kan give slip på frygt og være i tillid til at alt udfolder sig præcis som det skal. Og vide at dét at være i overgivelse – i nuet – er lig med at være i vort højeste selv.

Skyggearbejde handler om at bevidstgøre sig skyggen (de sider af os selv vi ikke kan eller vil se og anerkende) – ikke at skubbe dem væk, løbe fra dem eller lade som om de ikke eksisterer – men i stedet vende os om og integrere mørket. Og dermed erkende at vi er begge dele: både lys og skygge. Jeg kaster min skygge ud i rampelyset for at integrere den i os alle, for at hjælpe os til at forstå at vi ikke behøver at gøre vores skygge forkert og udskamme den – men at vi kan se den for hvad den er – et bange dyr, en ego-skal bygget for at beskytte os. Se at vi er født uskyldige – som ren kærlighed.

Jeg arbejder for at kaste lys ind i den kollektive skygge – for at blotlægge mis­forhold i den dominerende kultur. For at frisætte os fra den programmering og radikalisering vi er blevet udsat for gen­nem en opvækst i et kapitalistisk patriar­kat. Når jeg ser på kønnene, og mine egne oplevelser som biologisk kvinde – ser jeg en dyb diskrepans. Jeg ser en enorm for­skel på begrænsningerne af den ydre og indre frihed der er for kønnene hver især. Jeg er nødt til at pege på dobbeltmoralen og hykleriet i et samfund der systematisk seksualiserer kvinder og som så – når kvin­der agerer åbenlyst seksuelt – vender sig om og udskammer dem for det. Et sam­fund hvor mænd programmeres til at un­dertrykke følelser, til at lukke ned. Dette systemiske svigt kommer til udtryk som konstante indviduelle kampe om at få det godt, som enten kæmpes eller fortrænges, og som vi ikke kan vinde på et individu­elt niveau. Det er et system der fratager os vores evne til at elske frit, og det er på tide vi bliver fri af det.

Jeg er her for frihed, ærlighed, sårbar­hed, gender-fluidity, for kærlighed.

Miinto Meets: Matilde Digmann

Does ceramics and fashion have anything in common? It certainly does for artist and author Matilde Digmann who uses their creativity as a safe space of self expression.

Matilde Digmann (Mat) is a gender fluid artist and author. Mat’s artistic practice is multi-faceted but rooted in two main principles: Work evolving around outing shadow and exposing things we usually try to keep in the dark, thereby calling out biased structures in society and discrepancies in dominant morality. Mat is working on outing shadow (in a Jungian sense) on a personal as well as on a societal level. The second focus of Mat’s artistic practice is in working towards a betterment of the artistic community – in service to particularly blocked artists via the podcast Shadow Work Podcast and in pursuit of healing a generation of men and women who have been radicalised by growing up in capitalist patriarchy – via the graphic novels Pseudo and the upcoming Bad Boys.

As their unique artwork and ceramics, Mat – who’s based in the vibrant neighbourhood of Nørrebro in Copenhagen – primarily uses bright and bold colours in their wardrobe – matched with loads of gold and glitter. Meet the Copenhagen-bases artist here, and get a preview of their unique and personal art as well as their take on personal and great style.

Matilde Digmann ‘Pseudo’ Graphisk Roman. Basilisk 2021

Matilde Digmann (Mat) Bir sanatçı ve yazar olarak çok yönlü sanat pratiğini iki temel ilkeye dayandırmaktadır: Gölgeyi aşmak ve genellikle karanlıkta tutmaya özen gösterdiğimiz yönlerimizi açığa çıkarmak; böylece çizgi-roman dili, çeşitli afişler ve grafik hyper-text’lerden de faydalanarak sanatçı toplumdaki önyargıları ve baskın ahlakın tutarsızlıklarını gözler önüne sermeyi hedefler.

Mat, hem kişisel hem de toplumsal düzeyde gölgeyi (Jungcu anlamda) aşmak için çalışıyor. Onun sanat pratiğinin odaklandığı ikinci alan ise Shadow Work Podcast aracılığıyla özellikle amatör sanatçılara yardım etmek ve kapitalist ataerkil bir ortamda büyüyerek radikalleşmiş günümüz erkek ve kadın nesline şifa olmak amacıyla sanat camiasının iyileştirilmesine yönelik çalışmalar yapmaktır.

Matilde Digmann ‘Pseudo’ Graphisk Roman. Basilisk 2021

“Pseudo” by Matilde Digmann

Resorce : Gabriele Di Fazio / Just Indie Comics

Anthropomorphic animals, online dating, drugs, sex, shame, inability to relate to others. In short, the usual old story. Indeed no. Pseudo by Matilde Digmann fits into a genre that is now highly exploited, that of problematic animals that do bad things, but manages to have her say. Mat – this is his stage name, given that he defines himself “a non-binary multidisciplinary artist and author” – first of all he paints and sculpts. He has a studio in Copenhagen full of his creations. Enter the world of comics as an outsider and in this Pseudo, a volume of 366 pages in English with a beautiful mirror cover published by the Danish Forlaget Basilisk, this is evident. The story continues in small episodes, almost by accumulation. There is no great sense of rhythm. The drawings are raw, dark, not at all cute and in any case far from the dominant aesthetic, dropped in a black and white that cannot be blacker. All this allows Mat to get out of the sowing of today’s alternative comics, avoiding ending up in the long list of Simon Hanselmann’s emulators.

The story written by Mat talks about the almost homonymous Cat, an anthropomorphic cat who after 9 years breaks up with her boyfriend and begins a “crazy year” made up of new acquaintances, transgressive evenings and – inevitably – self-harm. Pseudo begins with the protagonist signing up for a dating site, while she spends her days indoors with Ted, a traditional four-legged cat. The first pages of the volume are the weakest and most obvious, with many situations that they already know. Then after a while things take off. Meeting after meeting we witness a gallery of men who are idiots at best, manipulative bastards at worst. In front of them the protagonist is unable to react, on the contrary, most of the time she is satisfied or even submits. The story stops being banal and becomes a psychological crescendo that plumbs Cat’s unconscious search for unhappiness.

Nomineret til Pingprisen 2022: Matilde Digmann – PSEUDO

The plot is inspired by the personal stories of Matilde Digmann, who after nine years of marriage has changed her life in a radical way. For more details, I refer you to this article / interview, which rightly frames Pseudo as a feminist parable. But there is more, for us who are lovers of the strange. For example, there is a talking spider that turns from a threat into the protagonist’s shoulder. In a chapter entitled Bad Trip, the spider enters Cat’s brain to find a wasteland populated only by giant cocks. Towards the end, a flashback shows us the encounter with a sort of “cat god” with a third eye: the same third eye that appears every now and then on Cat’s forehead before a few encounters, making her even more ashamed – if any needed – of his body.

“Pseudo” by Matilde Digmann

The finale sees the final confrontation between Cat and her latest boyfriend, even worse than the former historian. Turns out the guy is married and the father of a little girl, who he hasn’t been able to see since he hit his wife with a metal pipe. Unfortunately the last pages are broom with the initial ones, because – even taking into account that the volume is presented as the first of a trilogy – they close the story in an all too hasty way. Pseudo works fine from p. 70 on p. 341, and in any case 272 pages, so they are enough and advance. What then in these times, when novice authors tend to always look for the “round” comic with all the right ingredients and the graphic novel is a genre rather than a format, making a comic a little wrong can also be a positive thing.

The main merit of Pseudo remains its being an original feminist parable. Mat does not indulge in easy theses or didactic dissertations. With the technique of accumulating characters and situations, he rather tells the tendency to submission of the main character and the pettiness of the male gender, so much so that in some passages he reaches pure misanthropy. Beyond this, the book would be worth the cover price only for the drawings, which in their tarry black and white bring us back to less colorful and certainly more glorious times than today.

In conclusion, here are some useful links, namely Mat’s site, the Instagram page and finally his online shop where you can buy the volume.

matildedigmann (instagram)


It was unlikely that I would become a channel for the light. What I come from is so muddy, so dark – but I had to go through the deepest layers to understand that I am light. Every time I have hit rock bottom, I have It was unlikely that I would become a channel for the light. What I come from is so muddy, so dark – but I had to go through the deepest layers to understand that I am light. Every time I have hit rock bottom, I have been shown that I can go higher – that we all have a choice. That we can let go of fear and be confident that everything unfolds exactly as it should. And knowing that being in surrender – in the now – is equal to being in our highest self.

Shadow work is about becoming aware of the shadow (the sides of ourselves we cannot or will not see and acknowledge) – not pushing them away, running away from them or pretending they do not exist – but instead turning around and integrating the darkness. And thus recognize that we are both: both light and shadow. I cast my shadow into the limelight to integrate it into all of us, to help us understand that we do not have to make our shadow wrong and shame it – but that we can see it for what it is – a scared animal, an ego shell must be built to protect us. See that we are born innocent – as pure love.

A society where men are programmed to suppress emotions, to shut down.

I work to shed light on the collective shadow – to expose disparities in the dominant culture. To free ourselves from the programming and radicalization we have been subjected to through growing up in a capitalist patriarchy. When I look at the sexes, and my own experiences as a biological woman – I see a deep discrepancy. I see a huge difference in the limitations of the outer and inner freedom that exist for the sexes each. I have to point to the double standards and hypocrisy of a society that systematically sexualises women and who then – when women act openly sexually – turns around and shames them for it. A society where men are programmed to suppress emotions, to shut down. This systemic failure manifests itself as constant individual struggles to get the good that is either fought or repressed and that we cannot win on an individual level. It is a system that deprives us of our ability to love freely, and it is time we become free from it.

I am here for freedom, honesty, vulnerability,

gender-fluidity, for love

Shadow Work Podcast

American Underground Comics: part one

Ween #7 Boogeyman_small
Tony Fero ‘Boogeyman’ 2017

Interview with comic book artist

creator of Rubber Wolf

Tony Fero

December 2005

How do you evaluate current comics culture as an oldschool artist? Things are not looking good from where I stand. Obviously, I realize it’s mainly a generation gap thing. My formative years as a comic book fan were the 70’s – early 80’s so that style wil always be nearest to my heart. I also read a lot of 60’s Marvel reprints as well as reprints of the old EC Horror stuff at that time.There are a few decent comics around these days but as far as the overall quality, I don’t think it can compare to that great old stuff.

Are there any comic series you follow? I don’t follow any monthly comics regularly but there are a few things that I buy sporadically whenever I happen to see them. The Walking Dead is the best thing I’ve read in recent years. Unfortunately, it seems the publishing schedule is fairly unstable so I just get the collections as they come out. Richard Sala’s Evil Eye is a favorite as well. And I like to follow the work of a few favorite artists such as Mike Mignola, Jaime Hernandez and Steve Rude.

I presume that horror comics have a special place for you? Yeah, I was raised on superhero comics and I love all the old Marvel stuff but these days superhero comics don’t do much for me. I really can’t get enough of the old Horror stuff though. I have a pretty large collection of EC Comics and other pre-code Horror comics as well as a lot of the 70’s black and white magazines (Eerie Publications, Skywald, Warren) from which I draw immeasurable inspiration.

Tony Ferro ‘Splattertown’ 2014

What would you like to say about todays horror culture? There will always be a lot of old-school Horror freaks out there to keep the flame burning but I’m not really too fond of a lot of the stuff I see. There seems to be a bit too much focus on crappy horror junk like Freddy and Jason and all the serial killer worship that gets mixed up in the horror scene. I’m much more fond of the creepy atmosphere of early horror and the cheesy, over-the-top 50’s-60’s stuff than the grim, reality-based stuff that’s been going on since the 70’s.

Is there any publication continuing the Eerie spirit over there? Nothing that I’m aware of unfortunately. Like I said earlier, there are some good Horror comics being produced but I haven’t seen anything that really captures the spirit of that great old stuff.

What did you lately seen or what should you recommend us? If you’re asking about new Horror movies, I really dug Land of the Dead. It didn’t really live up to my expectations but to be fair, my expectations were unreasonably high. As far as non-Horror movies go, Batman Begins and Revenge of the Sith were both excellent.

What do you think about current Asian horror cinema? I’ve been a fan of Japanese and Chinese cinema for many years so I always keep an eye on the movies coming from that part of the world. There have definitely been a lot of great Horror movies coming from them recently. I think the Horror Movie business in the US had gotten pretty stagnant at the time, focusing on boring slasher movies and the Asian movies gave people a different kind of Horror that they hadn’t seen before. Unfor­tunately, Hollywood has a habit of trying to suck every ounce of money they can out of a popular concept and proceeded to rape the genre until it’s now on the verge of becoming just as boring and cliched as the stuff that preceded it. I have faith in the Asian filmmakers to keep coming up with fresh ideas for us to enjoy and I have equal faith in Hollywood to continue to give us watered down Hollywood-ized ver­sions of them.

for more monster art & underground comix junk

dont forget to visit :


Enzo Garza ‘Sensation Boom’ 2015

Monsters, Ghouls and Troubles

Enzo Garza

December 2015

Enzo Garza ‘Sensation Boom’ 2015

Hi Enzo, can you tell us a little bit about yourself ? Hello. I go by the name Enzo Garza, I create and destroy many things in life. Right now, I’m working on a handful of projects that will manifest in 2016. My main bag is monsters, ghouls and trouble etcetera.

How long have you been active in the comic strips area? I’ve been working on and off for years now, with only a handful of works currently out there.

What kind of works have you pursued until now? Honestly, anything I can dig.

You mostly seem to produce independent diy books. Can you tell us about your Sensation BOOM and Mik-Viktor characters ? I love the independent and DIY comics and get a real kick out of seeing people produce them.

As for Sensation BOOM, it’s a mini comic I started in 2010 when I ushered at a local movie theatre. I would always carry scratch paper and sketch. Then one day I folded a paper in half and created a 2 page mini comic called Sensation BOOM. The main idea being on page 1 a monster or ghoul would show up only to be blown apart by Sensation BOOM on page 2. It all carried on and I ended up producing 10 issues of a four page mini comic. 2016 will see Sensation BOOM return with a run of larger mini comics and will flesh out more about the main character. One thing I really like about him is he’s just this homeless drifter with the ability to explode and regenerate. He’s got a short temper and dresses in found clothing. The whole monster and creature brawling is just a small part of it.

Mik Viktor_02_small
Enzo Garza ‘Mik-Viktor’ character illustration (2015)

Mik-Viktor, a warrior leech from the earth’s core, came to be after my wanting to join in Simone Angelini’s Intergalactic Tournament of MAZZATE* (a comic book fight club). Mazzate being a place were creators come together to have their characters fight each other to the death via animation. It was a blast to design such a horrid creature like Mik-Viktor and all the more rewarding seeing the entire fight unfold.”

Are the comic strips of Mik-Viktor going to be published or is it only a character design ? Mik-Viktor is definitely a comic I want to now make, he’s a mean motherfucker and I dig him greatly. I’ll have a Mik-Viktor comic out in early 2016.

As foreign readers, we got to know American comic strips as super heroes except for some examples like CREEPY and EERIE. However, in time, an alternative scene which includes illustrators like Robert Crumb and the visibility of underground comics surfaced. Can you tell us briefly about American underground comic strips ? My introduction to comics outside of Marvel and DC came at an early age from my father’s copies of Creepy and Eerie magazine. I loved all the chaos and horror within the pages and those covers were incredible. Richard Corben was definitely a favorite of mine. Most of my copies had water damage due to my father’s comics being in a flood. Beyond the water damage I would also find these pages all penned up by his ex-wife. Something my father would later tell me was because she didn’t like comics and thought they were stupid. It wasn’t until later in life I discovered the works of Robert Crumb and those in the pages of Zap Comix. I had never seen such freedom, lust, rage, fear and doubt portrayed in such a way. Add to that the copious amounts of sex and perversion, it was all so incredible to behold.

Your favourite artists or favourite comic books?  Right now I’m really enjoying the works of Matthew Allison (Cankor), Ofloda Monstro, Benjamin Marra (Terror Assaulter: O.M.W.O.T.), Pedro Mancini (Alien Triste), Jason (You Can’t Get There From Here), Chuck Forsman (Revenger), Simone Angelini (Anubi), Alexis Ziritt (Space Riders) and Michel Fiffe (Copra) to name a very few.

On what year did you get involved in this movement? I suppose my beginnings in the movement occurred the moment I created my own comics and photocopied them for distribution. Honestly, I don’t feel I’m bringing anything to the table right now. At least enough to commentate on the medium as a whole. We’ll see how it all goes once I actually put something of worth out there.

I guess you’re into horror and monster movies. I was very surprised when I read and found out that Godzilla which we know from Japanese cinema was actually inspired by a much older American movie “Phantom from 10.000 Leagues”. What do you think? Which one is more successful in monster movies? Godzilla’s an old friend of the family, I’d say no one really stands a chance against the real King of the Monsters.

Can you tell us your favourite movies in the genre of B-movies and horror movies? Growing up I have such fond memories of Horror movies and the B-movie as a whole. VHS was big during my youth and I spent lots of time growing my collection. Much in thanks to the ability to record the movies we would rent from our local video store. I’ll always have a special place in my heart for the original Texas Chainsaw Massacre, Evil Dead, Night of the Living Dead (1990), Re-Animator and Child’s Play. I have an early memory as a child being terribly scared of Pet Cemetery.

Enzo Garza,’Sensation Boom’ skecth (2015)

What are you working on now. Are there any books you’re planning to publish in the near future? I’m currently working on Sensation BOOM with plans to release the first issue in early 2016. As for the near future, that belongs to Mik-Viktor and a comic I’m very pleased with called Kelp. I’m very anxious for that one, it’s certainly something I’ve poured my self into and can’t wait to share with everyone.

* for MAZZATE comic book fight club :

Enzo Garza ‘Sensation Boom’ 2015

Enzo Garza

Canavarlar, Hortlaklar ve Sülükler

Aralık 2015, Türkçesi : İrem Gürşimşir

Merhaba Enzo, bizlere biraz kendinden bahseder misin? Merhaba. İsmimle başlamak gerekirse, ben Enzo Garza, hayatta birçok şeyi yıkar ve yaratırım. Şu anda 2016’da ortaya çıkacak bazı projeler üzerinde çalışıyorum. Dosyamda her zaman canavarlar, hortlaklar ve belalı şeyler bulunur.

Ne zamandan beri çizgi roman dünyasındasın, bugüne kadar ne tip çalışmalar yaptın? Şu sıralar elimin altında olan bir avuç iş üzerinde yıllardır uğraşmaktayım ve dürüstçe söyleyebilirim ki sevdiğim, ilgimi çeken ne varsa yaptım.

Sanırım daha çok bağımsız kitaplar yayımlıyorsun, bizlere biraz Sensation BOOM ve Mik-Viktor karakterlerinden bahseder misin? Bağımsız ve kendin yap (Do it yourself) formatındaki çizgi romanlara bayılıyorum ve insanların ürettikleri bu işleri görmekten gerçekten zevk alıyorum.

Sensation BOOM’a gelince, 2010 yılında yerel bir sinema salonunda yer göstericiyken başladığım kısa bir çizgi roman. Ben her zaman yanımda karalayabileceğim ve çizim yapabileceğim malzemeler taşırım. Derken bir gün, kağıdın tekini katlayıp adı Sensation BOOM olan iki sayfalık bir kısa çizgi roman yarattım. Ana fikir, birinci sayfadaki canavar ya da yaratığın ikinci sayfadaki Sensation BOOM tarafından yerle bir edilmesi. Tüm bunları bu şekilde süren, on nüshadan oluşan dört sayfalık kısa çizgi romanlar olarak tamamladım. 2016’da Sensation Boom genişletilerek ve ana karakter hakkında ayrıntıları da içerecek şekilde yeniden geri dönecek. Ana karakter hakkında gerçekten sevdiğim şeylerden biri, o yersiz yurtsuz bir serseri ve patlayıp yeniden oluşabilme yeteneğine sahip. Asabi biri ve ne bulursa onu giyiyor. Tüm canavar ve yaratıklarla olan kavgası ise bu durumun sadece ufak bir parçası.

Mik-Viktor, magma tabakasından gelen savaşçı bir sülük, tanınması MAZZATE* Simone Angelini’nin Galaksiler Arası Turnuva’sına (bir çizgi roman dövüş kulübü) katılmak istememden sonra gelişti. Mazzate, yaratıcıların karakterlerini animasyon yoluyla ölümüne dövüştürmek için biraraya geldikleri bir yer. Mik-Viktor gibi feci bir yaratık tasarımı ortalığı kasıp kavurdu ve tüm dövüş boyunca artan bir şekilde ortaya çıkarak kendini gösterdi.

Mik-Viktor’un hikayeleri yayınlanacak mı yoksa sadece bir karakter tasarımı mı ?Mik-Victor kesinlikle şu an yapmak istediğim bir çizgi roman, o aşağılık bir puşt ve onu fazlasıyla geliştirmek istiyorum. Ve sanırım 2016’nın başlarında bir Mik-Viktor çizgi romanı çıkartacağım.

Mik Viktor_04_small
Enzo Garza ‘Mik-Viktor’ character illustrations (2015)

Yabancı okurlar olarak Amerikan çizgiromanlarını CREEPY, EERIE (Süper Korku) gibi örneklerin dışında hep süper kahramanlarla birlikte tanıdık, fakat zamanla Robert Crumb gibi çizerlerin de olduğu alternatif bir sahnenin, yeraltı çizgiromanlarının varlığı su üstüne çıktı. Bizleri biraz Amerikan yeraltı çizgiromanlarından bahsedebilir misin ? Marvel ve DC dışındaki çizgi romanlara başlamam erken yaşta babamın Creppy ve Eerie dergileriyle gerçekleşti. Sayfalardaki kaos ve korkuya bayılırdım ayrıca kapakları inanılmazdı. Richard Corben kesinlikle favorimdir. Elimdeki birçok kopya babamın çizgi romanlarını sel bastığı için hasarlı. Hasarın haricinde bulabildiğim sayfalar da babamın eski eşi tarafından karalanmış durumda. Bunu yapmasının nedeni, sonraları babamın bana anlattığına göre eski eşinin çizgi romanlardan hoşlanmadığı ve aptalca bulduğu içinmiş. Robert Crumb’ın işlerini Zap Comix’te keşfetmemle birlikte, daha önce hiç karşılaşmadığım bir özgürlük dürtüsü, şehvet, korku, şüphe ve öfkenin tasvirleriyle karşılaştım. Tabii ki buna bolca sapkınlık ve seks de eklenmeli, tüm bunları gözlemlemek inanılmazdı.

Favori çizerler veya sevdiğin dergiler ?  Bu aralar işlerinden keyif aldığım Matthew Allison (Cankor), Ofloda Monstro, Benjamin Marra (Terror Assaulter: O.M.W.O.T.), Pedro Mancini (Alien Triste), Jason (You Can’t Get There From Here), Chuck Forsman (Revenger), Simone Angelini (Anubi), Alexis Ziritt (Space Riders) ve Michel Fiffe (Copra) gibi bir kaç isim var.

Sen harekete kaç yılında katıldın, şu anki bağımsız çizgi romancılığı nasıl değerlendiriyorsun ? Sanırım kendi çizgi romanlarımı yarattığım ve onları fotokopiyle çoğaltarak dağıttığımda bu harekete girişim gerçekleşmiş oldu. Dürüstçe diyebilirim ki ortaya çok da birşeyler koyabildiğimi hissetmiyorum şu an. En azından yorum yapabilmek için genel beğeniyi yakalayan ortalama bir şeyler gerek. Ben değeceğini düşündüğüm birşeyleri ortaya koydum ve bundan sonra nasıl gidecek göreceğiz.

Godzilla’nın, Amerikan yapımı daha eski bir film olan “Phantom from 10.000 Leagues”den esinlenerek çekildiğini okuduğumda şaşırmıştım. Sen ne düşünüyorsun; Canavar filmlerinde hangi taraf daha başarılı ? Godzilla ailenin en eski dostudur ve ona, Canavarların Kralına karşı kimsenin şansı olmadığını söyleyebilirim.

B-Movie veya korku filmlerini sever misin ? İlk gençliğimde düşkünü olduğum korku filmleri ve B-movie‘lere dair bir kaç anım var. VHS benim gençliğimde gerçekten yaygındı ve zamanımın çoğunu bunların koleksiyonuna harcadım. Yerel video dükkanları sayesinde kiraladığımız filmleri kayıt edebilme durumu vardı. Gönlümde özel yeri her zaman olacak olanlar “Original Texas Chainsaw Massacre”, “Evil Dead”, “Night of the Living Dead” (1990’daki yeniden uyarlaması), “Re-Animator” ve “Child’s Play”’dir. Erken çocukluk anılarımda müthiş korktuğum film ise “Pet Cemetery”.

Şu an üzerinde çalıştığın bir şeyler var mı, yakın zamanda yayınlamayı düşündüğün bir şeyler ? 2016’nın başlarında ilk sayısını yayımlamayı planladığım Sensation BOOM üzerinde çalışıyorum. Sonrasında Mik-Viktor ve “Kelp” ismini verdiğim yeni bir çizgi romana geçeceğim. Bunları ortaya çıkarmak için can atıyorum, kesinlikle içimi dökeceğim bir şey bu ve bunu herkesle paylaşmak için sabırsızlanıyorum.

negative : Enzo Garza, ‘Sensation Boom’ skecth (2015)
Enzo Garza ‘Sensation Boom’ 2015

* MAZZATE çizgi roman dövüş kulübü için :


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Robert David Elwood ‘Untitled’ drawing (2016)

drawing the Grindcore

Robert David Elwood

January 2016

How long have you been in the world of comics ? I’ve been making art since 2007 but in 2013 a friend of mine published this independent comic called Pure İnsanity that I and a few other artist contributed too, that was the first publication that showed my work although I guess I’m still relatively new still.

You produce bizarre animations, too and the amateur spirit surrounding your works has rapidly started to gain a powerful style recently. Considering the works you’ve created this far, where within your field of art do you position yourself ? I guess I’d be more of a animator who does art on the side. I personally would not have thought my drawings would get as big as they did, you see originally animation was and still is something that I wanted to do for a living. I had a fascination with cartoons ever since I was little but it was animated films from Bill Plympton, Bruce Bickford and Ralph Bakshi and many other animators that made me realize the great things that animation can do and it really motivated me to make the crazy cartoons I’ve done.

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Robert David Elwood ‘Untitled’ drawing (2016)

You enjoy pushing the limits of sarcasm, irony and absurdity to create bizarre worlds; considering the comics market, isn’t the obscenity of the works you create risky in terms of bringing the works to a more professional level ? No, I don’t believe so, I think as art goes it’s just a series of lines on paper, if you are not physically harming anyone, offended people can either learn to laugh at them selves, or continue to complain, and that’s fine. I don’t wish to take anything away from the artist who wishes to draw the clean family friendly cartoons.

What’s going on in the world of American Underground Comics recently; can you inform us a little bit ? What about the artists you follow the most as well as your favorites ? Taking into account also the developments in Europe, which echol do you find your style closer to ? I think that would be a better question for a current person who makes underground comix, from what I’ve seen it boils down to selling yourself and getting your art out there by going to conventions and networking. My favorite artists, where do I start, I really like the early 70’s Zap artist like R. Crumb, S. Clay Wilson, and Spain Rodriguez, and Rory Hayes. outside that there is Mike Diana, Johnny Ryan (who’s art I guess I find my work closer to) and Manga artist from Japan like Junji Ito, Suehiro Maruo, and Hideshi Hino.

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Robert David Elwood ‘Untitled’ drawing (2016)

How do you like music ? What do you enjoy listening to ? I listen to mostly Sludge Metal, Black Metal, Death Metal, Grindcore, and Hardcore Punk.

What do you think about GG Allin? He’s one of the craziest guys ever taking place in the rock’n’roll stage that recorded great albums in the 80s but then (I though) flipped because of all the drugs he used. What do you think makes GG so legendary? I’m a fan, you know I think what made GG Allin legendary was not so much his music but his life style, when we see the crazy things he did on stage I think there is a primal part of us that want’s to do the same, but wouldn’t out of fear of going to prison.

How do you like Antiseen? There great, they got some awesome songs, and the played with GG Allin which must have been crazy!

Are there any projects you’re working on right now ? Like a book you’re planning to publish or something for the S&T Studios that will take place in the future? I’m trying to finish another cartoon, a little book featuring my art would be ideal in the future, although I don’t have any plans for that now.

dont forget to visit S&T Studios for recent news !!

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Robert David Elwood ‘Untitled’ drawing (2016)

Robert David Elwood

Ocak 2016

Robert, Minneapolis’den genç bir çizer, aynı zamanda bir çizgi filmci. Ona, yaptığı tuhaf işler hakkında bazı sorular sorduk.

Robert merhaba, ne zamandan beri çizgi roman dünyasındasın? 2007’den beri sanatla uğraşıyorum. 2013 yılında birkaç farklı sanatçıyla birlikte bağımsız bir çizgiroman dergisi olan “Pure Insanity” için birşeyler çizdim; böylece çalışmalarımı yayınlama şansını yakaladım. Sanatımı sergilediğim ilk yayın bu oldu, bunun dışında yeni olduğumu söyleyebilirim..

Aynı zamanda çizgi filmler de üretiyorsun ve çalışmalarındaki amatör ruh, son zamanlarda gittikçe güçlü bir stil kazanmaya başladı. Sanırım, ben bir sanatçıdan daha çok animatörüm. Çizimlerimin bu düzeyde ilgi göreceğini hiç düşünmemiştim açıkçası. Hayatımı animasyonla kazanmak istiyordum ve halen de bunda kararlıyım. Çocukluğumdan beri çizgi filmler beni büyülemiştir, aynı zamanda Bill Plympton, Bruce Bickford, Ralph Bakshi ve daha pek çok animatörün filmleri beni çizgi filmlerin muhteşem şeyler yapabileceğine ikna etti ve ben de çılgın animasyonlar yapma motivasyonu uyandırdı.

Hassas bir çizgiyle sarkazm, ironi ve absürdlüğü son raddesine kadar ileri götürerek tuhaf dünyalar kuruyorsun. Çizgiroman piyasasını göz önüne alırsak yaptığın işin müstehcenliğinin riskli olduğunu düşünüyor musun? Açıkçası pek böyle düşünmüyorum. Yaptıklarımız sadece sayfanın üzerindeki çizimlerden ibaret ve fiziksel olarak kimseye zarar vermiyorsanız rahatsız olan insanlar, ya kendilerine gülmeyi öğrenecekler ya da şikayet etmeye devam edecekler ki bu benim için sorun değil. İyi aile çizgi filmleri yapmak isteyenler istediğini yapabilirler.

Amerikan Yeraltı Çizgiroman dünyasında son zamanlarda neler oluyor, bizleri biraz bilgilendirebilir misin? Sanırım bu yeraltı çizgiromancıları için daha uygun bir soru olurdu. Kaldı ki, gördüğüm kadarıyla olay tamamen işini ortaya koyup kendini pazarlamaktan ve toplantılara katılıp bağlantılar kurmaktan geçiyor. En sevdiğim sanatçılar, nereden başlasam, 70’lerin Zap Comix sanatçılarını gerçekten severim : R. Crumb, S. Clay Wilson, Spain Rodriguez ve Rory Hayes gibi, bunlara Mike Diana ve sanatını kendime yakın bulduğum Johnny Ryan‘ı ve Japon manga sanatçıları Junji Ito, Suehiro Mauro ve Hideshi Hino da ekleyebilirim.

Müzikle aran nasıl? Neler dinlersin? Çoğunlukla sludge metal, black metal, grindcore ve hardcore punk dinliyorum.

GG Allin hakkında ne düşünüyorsun, GG’yi bu derece efsane kılan sence nedir? Hayranı olduğumu biliyorsun. Bence onu efsane yapan müziğinden çok yaşam tarzıydı ve sahnede yaptığı manyak şeyleri gördüğümüzde, ilkel bir yanımız bunlara eşlik etmek istiyor ama kodesi boylama korkusuyla maalesef çekiniyoruz. Antiseen’i nasıl buluyorsun? Harika! Muhteşem şarkıları var ve GG Allin ile çaldılar ki bu gerçekten çılgınca!

Şu an üzerinde çalıştığın bir proje var mı?  Şu an üzerinde çalıştığım bir çizgi filmim var; bunun dışında yakın gelecekte işlerimi bir araya getiren ufak bir kitap da hiç fena olmaz.

Son gelişmeler için : S&T Studios

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Robert David Elwood ‘GG.Allin’ drawing (2016)


Mavado Charon: Qui Se Vengent de la Normalité

mavado 01
Mavado Charon, stylo à bille sur papier, 2013

The uneasy spring of 1988. Under the pretext of drug control suppressive police states have been set up throughout the Western world. The precise programing of thought feeling and apparent sensory impressions by the technology outlined in bulletin 2332 enables the police states to maintain a democratic facade from behind which they loudly denounce as criminals, perverts and drug addicts anyone who opposes the control machine. Underground armies operate in the large cities enturbulating the police with false information through anonymous phone calls and letters. Police with drawn guns irrupt at the Senator ’s dinner party a very special dinner party too that would tie up a sweet thing in surplus planes.

Mavado Charon : A propos de mon travail artistique, je fais des dessins et des bande dessinées depuis que je suis enfant, et aussi longtemps que je me souvienne, j’ai toujours voulu représenter des scènes sexuelles et violentes. Mais pendant des années et des années, je n’étais pas du tout satisfait du résultat! J’ai réalisé des milliers de dessins ratés que je ne montrerai jamais à personne. J’utilisais alors la technique classique des auteurs de BD:  d’abord un crayonné, puis l’encrage à la plume, mais je n’étais pas à l’aise avec ce procédé lamentable. Lorsqu’il y a cinq ans, j’ai commencé à improviser mes dessins avec un simple crayon bille sur une bête feuille de papier, j’ai été vraiment épaté par le résultat: le dessin était soudainement devenu vivant! Ha… ça a été le début de la carrière de Mavado Charon!

En ce qui concerne mes publications, j’ai d’abord commencé à montrer mes dessins sur mon blog, et ils ont très vite été repérés par le rédacteur en chef de la mythique revue homo Straight to Hell basée à New-York. Il m’a encouragé à montrer mon travail, et j’ai commencé à être publié à partir de ce moment-là.

mavado 02
Mavado Charon, stylo à bille sur papier, 2013

“We been tipped off a nude reefer party is going on here. Take the place apart boys and you folks keep your clothes on or I’ll blow your filthy guts out.”

Peux-tu me parler des sources d’inspiration qui alimentent ton imagination?

J’ai, bien sûr, de très nombreuses sources d’inspiration pour mon travail, mais tout est un peu mélangé. Il y a les choses de mon enfance, comme le manga post-apocalyptique Hokuto No Ken que je regardais à la télé quand j’étais petit; ou encore des jeux vidéo violents comme Mortal Kombat ou Final Fight, et même le catch! Je peux aussi mentionner les films pornos gays, qui vont des productions extrêmes de Treasure Media Island aux grands classiques du studio Falcon en passant par des œuvres plus expérimentales, comme celles de Bruce LaBruce. En ce qui concerne le cinéma traditionnel j’ajouterai le chef d’œuvre méconnu Singapore Sling (1990) aussi les 3-4 premiers films de John WatersPink flamingo en tête! Chose plaisante, Billy Miller a montré mon tout premier fanzine à John Waters, et il m’a dit qu’il avait adoré !

Je dois évidemment mentionner aussi la scène graphique internationale: j’adore les mouvements japonais Heta-Uma et Ero-Guro (avec le très grand Maruo en tête !), les bandes dessinées italiennes ultra-violentes des années 80 comme Ranxerox ou Necron, et bien sûr des fanzines et graphzines, comme ceux produits par Le Dernier Cri de Pakito Bolino ou United Dead Artists de Stéphane Blanquet… pour qui je prépare en ce moment une énorme bande dessinée d’ailleurs! Parmi les dessinateurs que j’aime particulièrement, il y aussi C.F., entre autres !

Une autre de mes sources d’inspiration importante est l’artiste Henry Darger. Bien sûr parce qu’il a dessiné des scènes avec des centaines de personnages qui se torturent et s’entretuent, mais aussi parce que son travail parle de vengeance! Ses Vivian Girls se vengent de tous les adultes qui ont tué et molesté des enfants innocents, et mes dessins sont aussi l’expression d’une vengeance. Celles des gens bizarres, pas conformes, les homos, les trans, les bi, les barjos, les monstres… qui se vengent de la normalité qu’on leur impose.

Mais ma source principale d’inspiration vient de la littérature! Je lis énormément, et je me retrouve complètement dans les œuvres de Williams Burroughs, D.A.F. de Sade, Pierre Guyotat

J’aime beaucoup l’idée que lorsque vous décrivez quelque chose, avec des mots ou des dessins, vous la rendez présente, vivante. Sans les écrits de Sade, Burroughs, Guyotat, je crois que je me sentirai seul, perdu dans ce monde. S’il y a une place pour moi c’est qu’avec leurs mots, ils ont créé un espace où je peux me réfugier pour vivre. Je ne me vis pas comme un grand artiste, mais je tiens à créer avec mes images pornographiques des espaces pour que d’autres puissent y vivre.

mavado 03
Mavado Charon, stylo à bille sur papier, 2013

We put out false alarms on the police short wave directing patrol cars to nonexistent crimes and riots which enables us to strike somewhere else. Squads of false police search and beat the citizenry. False construction workers tear up streets, rupture water mains, cut power connections. Infra-sound installations set off every burglar alarm in the city. Our aim is total chaos. 

On peut tracer un chemin logique dans la littérature française,qui va des surréalistes à Bataille, avec Sade comme point de départ. Selon toi, d’où vient toute cette tradition ? Peux-tu l’expliquer comme le produit des religions hétérodoxes sur le territoire français ? 

Il me semble juste de dire que, comme pour beaucoup d’autres, la religion a été quelque chose de fondamental dans la culture française, mais je ne pense pas que ce soit toujours aussi vrai. Et je pense que la culture française actuelle est tout autant issue de la libre pensée, des hérétiques. Les Philosophes des Lumières, ainsi que René Descartes ont aussi été très important: ce fut à mon sens le début d’une époque où l’on pouvait concevoir un monde sans dieu. Toute l’œuvre de Sade n’est qu’une violente déclaration de guerre contre l’idée de Dieu, et sa lecture a été fondamentale pour moi. Il a aussi été l’un des premier à parler librement d’homosexualité, de sodomie… mes dessins doivent beaucoup à Sade!

mavado 04
Mavado Charon, stylo à bille sur papier, 2013

Loft room map of the city on the wall. Fifty boys with portable tape recorders record riots from TV. They are dressed in identical grey flannel suits. They strap on the recorders under gabardine topcoats and dust their clothes lightly with tear gas. They hit the rush hour in a flying wedge riot recordings on full blast police whistles, screams, breaking glass crunch of nightsticks tear gas flapping from their clothes. They scatter put on press cards and come back to cover the action. Bearded Yippies rush down a street with hammers breaking every window on both sides leave a wake of screaming burglar alarms strip off the beards, reverse collars and they are fifty clean priests throwing petrol bombs under every car WHOOSH a block goes up behind them. Some in fireman uniforms arrive with axes and hoses to finish the good work.

Tu m’as dit que tu te sentais plus proche de la littérature que de l’art graphique. Quand on regarde précisément ton travail, on constate en effet que tu travailles tes scènes chaotiques comme une narration, en racontant une histoire… 

Je lis effectivement beaucoup plus de textes que de bande dessinées; Je vais rarement voir des expositions, ou dans les musées, et j’ai vraiment une culture très littéraire. J’ai d’ailleurs commencé à écrire des textes pornographiques quand j’étais adolescent, avant de me consacrer entièrement au dessin, qui est vraiment la façon dont je respire !

Avec mes dessins, j’essaie de rendre une certaine étrangeté, qui est vraiment propre au texte, selon moi. Beaucoup de dessins manquent de mystère, de dimensions… ça ne me produit pas toutes ces pétillantes explosions dans ma tête que me procure la littérature. Les textes me paraissent en général beaucoup plus proches du rêve que les dessins (même si paradoxalement les rêves nous paraissent très visuels). J’ai oublié de mentionner Abe Kobo parmi mes auteurs favoris. Si vous lisez La femme des sables, vous y trouverez différentes focales : des très gros plans (le monde des insectes, les grains de sable…) mais aussi une profondeur, une impression de vertige, avec ce trou que la femme doit faut sans cesse creuser sous peine d’être ensevelie. Je trouve que le film qui a été tiré de cette œuvre littéraire exprime très bien ce que j’essaie de faire en dessin, à partir des images que j’ai en tête !

Dans l’idéal, je voudrais que mes dessins soient assez « proches » pour qu’on puisse distinguer le grain de la peau de mes personnages, mais aussi comme s’ils étaient en même temps très « lointains »… C’est un peu dur à expliquer !

mavado 08
Mavado Charon, stylo à bille sur papier, 2013

In Mexico, South and Central America guerrilla units are forming an army of liberation to free the United States. In North Africa from Tangier to Timbuctu corresponding units prepare to liberate Western Europe and the United Kingdom. Despite disparate aims and personnel of its constituent members the underground is agreed on basic objectives. We intend to march on the police machine everywhere. We intend to destroy the police machine and all its records. We intend to destroy all dogmatic verbal systems. The family unit and its cancerous expansion into tribes, countries, nations we will eradicate at its vegetable roots. We don’t want to hear any more family talk, mother talk, father talk, cop talk, priest talk, country talk or party talk. To put it country simple we have heard
enough bullshit. 

Quels auteurs as-tu lu quand tu étais plus jeune ? Aimes-tu Jean Genet ? Un de tes livres, publié par Re:Surgo, s’intitule “Burroughs on Tumblr”, je suppose donc que tu aimes particulièrement cet auteur ? Que lis-tu en ce moment ? 

Une de mes révélations de jeunesse a été “Les 11000 vergesde Guillaume Apollinaire… ce livre est tellement porno, sale et drôle, je n’en reviens toujours pas! Je me le suis procuré quand j’étais très jeune, sans doute vers 12-13ans : il existait dans une version de poche à un prix ridiculement bas, et il n’y avait aucune mention sur la couverture comme quoi il était interdit aux moins de 18 ans ! Je ne sais pas s”il y a quelque chose de grand dans la culture française, mais le fait qu’on puisse acheter librement ce type de texte me semble fabuleux !

J’ai pour le moment assez peu lu Jean Genet, mais je commence à m’y mettre et j’adore. Le monde qu’il décrit, de malfrats, de prostitués et de travestis, toute cette fange et cette trivialité qu’il élève au niveau poétique le plus élevé, cela me parle, bien évidemment !

J’ai un amour immodéré pour les œuvres deBurroughs, même celles qui sont moins connues, comme sa seconde trilogie (Cities of the Red Night, etc.) et j’étais vraiment heureux de pouvoir exprimer cet attachement dans un de mes titres, grâce à Re :Surgo!

En ce moment, je lis deux livres : Prostitution de Pierre Guyotat qui est un fabuleux travail de la langue autour d’un bordel pour garçon dans l’Algérie des années 60, et Héros de Denis Jampen. C’est un auteur français qui n’a écrit qu’un seul livre, dans les années 70, et qui n’a été publié que cette année ! Cela raconte les massacres et les viols commis par quatre soldats sur de jeunes garçons, dans une ville imaginaire… Là encore, le travail de la langue est expérimental et ardu, mais remarquable ! J’aimerais vraiment arriver à un tel résultat avec mes dessins !

mavado 05
Mavado Charon, stylo à bille sur papier, 2013

La France a été le berceau de bien des avant-gardes. Quelle est la situation aujourd’hui? Que se passe-t ‘il dans les domaines de la littérature, de l’art, du théâtre ? Y’a-t-il des artistes que tu veux nous recommander ? Que penses-tu d’Olivier de Sagazan par exemple ?

Là encore, je ne pense pas être le mieux placé pour en parler, je connais assez peu la nouvelle scène littéraire ou théâtrale. En dessin en revanche, je trouve qu’il se passe énormément de choses passionnantes sur la scène du graphzine et du fanzine! Des gens comme François de Jonge (qui dirige SuperStructure) ou encore le collectif réuni autour de la Revue Collection (qui est en partie à l’origine des fabuleux graphzines Lagon ou Volcanproduisent des choses fabuleuses en ce moment, équivalant à la revue Américaine Kramers Ergot des années 2000! J’aime bien aussi ce que font les anglais de la revue Mould Map… là encore, ce sont des sources d’inspirations importantes pour moi!

C’est amusant, je ne connaissais pas Olivier de Sagazan avant, mais je viens de regarder son site internet, et je trouve ça très fort! Mon travail artistique est essentiellement un travail autour de la représentation en dessin du corps, et ce qu’il fait me parle beaucoup!

l’interview avec Mavado Charon 09/ 15

segments en italiques extraits de WSB ‘Les garçons sauvages’


Mavado Charon: Take Revenge on Normalcy

mavado 01
Mavado Charon, ballpoint pen on paper, 2013

The uneasy spring of 1988. Under the pretext of drug control suppressive police states have been set up throughout the Western world. The precise programing of thought feeling and apparent sensory impressions by the technology outlined in bulletin 2332 enables the police states to maintain a democratic facade from behind which they loudly denounce as criminals, perverts and drug addicts anyone who opposes the control machine. Underground armies operate in the large cities enturbulating the police with false information through anonymous phone calls and letters. Police with drawn guns irrupt at the Senator ’s dinner party a very special dinner party too that would tie up a sweet thing in surplus planes.

Mavado Charon: About my artwork, I’m making comics and drawings since I’m a child, and I always wanted to express violent and sexual scenes… but didn’t really succed for many, many years. I’ve got thousands of bad drawings that I won’t show to anybody, because they’re awful. I was using the classical technique teached by comic artists: first you draw with graphit pen, then you ink with china ink and a (plume), but I was not comfortable with this technique. Then, five years ago, I started to (improviser mes dessins) with a rollpoint pen, on small sheets of bad paper. I was very happy with the result that make the drawing much more (vivant)! It was the begining of Mavado Charon‘s career!

About publication, I first started to port my drawings on a blog, and was spotted by Billy Miller, the editor of the famous american gay magazine ‘Straight-to-hell‘. He encourages me to show my artwork, and then I’ve started to publish here or there.

mavado 02
Mavado Charon, ballpoint pen on paper, 2013

“We been tipped off a nude reefer party is going on here. Take the place apart boys and you folks keep your clothes on or I’ll blow your filthy guts out.”

Could you tell us about the resources feeding this imagination?

I’ve got, of course, numerous ressources of inspiration for my artwork, that are mixed togheter! There is childhood inspiration like Hokuto No Ken, the post-apocalyptic manga i was watching at TV when i was a kid, violent video games like Mortal Kombat or Final Fight, or even pro-wrestling! I can mention all the gay porn that i watch since i’m a teenager: from Treasure Island Media films (bareback movies focused on sperm) to the classical Falcon studios movies. The first John Waters movies!

I can of course mention the international weird graphic i love: the japanese Ero-Guro (the great Maruo) and Uta-Hema styles, italian 80′ violent and porn comics loke Ranxerox or Necron, and of course fanzines and graphzine, Le Dernier Cri and United Dead Artists at the first place!

One of my main graphical ressources is Henry Darger, the fabulous american artist! Of course because he made huge drawings with thousand and thousand characters that kill and torture each others, but also because he is talking about vengeance: the Vivian Girls are avenging themselves against adults, that kill children. I oftent think about this idea of “vengeance”, and my drawings can also express the vengeance of queer people (gay, trans, bi, weirdos, creeps…) against normality.

But my main source of inspiration come from litterature! I read a lot, and (l’oeuvre) of William Burroughs, D.A.F. de Sade, Pierre Guyotat,… this is where i find myself!

I love the idea that when you express something in artwork (drawings, texts…) you make it live, you make it happen. If Sade, Burroughs or Guyotat didn’t write what they write, I would be absolutly lost in this world! There is a place for me to live here because of there words, that create places to live for people like me. I just trying to make differents places where different people can live and (trouver refuge).

mavado 03
Mavado Charon, ballpoint pen on paper, 2013

We put out false alarms on the police short wave directing patrol cars to nonexistent crimes and riots which enables us to strike somewhere else. Squads of false police search and beat the citizenry. False construction workers tear up streets, rupture water mains, cut power connections. Infra-sound installations set off every burglar alarm in the city. Our aim is total chaos. 

We trace distinctive a way longing from the Surrealists to Bataille, then to Sade in French Literature. Where do you think this tradition is attached to; can we explain it as results of the effects of heterodoxal religions within that geography?

It’s true that, like many others, religions were very important for French culture, and I don’t know if it’s still that important. I think this tradition is also attached to (l’hérétisme) that mean “freedom of toughs” in Greek. The “Pilosophes des Lumières” form the French 18e centuries, the René Descartes was very important: It was a begining of an era where you can think the world without any god. Of course, the whole oeuvre de Sade was a war declaration against god, and it is fondamental for me. He was also one a the first writer to talk about homosexuality, sodomy… My drawings refer a lot to Sade!

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Mavado Charon, ballpoint pen on paper, 2013

Loft room map of the city on the wall. Fifty boys with portable tape recorders record riots from TV. They are dressed in identical grey flannel suits. They strap on the recorders under gabardine topcoats and dust their clothes lightly with tear gas. They hit the rush hour in a flying wedge riot recordings on full blast police whistles, screams, breaking glass crunch of nightsticks tear gas flapping from their clothes. They scatter put on press cards and come back to cover the action. Bearded Yippies rush down a street with hammers breaking every window on both sides leave a wake of screaming burglar alarms strip off the beards, reverse collars and they are fifty clean priests throwing petrol bombs under every car WHOOSH a block goes up behind them. Some in fireman uniforms arrive with axes and hoses to finish the good work.

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Mavado Charon, ballpoint pen on paper, 2013

In Mexico, South and Central America guerrilla units are forming an army of liberation to free the United States. In North Africa from Tangier to Timbuctu corresponding units prepare to liberate Western Europe and the United Kingdom. Despite disparate aims and personnel of its constituent members the underground is agreed on basic objectives. We intend to march on the police machine everywhere. We intend to destroy the police machine and all its records. We intend to destroy all dogmatic verbal systems. The family unit and its cancerous expansion into tribes, countries, nations we will eradicate at its vegetable roots. We don’t want to hear any more family talk, mother talk, father talk, cop talk, priest talk, country talk or party talk. To put it country simple we have heard enough bullshit. 

Interview with Mavado Charon 09, 2015 / Segments in italics excerpted from WSB ‘Wild Boys’

Mavado Charon: Normallikten İntikam Almak

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Mavado Charon, kağıt üzerine tükenmez kalem, 2013

O huzursuz 1988 baharı. Uyuşturucu kontrolü bahanesiyle bütün Batı dünyasında baskıcı polis devletleri kuruldu. Duyuru 2332’de özetlenen, düşünce duygu ve duyumsal izlenimlerin teknoloji tarafından kesinkes programlanması politikası saye­sinde, polis devletleri demokratik bir görünümün ardına gizle­nip kontrol makinesine karşı çıkan herkesi yüksek sesle suçlu, sapkın ve uyuşturucu bağımlısı ilan edebiliyor. İsimsiz, sahte telefon ve mektuplar aracılığıyla verdikleri yanlış bilgilerle polisleri şaşırtan yeraltı orduları büyük şehirlerde faaliyet gösteriyor. Polisler silahları ellerinde Senatör’ün akşam yemeği davetini basıyor; ihtiyaç fazlası uçaklara dair ballı bir anlaşmanın yapıla­cağı çok özel bir parti bu.

Mavado Charon: Sanat eserlerimle ilgili olarak çocukluğumdan beri çizgi roman ve çizimler yaptığımı söyleyebilirim ayrıca şiddet ve cinsel sahneler resimlemek istemişimdir hep. Ancak bu konuda yıllarca pek başarılı olamadım. Kimseye göstermek istemeyeceğim binlerce kötü çizimim var, çünkü berbatlar. Çizgi roman sanatçılarının kullandığı klasik tekniği kullanıyordum: önce karakalemle çizersin, sonra çini mürekkebi ile dolguyu yaparsın, bu teknikten nefret ediyordum. Sonraları, beş yıl önce, basit ve küçük sayfalar üzerine tükenmez kalemle serbest çizimler yapmaya başladım ve çizimi daha ‘canlı’ kılan bu sonuçtan çok memnun kaldım. Mavado Charon hikayesi böyle başladı.

Yayınlarla ilgili olarak, önce çizimlerimi bir blog’a göndermeye başladım, ünlü Amerikan gay dergisi ‘Straight-to-hell’ in editörü Billy Miller’ın dikkatini çektim. Eserlerim konusunda beni cesaretlendirmesinden bu yana çeşitli yerlerde yayınlamaya başladım.

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Mavado Charon, Kağıt üzerine tükenmez kalem, 2013

Bize burada çıplak bir esrar partisi yapıldığı ihbarı geldi. Ço­cuklar şöyle biraz açılın ve siz de üstünüzdekileri çıkarmayın sa­kın yoksa o pis bağırsaklarınızı havaya uçururum.

Bu imgelemi besleyen kaynaklardan biraz bahseder misin?

Eserlerimde tabii ki birbirine karışmış sayısız ilham kaynağı var! Çocukken televizyonda izlediğim post-apocalyptic anime Hokuto No Ken gibi, Mortal Kombat veya Final Fight gibi oyunlardaki şiddet ve hatta pro-wrestling. Ergenlik dönemimden beri izlediğim tüm gay-porno videolarını da sayabilirim: Sperme odaklı Treasure Island Media filmlerinden klasik Falcon Studios filmlerine kadar. Ve hatta John Waters’ın ilk filmleri.

Tabii ki uluslararası tuhaf grafik sanatlarından da bahsetmeliyim burda: Japon Ero-Guro (yüce Maruo) ve Uta-Hema tarzı, 80’lerin İtalyan şiddet ve porno çizgi romanları Ranxerox veya Necron, ayrıca  Le Dernier Cri ve United Dead Artists başta olmak üzere fanzin ve graf-zinler.

Asıl ilham kaynaklarımdan biri de efsanevi Amerikalı sanatçı Henry Darger’dır. Birbirini öldüren, birbirine şiddet uygulayan onlarca karakterli muazzam çizimler yaptığı için ve ayrıca intikamdan bahsettiği için : Vivian Girls, çocukları öldüren yetişkinlerden intikamlarını alır. İntikam kavramını sık sık düşünürüm ve çizimlerimde ibnelerin (gay, trans, ucube, sapık…) normallikten intikamlarını alması anlatılır.

Ama temel kaynağımın edebiyattır; çok okurum ve William S. Burroughsun  l’oeuvre’si, de Sadein D.A.F’ı,  Pierre Guyotat… bunlar kendimi  bulduklarım.

Bir sanat eserinde (çizim, metin…) ifade ettiğin bir şeye aynı zamanda hayat verdiğini, onu oldurttuğunu düşünmeye bayılıyorum. Sade, Burroughs ya da Guyotat düşlerini kaleme almamış olsalardı bu dünyada kaybolmuştum ben. Burada yaşayacak bir yerim var çünkü onların kelimeleri benim gibi insanlara yaşayacak alan yarattı. Ben, yalnızca farklı insanların yaşayabileceği ve iltica edebileceği farklı dünyalar yaratmaya çalışıyorum.

Mavado Charon, kağıt üzerine tükenmez kalem, 2013

Polisin kısa dalgasına yanlış alarmlar koyarak devriye araba­larını var olmayan suç ve ayaklanmalara yönlendiriyoruz, bu da başka bir yerden saldırıya geçmemize olanak tanıyor. Sahte po­lis timleri vatandaşların üstünü arayıp onları dövüyor. Sahte in­şaat işçileri caddeleri parçalıyor, su borularını ve elektrik bağlantılarını kesiyor. Ses-altı aygıtları şehirdeki bütün hırsız alarmlarını devreye sokuyor. Amacımız mutlak kaos.

Fransız edebiyatında sürrealistlerden Bataille’ye oradan Sade’a kadar uzanan ayrıksı bir edebiyat okuyoruz. Bu geleneği sen neye bağlıyorsun;  heterodox dinlerin bu coğrayadaki etkilerini öne sürebilir miyiz?

Dinin diğer toplumlarda olduğu gibi Fransız kültürü için de önemli olduğu doğru ama bu halen geçerli mi bilmiyorum. Sanırım bu gelenek ayrıca yunancada ‘düşünce özgürlüğü’ anlamına gelen ‘l’hérétisme’ le bağlantılı. 18. yüzyıldan ‘Pilosophes des Lumières’,  René Descartes çok önemli: artık Tanrısız bir dünyayı düşünebilme çağının başlangıcıdır. Tabiki de Sadein tüm eserleri Tanrıya karşı açılmış bir savaş demekti ve bu benim için bir çok şeyin kökenidir. Ayrıca eşcinsellikten, sodomiden bahseden ilk yazardır. Çizimlerimde Sadea bir sürü gönderme var.

Bir sanatçı olarak kimi zaman kendini edebiyata daha yakın hissettiğinden bahsetmiştin. Eserlerini incelediğimizde karmaşık sahnelere tanıklık ediyoruz, sanırım hikaye ve kurguya dayalı bir sanatçısın? 

Gerçekten de çizgi romanlardan daha çok edebiyatla ilgileniyorum. Nadiren sergileri ya da müzeleri gezmeye gidiyorum, ve aslında derin bir edebi kültüre sahibim. Zaten ergenlik dönemimde, kendimi tamamen çizime adamadan önce, pornografik metinler yazmaya başlamıştım, aslına bakarsanız bu benim yaşam tarzım.

Çizimlerimle birlikte, belirli bir yabancılık (tuhaflık) hissi vermeye çalışıyorum, bana göre bu daha çok edebiyata özel bir durum. Bir çok çizim, gizem ve boyuttan yoksun; edebiyatın kafamın içinde oluşturduğu tüm o parlak kıvılcımlara ve parıltılara yol açmıyorlar.

Edebiyat genellikle bana rüyaya, çizimlerden çok daha yakın görünüyor (rüyalar paradoksal olarak bize daha görsel görünse bile). Bu arada, favori yazarlarım arasından Abe Koboyu anmayı unuttum. La femme des sables (Kumların Kadını) kitabını okursanız, orada değişik odaklar bulacaksınız: Çok büyük planların (böceklerin dünyası, kum taneleri…) yanında, kadının durmadan kazmak zorunda olduğu çukura gömülmenin acısı altında bir derinlik, bir baş dönmesi etkisi… Bu romandan uyarlanan filmin, kafamdaki görsellere dayanarak, benim çizimde yapmaya çalıştığımı çok iyi ifade ettiğini düşünüyorum. İdeal olarak, çizimlerimin yeteri kadar ‘yakın’ olmalarını isterdim, karakterlerimin tenlerindeki grenler ayırt edilebilsin diye, ama aynı zamanda sanki çok ‘uzakta’ olmalarını… Bunu açıklamak biraz zor.

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Mavado Charon, kağıt üzerine tükenmez kalem, 2013

‘Çatı katında bir oda, duvarda şehrin haritası. Elli oğlan taşı­nabilir ses kayıt cihazlarıyla TV’den ayaklanmaları kaydediyor. Tek tip gri flanel takım elbiseler var üzerlerinde. Kayıt cihazlarını gabardin pardösülerinin altına takıyor ve kıyafetlerinin üzerine birazcık göz yaşartıcı gaz püskürtüyorlar. Kama düzeninde bir grup oluşturup en kalabalık saatte saldırıya geçiyorlar, kayıt ci­hazları açık: ses patlaması, polis sirenleri, çığlıklar, polis copla­rının kırdığı camların sesleri, kıyafetlerinden çevreye yayılan göz yaşartıcı gaz. Etrafa dağılıp basın kartlarını takıyor ve olayları takip etmek için geri dönüyorlar. Sakallı Yippiler caddede elle­rinde çekiçlerle koşup her iki yandaki camları kırıyor ve geride çığlık çığlığa öten hırsız alarmları bırakıyor, sonra sakallarını çı­karıp yakalarını ters çeviriyorlar ve elli temiz rahibe dönüşüyor­lar ve bütün arabaların altına molotof kokteyli atıyorlar, BUUUMMM, arkalarında bıraktıkları cadde patlıyor. Bazıları işi bitirmek için itfaiyeci üniformaları içinde ellerinde çekiç ve hor­tumlarla olay yerine geliyor.’

Gençken kimleri okurdun, Jean-Genet’i sever miydin? Ayrıca Re:Surgo!’dan ‘Burroughs on Tumblr’ başlıklı ufak bir kitap yayınladın.

ençlik esinlerimden biri Guillaume Apollinairein Les onze milles verges’i (On Bir Bin Kırbaç)… Bu kitap o kadar pornografik, komik ve pisti ki hala atlatamıyorum. Çok gençken, tahminen 12-13 yaşlarındayken edinmiştim: Gülünç derecede düşük fiyatlı bir cep versiyonu vardı ve kapağında, 18 yaşın altındakilere yasak olduğuna ilişkin hiç bir ibare yoktu! Fransız kültüründe büyük bir şey var mı bilmiyorum, ama böyle kitapların özgürce satın alınabilmesi bana inanılmaz geliyor. Şu ana kadar pek fazla Jean Genet okumadım, ama kendimi vermeye başlıyorum ve tapıyorum! Tasvir ettiği dolandırıcıların, fahişelerin ve travestilerin dünyası; en yüksek şiirsel seviyeye çıkarttığı tüm bu çirkeflik ve bayağılığın, açıkçası benim için bir anlamı var!

Burroughsın eserleri için değişmeyen bir aşkım var, en az tanınanlara karşı bile, ikinci üçlemesi (Cities of the Red Night vs.) gibi. Ve Re:Surgo sayesinde, kitap başlıklarımdan birinde bu bağlılığı anlatabildiğim için gerçekten de mutlu oldum!

Bu aralar neler okuyorsun? 

Şu anda iki kitap okuyorum: Pierre Guyotatdan Prostitution, harika bir çalışma, 60 yıllarında Cezayir’de bir genelev etrafında geçiyor, ve de Denis Jampen’den Héros. Bu Fransız yazar, 70 senelerinde sadece tek bir kitap yazmış, ve o da sadece bu yılda yayımlanmış! Hayali bir şehirde, dört asker tarafından genç oğlanlara yapılan katliam ve tecavüzleri anlatıyor… Burada da edebiyat deneysel ve gayretli, aynı zamanda dikkat çekici; ben de gerçekten çizimlerimle böyle bir sonuca ulaşmak isterdim.

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Mavado Charon, kağıt üzerine tükenmez kalem, 2013

Meksika, Güney ve Orta Amerika’da gerilla birimleri Amerika Birleşik Devletleri’ni özgürleştirmek için bir kurtuluş ordusu ku­ruyor. Kuzey Afrika’da, Tanca’dan Timbuktu’ya kadar benzer bi­rimler Batı Avrupa ve Britanya’yı özgürleştirmeye hazırlanıyor. Uzlaşmaz amaçlarına ve üyeler arası farklılıklara rağmen yeraltı hareketi temel hedefler konusunda uzlaşıyor. Her yerde polis makinesine karşı yürümek istiyoruz. Polis makinesini ve bütün kayıtlarını yok etmek istiyoruz. Bütün dogmatik sözel sistemleri yok etmek istiyoruz. Aile birimini ve onun kabilelere, ülkelere ve uluslara kanserojen bir madde gibi yayılımını kökünden yok edeceğiz. Ailelerin, annelerin, babaların, polislerin, rahiplerin, ülkelerin ya da partilerin konuşmasını istemiyoruz artık Taşra ağzıyla söyleyecek olursak; yeterince saçmalık duyduk biz.

Fransa erken avangard’ın beşiğiydi. Şu an durum nasıl? Edebiyat, sanat, tiyatro alanlarında neler olup bitiyor, tavsiye edebileceğin bir şeyler var mı?

Burada, bu konu hakkında konuşacak en doğru kişi olduğumu sanmıyorum, yeni edebi ve teatral sahneleri pek az biliyorum. Öte yandan, çizimde, graf-zin ve fanzin sahnelerinde çok tutkulu şeyler olduğunu görüyorum. François de Jonge (SuperStructure yöneticisi) gibi insanlar ya da Revue Collection etrafındaki kolektif (Lagon ya da Volcan kökeninin bir parçası) bu aralar harika graf-zinler, muhteşem çalışmalar üretiyor, tıpkı 2000’lerin Amerikan dergi Kramers Ergot gibi. İngilizlerin yaptığı Mould Map dergisini de seviyorum. Bunlar yine benim için önemli ilham kaynakları!

Olivier de Sagazan hakkında ne düşünüyorsun? 

İlginçtir, Olivier de Sagazanı daha önceden tanımıyordum, ama internet sitesine baktım, ve çok güçlü buldum! Benim artistik çalışmam, esas olarak bedenin çizimdeki temsili üzerine bir çalışmadır ve bu beni çok konuşturur!

Mavado Charon ile söyleşi 09/ 2015

*italik bölümler: William S. Burrough ‘Vahşi Oğlanlar’. Ayrıntı Yayınları’ndan çıkan Ahmet Ergenç çevirisinden alınmıştır. Özgün Adı: The Wild Boys