END:CIV Resist or Die (2011)

Yaşadığınız topraklar, ormanları katleden, suyu ve havayı kirleten ve besin kaynaklarınızı zehirleyen yaratıklar tarafından işgal edilseydi, direnir miydiniz?

END:CIV; kültürümüzün sistematik şiddete ve çevresel sömürüye olan bağımlılığını inceliyor ve sonuçta zehirlenen tabiatı ve savaş bunalımındaki ulusları derinlemesine araştırıyor. Derrick Jensen‘in Endgame (Oyun Sonu) adlı kitabından esinlenen END:CIV izleyiciye şu soruyu soruyor: “Yaşadığınız topraklar, ormanları kesen, suyu ve havayı kirleten ve besin kaynaklarınızı zehirleyen yaratıklar tarafından işgal edilseydi, direnir miydiniz?”…

End:Civ ‘Resist Or Die’ (2011)

Uygarlıkların çökmelerinin altında yatan nedenleri genellikle kaynakların aşırı kullanımına dayanır. Bunu yazarken, dünya ekonomik kaos, petrolün zirvesi, iklim değişikliği, çevresel yıkım ve politik karışıklıkla sendeliyor. Hergün, manşetler skandal hikayelerini ve kamu güvensizliğini temcit pilavı gibi ısıtıp ısıtıp önümüze koyuyor. Şu anki küresel sistemin sonuna dair öfkeli taleplerde bulunmamız gerekmiyor – çünkü çok yakında çökecek gibi görünüyor. Ancak, en çok hasar görmüş yerlerde bile cesaret, merhamet ve özgecilik eylemleri kaynıyor. Savaş ve baskının ağır etkilerine maruz kalmış insanların dirençliliğini ve ilerleyen krizle yüzleşmek için öne atılanların kahramanlıklarını belgeleyerek, END:CIV bu herşeyi tüketen çılgınlığın dışında makul bir geleceğe ışık tutar. Jensen’in anlatımı ile desteklenmiş film bizleri bu toprakları gerçekten seviyorsak eyleme geçmeye çağırıyor. Film, küresel ekonomik sistemin çözümlemesini yapmak için müziği, arşivsel metrajı, hareketli grafikleri, animasyonu, güldürüyü ve hicvi de kullanarak enerjik bir tempoda ilerliyor. END:CIV, Jensen’in şiirsel ve sezgisel yaklaşımıyla örtüşen birinci elden fedakarlık ve kahramanlık hikayelerini dikkatle ve duygusal olarak heyecanla yansıtıyor. Taşrada çekilmiş ekran görüntüleri korkunç ama olağan yıkımın traşlama kanıtının yanısıra kesici doğal güzelliğin perde arkasını gözler önüne seriyor.

“Diren ya da Öl!”

Türkçeleştiren: Sosyal Savaş

End:Civ ‘Resist Or Die’ (2011)

Si votre patrie était envahie par des extraterrestres qui abattaient les forêts, empoisonnaient l’eau et l’air et contaminaient l’approvisionnement alimentaire, résisteriez-vous ?

END:CIV examine la dépendance de notre culture à la violence systématique et à l’exploitation de l’environnement, et sonde l’épidémie résultante de paysages empoisonnés et de nations sous le choc. Basé en partie sur Endgame, le best-seller de Derrick Jensen, END:CIV demande : « Si votre patrie était envahie par des extraterrestres qui abattaient les forêts, empoisonnaient l’eau et l’air et contaminaient l’approvisionnement alimentaire, résisteriez-vous ? ”

Les causes sous-jacentes à l’effondrement des civilisations sont généralement attribuées à la surexploitation des ressources. Au moment où nous écrivons ces lignes, le monde est sous le choc du chaos économique, du pic pétrolier, du changement climatique, de la dégradation de l’environnement et des troubles politiques. Chaque jour, les gros titres ressassent des histoires de scandale et de trahison de la confiance du public. Nous n’avons pas à faire des demandes indignées pour la fin du système mondial actuel – il semble déjà en train de s’effondrer.

Mais les actes de courage, de compassion et d’altruisme abondent, même dans les endroits les plus endommagés. En documentant la résilience des personnes les plus durement touchées par la guerre et la répression, et l’héroïsme de ceux qui se présentent pour affronter la crise de front, END:CIV éclaire un moyen de sortir de cette folie dévorante et vers un avenir plus sain.

Soutenu par le récit de Jensen, le film nous appelle à agir comme si nous aimions vraiment cette terre. Le film voyage à un rythme effréné, utilisant de la musique, des images d’archives, des graphiques animés, de l’animation, du slapstick et de la satire pour déconstruire le système économique mondial, alors même qu’il implose autour de nous. END:CIV illustre des histoires à la première personne de sacrifice et d’héroïsme avec des images intenses et chargées d’émotion qui correspondent à l’approche poétique et intuitive de Jensen. Les scènes tournées dans l’arrière-pays offrent des intermèdes d’une beauté naturelle à couper le souffle aux côtés de preuves évidentes de destructions horribles mais banales.

END:CIV propose des entretiens avec Paul Watson, Waziyatawin, Gord Hill, Michael Becker, Peter Gelderloos, Lierre Keith, James Howard Kunstler, Stephanie McMillan, Qwatsinas, Rod Coronado, John Zerzan et bien d’autres.

End:Civ ‘Resist Or Die’ (2011)

Wenn Ihr Heimatland von Außerirdischen überfallen würde, die die Wälder abholzen, das Wasser und die Luft vergiften und die Nahrungsversorgung verseuchen, würden Sie Widerstand leisten?

END:CIV examines our culture’s addiction to systematic violence and environmental exploitation, and probes the resulting epidemic of poisoned landscapes and shell-shocked nations. Based in part on Endgame, the best-selling book by Derrick Jensen, END:CIV asks: “If your homeland was invaded by aliens who cut down the forests, poisoned the water and air, and contaminated the food supply, would you resist?”

The causes underlying the collapse of civilizations are usually traced to overuse of resources. As we write this, the world is reeling from economic chaos, peak oil, climate change, environmental degradation, and political turmoil. Every day, the headlines re-hash stories of scandal and betrayal of the public trust. We don’t have to make outraged demands for the end of the current global system — it seems to be coming apart already.

But acts of courage, compassion and altruism abound, even in the most damaged places. By documenting the resilience of the people hit hardest by war and repression, and the heroism of those coming forward to confront the crisis head-on, END:CIV illuminates a way out of this all-consuming madness and into a saner future.

Backed by Jensen’s narrative, the film calls on us to act as if we truly love this land. The film trips along at a brisk pace, using music, archival footage, motion graphics, animation, slapstick and satire to deconstruct the global economic system, even as it implodes around us. END:CIV illustrates first-person stories of sacrifice and heroism with intense, emotionally-charged images that match Jensen’s poetic and intuitive approach. Scenes shot in the back country provide interludes of breathtaking natural beauty alongside clearcut evidence of horrific but commonplace destruction.

END:CIV features interviews with Paul Watson, Waziyatawin, Gord Hill, Michael Becker, Peter Gelderloos, Lierre Keith, James Howard Kunstler, Stephanie McMillan, Qwatsinas, Rod Coronado, John Zerzan and more.

PERSUASION. Musique Industrielle et Contrôle Mental (1975-1995)

Design Projet Room, cur. Nicolas Ballet, Paris 1 Panthéon-Sorbonne / INHA © HEAD–Genève

L’Angleterre des années 1970 assiste à la naissance de groupes de musique industrielle qui participent à l’émergence d’un phénomène artistique global tissant une multitude d’expressions avec de nombreux domaines. Certaines figures emblématiques de cette scène prennent conscience de l’importance du rôle des médias et de la nouvelle forme de pouvoir qui les accompagne dans la capacité à manipuler les masses.

L’exposition « Persuasion. Musique industrielle et contrôle mental (1975-1995) » met en exergue les recherches des artistes industriels dont les travaux révèlent un intérêt croissant pour la thématique de la manipulation mentale. La conception d’affiches, de fanzines, de pochettes de disque et de vidéos autour du contrôle mental sont autant d’éléments qui témoignent d’une culture visuelle foisonnante. Celle-ci est ici présentée en trois séquences identifiées selon les titres de certaines œuvres exposées. Le conditionnement sonore et visuel (How to Operate Your Brain), les expériences chirurgicales en milieu psychiatrique (Suture Obsession) ainsi que la guerre acoustique des musiques industrielles (Nothing Short of a Total War) établissent un lien avec le domaine scientifique des années 1960 et 1970, souvent issu du monde militaire. Les renvois, détournements et citations perpétuels qui nourrissent la culture industrielle à partir des recherches militaires se manifestent par l’élaboration d’une presse parallèle singulière. Le bulletin Industrial News de Throbbing Gristle ainsi que les publications RE/Search sont à cet effet exemplaires des stratégies de détournement propre à l’esthétique des musiques industrielles présentée dans cette exposition dont les œuvres de Club Moral, Nocturnal Emissions, SPK, Zorïn et bien d’autres sont exposées.

Commissaire: Nicolas Ballet, docteur en histoire de l’art (université Paris 1 Panthéon Sorbonne), attaché de conservation, Centre Pompidou.

Chercheurs : Jelena Martinovic et Nicolas Brulhart.

Le projet MIND CONTROL privilégie l’innovation « transdisciplinaire » en portant son attention sur les liens entre le design (controdesign et antidesign), l’architecture radicale et l’art expérimental en Europe et aux Etats-Unis, et les recherches en psychologie, neuroscience et cybernétiques sur le conditionnement mental telles qu’elles se sont stratégiquement développées au sortir de la Seconde Guerre mondiale.

Persuasion. Industrial Music and Mind Control (1975-1995)

Exhibition, April 2015, HEAD – Geneva

England in the 1970s witnessed the birth of industrial music groups who participated in the emergence of a global artistic phenomenon weaving a multitude of expressions with many fields. Some of the most emblematic figures of this scene became aware of the importance of the role of the media and the new form of power that accompanied them in their ability to manipulate the masses.

The exhibition ‘Persuasion. Industrial Music and Mind Control (1975-1995)’ highlights the research of industrial artists whose work reveals a growing interest in the theme of mind control. The design of posters, fanzines, record sleeves and videos based on the theme of mind control all bear witness to a rich visual culture. This is presented here in three sequences identified by the titles of some of the works on show. Sonic and visual conditioning (How to Operate Your Brain), surgical experiments in psychiatric settings (Suture Obsession) and the acoustic warfare of industrial music (Nothing Short of a Total War) establish a link with the scientific field of the 1960s and 1970s, often stemming from the military world. The constant references, diversions and quotations that fed industrial culture from military research manifested themselves in the development of a singular parallel press. Throbbing Gristle’s Industrial News bulletin and the RE/Search publications are exemplary of the strategies of misappropriation specific to the industrial music aesthetic presented in this exhibition, which includes works by Club Moral, Nocturnal Emissions, SPK, Zorïn and many others.

Exhibition, April 2015, HEAD – Geneva

The works of

Autopsia, Cabaret Voltaire, Clock DVA, Club Moral, Esplendor Geométrico, La NomenKlaTur, Le Syndicat, M.B., Maeror Tri, Minamata, Nocturnal Emissions, Nurse With Wound, Pacific 231, Psychic TV, RE/Search, SPK, The Anti-Group, Sordide Sentimental, The Haters, The Hafler Trio, Throbbing Gristle, Urbain Autopsy, Zorïn are exposed in this exhibition.

2023 (parution prévue au 2e trimestre) édition française

Une vaste étude de la culture visuelle des musiques industrielles au cours de leur développement en Europe, aux États-Unis et au Japon, des années 1970 aux années 1990, culture globale dépassant la seule expérimentation sonore pour croiser différents médias (graphisme, film, performance, vidéo), dans un dialogue étroit avec l’héritage de la modernité et sous l’emprise croissante des technologies.

Docteur en histoire de l’art contemporain, chargé de cours en histoire de l’art contemporain à l’Université Paris 1 Panthéon-Sorbonne, Nicolas Ballet est spécialiste des cultures alternatives, de l’art expérimental, des nouveaux médias et des mouvements d’avant-garde.

order: Shock Factory

THE LAST SLOGAN (limited edition) – Jean Pierre Turmel & Nicolas Ballet

The Last Slogan pays tribute to one of counter-culture’s single most iconic figures of the past fifty odd years, someone who has over the course of he/r career influenced countless fellow artists and theorists. Comprised of an exclusive unpublished interview with the artist conducted by Nicolas Ballet in 2016, theoretical texts on he/r work, and archival documents from the personal collection of Jean-Pierre Turmel.

The Last Slogan offers a completely new perspective on the work of Genesis Breyer P-Orridge. The book collects multiple letters sent by Genesis to Jean-Pierre Turmel (Sordide Sentimental label headmaster) from the mid-1970s till early 1990s. These unique personal archives provide an unequaled insight into Genesis Breyer P-Orridge’s life-long journey via a deeply intimate correspondence with a close friend and associate, an intellectual sparring-partner of sorts, in which the artist discusses he/r inner thoughts, strategies, doubts and plans without any of the usual control filters.

order: THE LAST SLOGAN

Nicolas Ballet – photo: Veronique Ellena

> nicolasballet.com

> EDITION <

Beyond All Hierarchies -A- Naked Truth: Nackt Kollektiv

Nacktkollektiv ‘Silent Green’ group picture

“This moment is ours and we encourage you to see it with our eyes as well.”

Nackt Kollektiv made up of artists and activists who want to speak the truth of their minds and bodies through art.

They want to speak out art. They are at war with patriarchy and capitalism. They rehabilitate the ugly, the fat, the witches and revolutionaries to fight against what is forced upon them, to break the invisible chains of their oppressors with the nakedness of the truth.

Cristina (ViVi Black), Mariana Rodriguez Acebal & Jördis Hirsch in screen-printing studio in STATTLAB, 2022

They are Cristina (ViVi Black) from Barcelona, who is currently also studying art therapy, Mariana Rodriguez Acebal, an illustrator and comic book designer, and Jördis Hirsch, a screen printer and freelance artist at STATTLAB on Drontheimer Straße in the Soldiner Kiez.

Since Jördis and Mariana knew each other from a stay in Paris and Cristina and Mariana were friends, things soon came full circle: In 2021 they came to found the collective together -with about ten other participating artists- and are dedicated to authenticity, truth and the unembellished, which is related to being a woman; they encounter each other in a strictly authentic manner, towards themselves and together. And they support each other by planning the exhibitions together and also balancing each other out in their contributions, which can be very important when several projects need to be kept going at the same time.

“Doesn’t matter from which scene you come, this need of competition and rivalry exists and it can create a very toxic behavior towards someone. We have enough repression by being a woman in this society, so let’s support each other’s success and create a beautiful net that goes on the way to overthrow the patriarchy.”

VIVI BLACK

Cristina is an illustrator and graphic designer from Barcelona based in Berlin. She finished her graphic design studies in 2016 and then moved to Berlin. Her work would be defined as feminist, surrealistic and figurative art.

A short interview with ViVi ‘Cristina’ Black, one of the founders of Nackt Kollektiv

In her artworks, she wants to grasp different types of bodies, such a woman’s body, trans, queer or intersexual bodies in various techniques, materials and coatings that represent the beauty of those bodies, and she convey the feelings and sensations that someone can feel in the course of one’s life, especially when you are an immigrant and woman. Her artworks and projects, such as feminist fanzines, illustrations and designs, seek to combine what we feel about stereotypes of the “non-standard bodies”, through paintings, texts and drawings that usually have a dual meaning and express harshness as well as beauty.

NØTHING – Ø demo [ALLEMAGNE – 2022]

> ViVi BLACK

A short interview with Jördis Hirsch, one of the founders of Nackt Kollektiv. Berlin 2022

Jördis Hirsch

Jördis Hirsch works as a freelance artist with a focus on screen printing in Berlin. After studying graphic design and illustration in Marburg and Paris, she has been leading workshops, exhibitions and art projects in the artist collective STATTLAB e.V. since 2015. She has received several grants for artist residency programmes in France, Italy, Tanzania and Mexico. As poster art, her interventions conquer public space.

She specialises in the graphic depiction of people and animals in an urban context. Subtle humour and socially critical commentary are set in the context of gender-specific role models and hierarchical structures. She works mostly analogue, using sustainable materials from her immediate environment that she incorporates into the printing process.

Geboren in den letzten Zügen der DDR hat Jördis ihre Kindheit im Berlin der Wendejahre verbracht. Alles schien möglich, alles war im Umbruch, alles sah neu aus, war es aber nicht. Berlin ist Jördis trotzdem treu geblieben, nach einem Kunststudium dass sie erst in den goldenen Westen und später nach Paris verschlug, kehrte sie aus Liebe zu der großen hässlichen Stadt zurück und baute hier gemeinsam mit einer Gruppe unerschrockener Idealisten ein Künstlerkollektiv auf. Druckend, zeichnend und singend bahnt sie sich seitdem ihren Weg. mit offenen Augen und der Sehnsucht im Herzen, die die Überwindung einer Grenze hinterließ.

Ihre Werke sind gekennzeichnet durch einen expressiven Ausdruck und einen kompromisslosen Strich, sie sucht darin zu fassen was uns Menschen alle miteinander verbindet. Eine wichtige Rolle spielt der Humor als Ausdruck von Lebensfreude und Furchtlosigkeit vor dem Schicksal. Im spielerischen Zugang erkennt man den Ernst der Lage. Ihre Motive, in denen tierisches häufig nur allzumenschlich, menschliches dafür umso animalischer wirkt, sind Zeichen des Aufbegehrens. Das spiegelt sich auch in Jördis Technik wieder, in der sie bewusst Elemente der Monotypie der repeptitiven Technik des Siebdrucks entgegen setzt.

> joerdishirsch.com

NK Exhibition at Werkhallewiesenburg 2022, Berlin / Photography by Minuit Moins Six

Photography by minuit moins six

NK Exhibition at Werkhallewiesenburg 2022, Berlin

THE GIRL THAT SETS WORLD ON FIRE

KARPETT

My art is a declaration.

A declaration of war
Against this capitalist system which exploits us,
Kills us,
Destroy us,
Oppresses us,
And assassinates us.

My art is a riposte.

I create for the women,
For the faggs,
For the dykes,
For the trans,
For the poors,
For the stoners,
For the unloved,
For the forgotten,
For the foreigners,
For the refugees,
and all those left behind.
I create to give them a weapon,
I create to teach them how to fight,
I create to give them the right to exist,
I create to make them believe in themselves
I create to show them that they have value
I create to give them back their dignity,
I create to encourage them to never stop fighting, without
making any concession.
I create to give them hope,
I create to show them that a brighter future is possible.

> karpett

Photography by minuit moins six

ANKA

After strolling through the corridors of the Academy of Fine Arts in Liège during her training in monumental painting, followed by the study of Comics at St Luc in the same city, she left for Brussels to make new experiences. At that point she became active as an event planner in different locations, including the E2 Gallery “Le Sterput”. She became in charge of organizing various types of events, such as exhibitions, concerts, happenings, performances, editions, etc… From this rich background built through involvement and connections, she aspired to get back to her first discipline, personal and current, the art of illustration.

“I mostly focus on portrait drawing because I like capturing people’s emotions and transmitting it through my own vision, whether it might be a harder view, something more dynamic or supernatural. My drawings are the sharing of my own sensistivty, an inner emotional response to a subject or a person.”

Anka with her self-published E² labeled Darkam’s book

Anka also published a book of Darkam’s illustrations and recorded a very transgressive live performance held as part of the exhibition.

Apart from this, we can’t help talking about the artist’s productions for many different collectives and publications such as ‘Gonzine’, ‘Alkom’x’, ‘EpOx et BoTOx éditions’. Also the latest works for the ‘Archives de la Zone Mondiale’ and a punk-rock photozine ‘Dunkle Bitumen’ are some of the artist’s remarkable works.

For more art and communication:

> anka_drawings

Mariana

Rodríguez Acebal

Mariana Rodríguez is a Berlin-based comic artist, she is best known for her symbolic, free style illustrations highly inspired by feminism. Her techniques are normally screen printing, simple drawings or watercolors. Also, she’s a member of the Berliner underground comic group “Bilderberg Konferenz”.

*Mariana Rodríguez Acebal* ‘The Níght Citizens’

The line of the illustrations are filled with cynical humor, and the concepts touch absurdity in order to reflect the irony of reality.

> Walrus Blues

Teresa Hide

Teresa is a content writer from Spain, always passionate about old cameras and analog photography. After graduating as a psychologist she moved to France where she further developed her interest in analog photography amidst a stimulating artistic environment. Teresa often shoots on 35mm film but she also experiments with medium formats and instant film cameras. She captures meditative moments, portraits of friends, apprehending the uniqueness of people, places and situations seen through the eyes of a curious observer.

T e r e s a

Analog Photography

MICHAELA PETRANOVA

Michaela is a travelling fine-art photographer with a current residency in Berlin. She has always been fascinated by the capability of a photograph to capture a moment that’s gone forever. For her, photography has a bigger meaning.

With every photo she takes, she feels the responsibility of creating something powerful, something that could eventually become a visual heritage of world cultures and urban subcultures. In her artwork, she likes to express raw emotions, often something strange yet beautiful.

She plays with light and bold colours, and in most cases, her photographs have a dramatic, cinematic feel to them. Whether they are ordinary people or remarkably talented artists, she finds all her subjects, in one way or another, very inspiring, beautiful, and absolutely crucial to her artwork.

mpetranovaphoto

CRIMINAL FLOWERS

Rebbeca Sauve is an artist and tattooer currently based in Berlin. Inspired by political atrocities, dystopian societies, horror movies, all things dark, and a deep love for punk.

don’t forget to check out for more:

deadheat_10000v

*Criminal Flowers, illustration, ink on paper,* 2021

*Criminal Flowers, ink on paper tattoo art*, 2021

A Northerner Storm

Mallie Hellström

Mallie Hellström is a contemporary analog collagist and interdisciplinary artist works in her own studio based in Berlin, Lichtenberg. Mallie is a young artist, but it is possible to come across an intense experience in her art already. She is synthesizing the modernist collage tradition with the surrealist attitude, bringing it to the present day and creating miracles.

She also curates regularly group-exhibitions and art-events such as Karnival Of Arts – that is a three days art-event since 2020 (with focus for flinta artists since 2022), and in solidarity from this year with artistic and cultural associations with social interests.

She has been interested in colors since her early ages, has improved herself by making detailed drawings and posters over time. In the paintings which she creates by releasing the subconscious with surrealist automatic technique, a decorative intensity, a textural elegance, interesting symbols and expressions waiting to be revealed are hidden.

Mallie Hellström, ‘Untitled’ Mixed media collage, 2022

A short presentation from Mallie Hellström, one of the participating artists of Nackt Kollektiv

These are not enough for Hellström, with the collage technique she has developed, the artist begins to create touching and critical scenes over time.

Her work honors the Dada aesthetic in the 21st century. Mallie takes the viewer on a tour through many layers of thought and history in her compositions created with the traditional method, these visual poems can also be read as serious paintings that examine many concepts.

Mallie Hellström ‘Höhenangst’ Mixed media collage, 2023

She also takes active part in many art collectives and open to receive requests for exhibitions as well collaborations under her instagram @artbyhellstrm or by email artbyhellstrm @ gmail.com

Mallie Hellström, ‘Soul Tank’ Mixed media collage on paper (made out of a older abstract painting of the artist) 19,5 x 14,0 cm, 2016-2023

for more > artbyhellstrm

A mini-interview with Mallie Hellström, one of the participating artists of Nackt Kollektiv. Berlin 2022

Maria Mö

Contemporary artist & İllustrator from Berlin

a.k.a Maha Mask

Maria Mö ‘Mask relief’ exhibited at Werkhalle Wiesenburg, 2022, Berlin

Katya Yakihama’s artworks at Nacktkollektiv exhibition, 2023

KATYA YAKIMAHA

Katya Yakimaha, has been drawing since 2015 and loves to draw posters of festivals and art for merch, she is very active in the punk-scene in St. Petersburg and also does great tattoos.

kobra_katya_tattoo

Tattoo sketchbook by Katya Yakimaha, one of the participating artists of Nackt Kollektiv. Berlin 2023

Chaos in Order

KRISTINA ZERO

Kristina is an illustrator and tattooer from Greece based in Berlin.

“How do we live in this fast-paced modern society in a spiral of endless consumption, increasing right-wing politics, patriarchy and inequality?”

Naava Kelo

Naava Kelo is a photographer who thrives from the nature, but got caught in the beat of the city. When observing the life and rhythm of the developing Metropol, Naava reflects questions through the lens; How do we live in this fast-paced modern society in a spiral of endless consumption, increasing right-wing politics, patriarchy and
inequality?

She combines urban scenery and elements of nature with mixed technics of analog and digital photography.

IINA

Finland based photographer and illustrator lives in Berlin.

maitopuklu

SARA BIPEDE

Graduated at the art academy between Milan and Rotterdam in 2009. After that chose the underground comic world of small publishing houses as the right environment to develop her art. Since 2011 has been self publishing her comics, posters and zines and taking part in numerous festivals and publications all around Europe. At the moment she’s involved in two big projects, printing her new comic book ©IOSOJRASERILAB, a workshop at 1400 mt in the Italian alps and mixing masks craft, songwriting and video in her music project VAS.

sara.bipede

Marina Knup

Anarkopunk, tattoo artist/ illustrator and anarchist movie maker from Brasil based in Mexico. Part of the projects Anarco Filmes, Tormenta flegra Konspiracio -nes Nomadas- Distro y editorial, and another initiatives on punk/ anarchism.

Marina Knup Tattoo

Picture taken in Georgia of a survivor lady by ViVi Black

LONG LIFE TO OUR LADIES!

We vindicate the figure of the LADY as a perpetuator of the D.I.Y, as a survivor of a rotten system that belittled, mistreated and silenced them. Their experience and knowledge will always be an inspiration.

Their resistance is what defines them.

Let’s vindicate the figure of the LADY!

Jördis Hirsch, Cristina (Vivi Black) and Mariana Rodriguez Acebal in STATTLAB

Liberation and freedom for a life in Diversity and with creativity.

The striking red stamp-like logo Cristina made is a striking emblem. It is a circle filled with symbols of the vulva and phallus in order – as Jördis Hirsch describes it – to politically emphasize the desired and desired togetherness.

The women of the Nacktkollektiv appreciate it very much to be connected with artists also internationally, because the many feminist perspectives that are thereby brought to women’s concerns expand the insights and insights into what women today want to fight for: Liberation and freedom to live in diversity and with creativity. An insight into the work of the women artists is provided by an extensive illustrated portfolio. It is Mariana who promotes the networking of the interested international women artists and also prints their works or strengthens their acquaintances from other contexts.

(Based on the article written by Renate Straetling for the Weiser magazine.)

NK Group picture – Werkhalle Wiensenburg

KARPETT adds finally

“We are a ‘Women Collective’. If so far most of our members are cis women, I would say that we are a “FLINTA” collective, we are open to women and queers, gender non conforming or trans people and we want to create a safe space for them to create.”

An AnarchoPvnk feminist Art Collective

based in Berlin

Nackt Kollektiv

SO PAY ATTENTION !

Henriette Valium: Le Salon Vendetta & Le Festival Vendetta (2023)

Dessin en hommage à Henriette Valium by Julien Gardon

“Nul n’est prophète en son pays. À part peut-être Ben Laden !“

LE SALON VENDETTA & LE FESTIVAL VENDETTA TA-TA-TA

Chéries Graphies

Sébastien Boistel / Ventilo Magazine no: 476

Après la pause covidienne, le salon marseillais du fanzine Vendetta fait son retour. Et la nique aux censeurs avec un hommage au pilier de l’underground canadien, Henriette Valium.

Sur la porte du Dernier Cri, à la Friche de la Belle de Mai, un écriteau en guise d’avertissement : « Interdit aux moins de 16 ans ». La réalité, deux étages plus bas, serait-elle moins crade, avec ce Pôle Emploi au frontispice duquel un chômeur a inscrit à la bombe « Donnez-moi du travail » ? Au Dernier Cri, en tout cas, on n’en manque pas, l’équipe étant en train d’usiner ferme pour l’ouverture de la neuvième édition du salon marseillais du fanzine et de la microédition, Vendetta, qui se déroulera du 10 et 12 février. Un festival créé en 2013, en marge cette année où Marseille fut éphémère Capitale européenne de la Culture. Et qui, Covid oblige, a dû faire une pause en 2022. Alors, pour son retour, Pakito Bolino, fondateur du Dernier Cri et du salon, met les bouchées doubles. Sans cacher une certaine nervosité. Il faut dire que le climat est loin d’être serein, comme en atteste la polémique qui a entouré l’exposition de Bastien Vivès à Angoulême, puis son annulation. Dans le Monde, une quarantaine d’acteurs culturels ont dénoncé une société au « bord de l’obscurantisme ».

Le Salon Vendetta & le festival Vendetta ta-ta-ta / Photo by Marc Tessier, 2023

Le Salon Vendetta & le festival Vendetta ta-ta-ta / Video record by Marc Tessier, 2023

After the Covid break, the Marseille salon of the Vendetta fanzine is back. And the picnic to the censors with a tribute to the pillar of the Canadian underground, Henriette Valium.

On the door of the Dernier Cri, at the Friche de la Belle de Mai, a sign as a warning: “Forbidden to under 16s”. Would the reality, two floors below, be less dirty, with this Pôle Emploi on the frontispiece of which an unemployed person wrote in a bombshell “Give me work”? At the Dernier Cri, in any case, there is no shortage of them, the team being hard at work for the opening of the ninth edition of the Marseille fanzine and micropublishing fair, Vendetta, which will take place from 10 and February 12. A festival created in 2013, on the sidelines this year when Marseille was ephemeral European Capital of Culture. And who, Covid obliges, had to take a break in 2022. So, for his return, Pakito Bolino, founder of the Dernier Cri and of the show, is working hard. Without hiding a certain nervousness. It must be said that the climate is far from serene, as evidenced by the controversy that surrounded the exhibition of Bastien Vivès in Angoulême, then its cancellation. In the World, about forty cultural actors have denounced a society on the “edge of obscurantism”.

After the Covid break, the Marseille salon of the Vendetta fanzine is back. And the nick of the censors with a tribute to the pillar of the Canadian underground, Henriette Valium (on the cover of this issue)

Après s’être retourné le cerveau et les pupilles à la Friche, direction donc Data et l’Embobineuse pour mettre ses tympans à rude épreuve.

De quoi rappeler à certains quelques mauvais souvenirs. Alors, pour faire la nique aux censeurs de tout poil, Vendetta va rendre hommage à Henriette Valium, un pilier de l’underground canadien. Qui, nous explique Pakito, « est peut-être celui qui a contribué à ce que le Dernier Cri existe. Alors que j’y faisais les beaux-arts, quand il est venu à Angoulême dans les années 80, je l’ai hébergé. Puis, quand je vivais à Paris, j’ai eu l’occasion d’aller le voir au Canada. Et en voyant son travail, ce qu’il avait réussi à faire, je me suis dit que, moi aussi, je devais monter mon propre atelier de sérigraphie. »

Voilà pourquoi, au quatrième étage de la Friche de la Belle de Mai où, bientôt, pas loin d’une petite centaine d’exposant s’installeront à la faveur d’une pénombre aussi tortueuse que leur production, ça ne chôme pas. Pour reproduire, à l’entrée, la couverture d’une de ses œuvres, Cœur de maman. Ou reconstituer, quasi à l’identique, son atelier ! « À la fi n de sa vie, Valium vivait dans un garage qu’il a lui-même aménagé en glanant ici et là des morceaux de palettes, des bouts de bois. Sa cabane au Canada… »

Henriette Valium 2015

“At the end of his life, Valium lived in a garage that he built himself by gleaning here and there pieces of pallets, bits of wood. His cabin in Canada…”

Henriette Valium & Pakito Bolino, In the memory of good old days – Le Salon Vendetta & le festival Vendetta ta-ta-ta / Photo by Marc Tessier, 2023

“Is perhaps the one who helped make the Le Dernier Cri exist. While I was studying fine arts there, when he came to Angoulême in the 80s, I hosted him. Then, when I was living in Paris, I had the opportunity to go see him in Canada. And seeing his work, what he had managed to do, I said to myself that I, too, should set up my own screen printing workshop.”

Something to bring back some bad memories. So, to poke fun at censors of all stripes, Vendetta will pay tribute to Henriette Valium, a pillar of the Canadian underground. Who, Pakito explains to us, “is perhaps the one who helped make the Le Dernier Cri exist. While I was studying fine arts there, when he came to Angoulême in the 80s, I hosted him. Then, when I was living in Paris, I had the opportunity to go see him in Canada. And seeing his work, what he had managed to do, I said to myself that I, too, should set up my own screen printing workshop. »

This is why, on the fourth floor of the Friche de la Belle de Mai where, soon, not far from a hundred or so exhibitors will be settling in favor of a penumbra as tortuous as their production, it is not idle. To reproduce, at the entrance, the cover of one of his works, Coeur de Maman. Or reconstruct, almost identically, his workshop! “At the end of his life, Valium lived in a garage that he built himself by gleaning here and there pieces of pallets, bits of wood. His cabin in Canada…”

Henriette Valium, Pakito Bolino & Caro Caron (2019)

Pakito ne cache pas son admiration : « Si c’est la dernière expo du Dernier Cri et la dernière édition de Vendetta, autant fi nir avec un vrai punk ! C’était aussi presqu’un moine, capable de passer des mois sur une planche, des années sur un album. Mais, s’il a été édité en France au Dernier Cri à ou à l’Association, il n’a pas bénéfi cié d’une grosse diff usion au Canada. Comme on dit, nul n’est prophète en son pays. À part peut-être Ben Laden ! »

Et d’espérer que l’expo puisse tourner tandis qu’il fait le tour du chantier. « Ici, on pourra voir ses vidéos. Et là, il y aura la possibilité d’écouter sa musique. Il avait un groupe de punk, Valium et les dépressifs, et on a fait aussi des trucs ensemble, un peu plus indus. Il a commencé la sérigraphie en faisant des affi ches pour des groupes et pour une salle mythique à Montréal, les Foufounes électriques. »

Ultime Frontière by Bolino & Valium, 1994

Pakito does not hide his admiration: “If this is the last exhibition of Le Dernier Cri and the last edition of Vendetta, you might as well end up with a real punk!” He was also almost a monk, able to spend months on a board, years on an album. But, if it was published in France at Dernier Cri or at the Association, it did not benefit from a large distribution in Canada. As they say, no one is a prophet in his country. Except maybe Bin Laden! »

And to hope that the exhibition can rotate while he goes around the construction site. “Here we can see his videos. And there, there will be the possibility of listening to his music. He had a punk band, Valium and the Depressives, and we also did some stuff together, a little more industrial. He started screen printing by making posters for groups and for a mythical venue in Montreal, Les Foufounes Electriques. »

Henriette Valium & Pakito Bolino, In the Name Good Old Days – Le Salon Vendetta & le festival Vendetta ta-ta-ta / 2023

De fait, ce salon ne serait pas ce qu’il est sans son prolongement musical, Vendettatata. Après s’être retourné le cerveau et les pupilles à la Friche, direction donc Data et l’Embobineuse pour mettre ses tympans à rude épreuve. Au programme, entre autres, le son poppunk de Péritel, la noise de Tremble, les machines de Tout Est Cassé ou encore la papesse du synthé bruitiste, Jean-Michelle Tarre.

Mais Vendetta, dans une ville qui, contrairement à Poitiers, n’a pas de fanzinothèque ou de lieu à proprement parler dédié à la microédition, c’est avant tout l’occasion unique de rencontrer la crème du fanzinat. Qu’il soit canadien, québécois… Mais aussi, évidement marseillais, comme Même Pas Mal, Corbak Press ou Bizarroïde Édition.

Sébastien Boistel

Salon Vendetta : du 10 au 12/02 à la Friche de la Belle de Mai (4 rue Jobin, 3e). www.lafriche.org

Vendetta ta-ta-ta : les 10 & 11/02 à Data (44 rue des bons enfants, 5e) et à l’Embobineuse (11 boulevard Bouès, 3e). Rens. : www.lembobineuse.biz

Ventilo Magazine no: 476

Desperfecto de Henriette Valium (Detail)

In fact, this show would not be what it is without its musical extension, Vendettatata. After turning your brain and your pupils upside down at the Friche, head to Data et l’Embobineuse to put your eardrums to the test. On the program, among others, the poppunk sound of Scart, the noise of Tremble, the machines of Tout Est Cassé or even the popess of the noise synth, Jean-Michelle Tarre.

But Vendetta, in a city which, unlike Poitiers, has no fanzinotheque or place strictly speaking dedicated to micropublishing, it is above all a unique opportunity to meet the cream of the fanzinage. Whether Canadian, Quebecois… But also, of course, from Marseille, like Even Pas Mal, Corbak Press or Bizarroïde Édition.

Sébastien Boistel

Salon Vendetta : du 10 au 12/02 à la Friche de la Belle de Mai (4 rue Jobin, 3e). www.lafriche.org

Vendetta ta-ta-ta : les 10 & 11/02 à Data (44 rue des bons enfants, 5e) et à l’Embobineuse (11 boulevard Bouès, 3e). Rens. : www.lembobineuse.biz

Ventilo Magazine no: 476

Henriette Valium: (May 4, 1959 – September 3, 2021), known professionally as Henriette Valium, was a Canadian comic book artist and painter based in Montreal, Quebec. n March 2013, some of Valium’s art pieces were shown at Espace Robert Poulin in Montreal. Valium won the Pigskin Peters Award at the 2017 Doug Wright Awards for his Palace of Champions graphic novel (Conundrum, 2016).

Diego Lazzarin: Lethal Ride video game soon on Kickstarter!

Hello dear friends and supporters,

Diego Lazzarin here.
Hope you’re keeping well!

It’s been long since the last time I gave an update regarding my work…
hope you are happy to get some news!

I’m dropping a quick email just to let you know that next week, the 24th of January, I will be launching a Kickstarter Campaign to raise the funds for publishing Lethal Ride, my first videogame for PC and Mac.

I’ve been working on this game in my spare time for more than 3 years and it’s almost ready to be delivered… it just needs your final push!!

I’m going to send you another email with the link to the campaign next Tuesday as soon as it will start… I really hope you wish to support again my work and get yourself a copy of the game.

It would be very helpful if you contribute to the campaign in its beginning… this would allow the project to get noticed by the algorithm of Kickstarter and by so increase our chances for a successful funding!

kickstarter.com/projects/lazzarin/lethalride

Diego Lazzarin and Amino Acid Boy

Diego Lazzarin

Matcho Girl Olivia Clavel & Les Aventures De Télé

Olivia Clavel

Faut-il l’ajouter : Olivia est la dessinatrice de BD la plus moderne, la plus en avance, celle dont la sensibilité est la plus aiguë. Il serait temps que les femmes lectrices de BD commencent à s’en apercevoir. Ça vient.

EN 1973, à Actuel, on vit se pointer une jeune fille de dix-sept ans, timide et déjà un peu trop parano, qui amenait des dessins pas possibles, au trait proche de ceux des enfants, avec des scénarii bizarroïdes. Pour certains, dont je fus, il fallut plusieurs histoires pour être convaincus que c’était génial. On la publia. Elle était aux Beaux-Arts avec une bande de mecs qui voulaient tout casser. Ils firent un fanzine dont le retentissement allait être retardé de quelques années, Bazooka. De son coté, la jeune fille créait Loukhoum Breton, qui n’eut qu’un numéro. Le groupe était né, dont elle resta la seule fille.

Olivia Clavel a vingt-cinq ans. Elle a vécu l’aventure bazookienne, ses hauts et ses bas, son délire et ses galères, sa gloire et ses coups durs jusgu’au bout, en 1979. Aujourd’hui, elle travaille seule. On la voit régulièrement dans ce journal et son grand frère Hara-Kiri. De temps en temps, une illustration par-ci par-là. Question albums, il y a toujours l’admirable « Gloria Spontex » (avec Loulou et Kiki Picasso) chez Futuropolis (1977), et le Dernier Terrain Vague vient de publier son premier recueil personnel, la grande saga des aventures de Télé, ce personnage à tête de télévision qui ressemble tant à l’auteur. Titre : Matcho Girl. Pourquoi ? Eh bien, l’ami Berroyer a expliqué qu Olivia était « pédé comme une otarie ».

Faut-il l’ajouter : Olivia est la dessinatrice de BD la plus moderne, la plus en avance, celle dont la sensibilité est la plus aiguë. Il serait temps que les femmes lectrices de BD commencent à s’en apercevoir. Ça vient.

Negative: Olivia Clavel, Matcho Girl

Is it necessary to add it: Olivia is the most modern comic strip artist, the most advanced, the one whose sensitivity is the most acute. It’s time for female comic book readers to start realizing it. It’s coming.

IN 1973, at Actuel, we saw a young seventeen-year-old girl show up, shy and already a little too paranoid, who brought in impossible drawings, with a line similar to those of children, with bizarre scenarios. For some, including myself, it took several stories to be convinced it was great. We published it. She was at the Beaux-Arts with a bunch of guys who wanted to smash everything. They made a fanzine whose impact was going to be delayed for a few years, Bazooka. For her part, the young girl created Loukhoum Breton, which only had one number. The group was born, of which she remained the only daughter.

Olivia Clavel is twenty-five years old. She lived the Bazookian adventure, its ups and downs, its delirium and its galleys, its glory and its hard times until the end, in 1979. Today, she works alone. We see her regularly in this newspaper and her big brother Hara-Kiri. From time to time, an illustration here and there. Question albums, there is always the admirable “Gloria Spontex” (with Loulou and Kiki Picasso) in Futuropolis (1977), and the Last Terrain Vague has just published his first personal collection, the great saga of the adventures of TV, this character television head who looks so much like the author. Title: Matcho Girl. Why ? Well, friend Berroyer explained that Olivia was “fag like a sea lion”.

Is it necessary to add it: Olivia is the most modern comic strip artist, the most advanced, the one whose sensitivity is the most acute. It’s time for female comic book readers to start realizing it. It’s coming.

Olivia Clavel, Bande Dessinée

“Explique toi please !“

O.C. : Je vais faire un petit journal, c’est Loulou Picasso qui va s’occuper de toute la partie technique. Il y aura des crobards, des polaroids, des articles, des interviews, un peu comme un cahier de dessin. Tiré sur offset, ce sera distribué à très peu d’exemplaires. Ce sera pour les filles essentiellement. Je vais faire ça pour le pied ; faire un journal de BD pour gagner de l’argent, c’est dur. Ce qui me permet de gagner ma vie, ce sont mes BD dans Charlie, dans Métal, dans Sandwich. Pas avec ce petit journal. Un regard moderne ou Bulletin périodique, ça ne nous a pas fait vivre, mais en même temps c’était super de faire ça. Et ça a influencé plein de gens…

O.C : I’m going to write a little diary, it’s Loulou Picasso who will take care of all the technical part. There will be crobards, polaroids, articles, interviews, a bit like a sketchbook. Printed on offset, it will be distributed in very few copies. It will be for girls mainly. I’m going to do this for the foot; making a comic book to earn money is hard. What allows me to make a living are my comics in Charlie, in Metal, in Sandwich. Not with this little diary. A modern look or periodic bulletin, it didn’t make us live, but at the same time it was great to do that. And it influenced a lot of people…

Olivia Tele Clavel, Bande Dessinée

Et ça continue… En ce moment, à part Charlie, on ne te voit plus beaucoup dans les Journaux. Tu en avais marre ?

O.C. : J’ai eu une période difficile dans ma vie, Je n’avais pas d’appart’ fixe, j’etais malade. Je produisais peu. Bazooka s’est arrêté, on s’est séparés. On allait mal, on a erré à droite et à gauche. Bon, maintenant, j’ai un appart’, ça repart. J’ai fait une pochette de disque, an groupe de filles suédoises, des filles de dix-huit ans, punks mais sympathiques. Là, je n’ai pas honte ; Kiki Picasso, lui, il avait même fait la pochette de Nicoletta : un peu dur !

Tu ne fais jamais de pub ?

O.C. : Non, je ne peux pas en faire, ce n’est pas une question de morale, c’est pour la simple raison qu’on ne peut me faire de commande. Par exemple, si on me demande de dessiner un rasoir ou un pot de lait, je ne peux pas. Je ne peux faire que ce que j’ai envie. Donc pas de pub. Et en plus, mon dessin n’est pas très pub.

And it goes on… At the moment, apart from Charlie, we don’t see you much in the Newspapers anymore. Were you fed up?

O.C.: I had a difficult time in my life, I didn’t have a fixed apartment, I was sick. I produced little. Bazooka stopped, we separated. We were going badly, we wandered right and left. Well, now I have an apartment, it starts again. I did a record cover, a group of Swedish girls, eighteen year old girls, punks but friendly. There, I am not ashamed; Kiki Picasso, he had even made the cover of Nicoletta: a little hard!

Do you ever advertise?

O.C.: No, I can’t, it’s not a question of morality, it’s for the simple reason that I can’t be commissioned. For example, if someone asks me to draw a razor or a jug of milk, I can’t. I can only do what I want. So no ads. And in addition, my drawing is not very publicity.

Lulu Larsen et Olivia Clavel raccontent brievement Bazooka

Bazooka mag.

Est-ce que tu arrives quand même à t’en sortir financièrement ?

O.C. : Assez mal en ce moment, mais je commence à y arriver. Du temps de Bazooka, on gagnait plus d’argent. Il y avait Libération tous les mois… Mais mon livre va se vendre (rires) ! Et il y a d’autres circuits que le monde de la BD, les filles vont l’acheter…

Tu as l’impression que les filles aiment lire la BD moderne ?

O.C. : La nouvelle génération, genre fille de dix-huit ans, oui.

Je suis pessimiste. J’avais l’impression qu’il y allait avoir une énorme révolution. Dans les débats, dédicaces, ou à An-goulême, quand une fille vient, c’est toùjours pour accompagner son Jules, comme au foot. Avec l’éclatement de la BD, le succès des dessinatrices, Je croyais que ça allait changer, mais non. Depuis dix ans, ça n’a pas bougé d’un poil. Pour la plupart des femmes, le tabou demeure : la BD, c’est pour les enfants et les débiles,. Tu crois qu’on en sortira un Jour ?

O.C. : Oui. Les copines de ma sœur, par exemple, qui ont dix-huit-vingt ans, lisent les BD. Donc, rien n’est perdu (rires).

Olivia Tele Clavel, Bande Dessinée

Do you still manage to get by financially?

O.C.: Pretty bad right now, but I’m starting to get there. In Bazooka’s time, we made more money. There was Liberation every month… But my book will sell (laughs)! And there are other circuits than the world of comics, the girls will buy it…

Do you think girls like to read modern comics?

O.C.: The new generation, like an eighteen-year-old girl, yes.

I am pessimist. I felt like there was going to be a huge revolution. In debates, dedications, or in An-gouleme, when a girl comes, it’s always to accompany her Jules, like in football. With the explosion of comics, the success of designers, I thought that was going to change, but no. For ten years, things haven’t changed a bit. For most women, the taboo remains: comics are for children and the weak. Do you think we’ll get out of it one day?

O.C.: Yes. My sister’s friends, for example, who are 18, read comics. So nothing is lost (laughs).

Olivia Clavel’s “Super Meuf” with participations by Pascal Doury, Jacques Pyon, Keleck, Kiki…

Il y a combien de temps que Bazooka s’est dissous ?

O.C. : Un an-deux ans. Les derniers travaux communs, ça a été le générique de « Chorus » et un journal dans un disque qui s’appelait « la Perversita ». Loulou continue, il vient de faire une expo importante. Lulu Larsen, je ne sais pas bien… Kiki Picasso, ça va très bien pour lui, il est marié, père de famille, il fait de la pub et…

Olivia Clavel, bande dessinée

How long ago did Bazooka disband?

O.C.: One year-two years. The last joint works were the credits of “Chorus” and a diary in a record called “La Perversita”. Loulou continues, he has just done an important exhibition. Lulu Larsen, I’m not sure… Kiki Picasso, things are going very well for him, he’s married, a father, he advertises and…

…

Olivia Clavel, 1980

N’oubliez pas de visiter la fan-page de l’artiste pour plus d’oeuvres et de bandes dessinées:

oliviaclavel.art

The Olivia “Télé – No sport” Clavel Fanclub

Antifa: Chasseurs De Skins (2008)

During Paris early 80s, the “Skinhead” movement arrives in France, and is about to defray the chronicle for the decade to follow, with their provocations, attacks and racist crimes. Street gangs will form and react against this assault, in a urban warfare for control of the streets of Paris. They are the Red Warriors, the Ducky Boys and Ruddy Fox. Paris youth will nicknamed them “Skinheads Hunters”. Their motivation: to fight against fascism and racist acts by any means necessary, even turn against their opponents the violence they have suffered.

Through exclusive interviews, members of the most recognized gangs return to their history, their commitment and deliver the testimony of the situation of youth street from 20 years ago. Using exceptional archives footages and photographs, “ANTIFA” is a return to the streets of the 80s and the society of that time. The film looks at a pivotal time, in a generation whose ailments were already warning of urban today’s tensions. Resistance Films revealed this story through the documentary, to keep track of a movement never documented.

A film directed by Marc-Aurèle Vecchione – Résistance Films 2008

The story of the Street Gangs from Paris that stood up against Fascist & neo-Nazis Skinheads in the late 80’s. Meet the Red Warriors, Ducky Boys, Ruddy Fox…!!

Marc-Aurèle Vecchione a réalisé en 2008 un film sur les combats entre antifascistes et skinheads d’extrême droite dans les années 80, «Antifa, chasseurs de skins». Suite à la mort Clément Méric, un antifa tué mercredi par des militants d’extrême droite, le cinéaste analyse, pour Next, les rapports entre ces deux mouvances, aux apparences identiques mais diamétralement opposées politiquement.

Comment expliquer que les groupuscules d’extrême droite et les antifascistes se soient entichés des mêmes marques, Fred Perry et Ben Sherman en l’occurrence ?

C’est une chose complètement acceptée. Certains antifa ne partagent pas ces codes-là, mais dans le noyau dur du mouvement, ils s’habillent de la même façon et avec les mêmes marques que le camp d’en face. Parce que les racines de leurs mouvements sont les mêmes: les skinheads. Les deux ont divergé entre redskins et skins d’extrême-droite, mais l’origine est la même.

Ce n’est donc pas étonnant de voir des groupuscules diamétralement opposés politiquement revendiquer les mêmes signes d’appartenance ?

Non, depuis que les antifa se revendiquent plus ouvertement skinheads, et se rasent même la tête, ce sont les mêmes au niveau du look. Avec les mêmes bombers, les mêmes Dr Martens, les mêmes origines culturelles, et la même fascination pour la baston. Ce sont les frères ouverts contre les frères fermés, en somme.

Les boutiques qui vendent ces marques sont donc source de tensions ?

Oui, c’est un grand classique. Les boutiques qui vendent des fringues «rock» au sens très large du terme sont peu nombreuses, donc c’est un lieu de croisement. Dans le XV^e arrondissement parisien, une boutique qui distribue ces marques est surtout visitée par les skinheads d’extrême dro… Il vous reste 100% de l’article à lire.

RESISTANCE FILMS

Moleküler Adımlarıyla Eren Burhan

Eren Burhan, 2022

Haziran İki Bin Yirmi İki,

Bir Gecesi Gördüğüm Rüya

Eren Burhan

Pan su üzül yaprakları
Süzülsün manevrasıyla
Çaprazlama ateşin
Moleküler yürüyüşünü karda yaptı
Moleküler uykusuna
Güneşle ayın arasındaki bükülmüş metal
Patlayıp, yattı.
Peric komik biri
Peric skandal sandallarıyla
Zen nehirlerine
Salya akıtabilmek için
Parmaklarını sürtünmeyle açıp
Uçurtmak
Uçuşunu buzda yaptı moleküler
İlk uçuşuydu bu
Kar tanelerinin doldurduğu pattern,
Haricisim otlağında
Birkaç katmanlı katı mantarın
Çimine ulaşmak için
Sinematograf hayvansı bedenle sürünüyor.
Dört ayaklı bir ondört ayaklı.
Koku dokunun özünden fırlamış
ve dili uzatıyor dışarı.
Bu dil öyle bir dil değildil.
Peric ayıklığı en içkin içkimdir
Rüyay görür çürür

Eren Burhan “Dance” Kağıt üzerine pastel 2020

Lamba Kutusu Bir Dudak

Eren Burhan

Oranlıları yer, cesetlerine yenil
Sabahın erken saatlerinde ilk serinlikte
Korkuyla
Koskocaman bir dünyaya geldim
Mıknatıslama akımı

2. Ve 3. Harmonikleri
Sık sık yaktırttığı kulak kanat
Cehenneme dalan bağlantı grubuna

Kendilerine bir saat kurulduğunu anımsar
Tırnaklarının ölümcül çıkış diyagramları

Nasılsa aynı nokta
Binlerce yaşamın ateşli
Yük alma fitili
Yazınında karşılaştığımız
Kuş yerini de çiğnedi eren irin
Sesi de gün boyu
Değişirdi
Oran katı bir gökyüzüyle
Birimler, görevliler, hat tıkacı soluğu
Kumanda taşları arasında bu yolcu
Sindirdi yemini

Sanat yapıtlarıyla olan tüm elementler
Kök damar veya
Kör damar diye tabir edilen
Örnek kalınt hattaki kırık, iz dökme
By- pass ayırıcı denir bu ayırıcıya
Su bloke biçiminden gelen
Kesin sesli sinyal
Bağırıyor kesin sesinizi diye

İç ihtiyacı beslemeye yeter
Lamba kutusu bir dudak
Deneyimler
jeneratörler sayıların müziğini
Sepya kuyruğunda
uzay doğunun

2017 Çanakkale

Otopside Buz Kal

Eren Burhan

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

Buzkal

Eren Burhan ‘Dağ Orkestrası’ Lethe Kitap, 2019

98′ model bir şairressam Eren Burhan.

Dağ Orkestrasıyla sesleniyor.

Orkestra mümkün olan her yerde!

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

Dağ Orkestrası

PİSUVARDA BİRİSİVAR

> errenburhan

Joie Panique ! 7 nouveaux livres !

Très chères toutes et tous,

Joie Panique continue de vibrer et d’explorer…

7 nouveaux livres d’artistes arrivent dès demain !

7 artistes // 7 livres

Éditions limitées à 100 exemplaires !!!

Tirage unique et original numéroté à la main
Format 15 x 21 cm
Très beau papier 170 g.
Vernis sélectif 3D
20 pages d’images
1 livre : 7 € // Pack des 7 nouveautés : 45 € seulement

JoiePanique Fantasma art book artists edition new artbook ghosts fantasies Joie Panique

Ils seront disponibles demain, mais nous vous offrons la possibilité de les commander en avant-première dès aujourd’hui sur www.joiepanique.ecwid.com !!!

N’attendez pas pour vous assurer de recevoir votre exemplaire collector !

Merci à toutes et à tous !

Événement Paris : lancement le mardi 29 novembre à la galerie Arts Factory lors du vernissage de l’exposition d’Atak qui dédicacera son livre à cette occasion !

Événement Tours : Joie Panique au Festival Juste une impression organisé par le Temps Machine le samedi 19 et le dimanche 20 novembre.

Les 7 nouveaux livres Joie Panique sont arrivés !!

JPNQ loves YOU forever

Carole & Célia

Joie Panique Editions

Elsa von Freytag Loringhoven (1874-1927)

Baroness Elsa von Freytag

1874 doğumlu Alman dada sanatçısı Loringhoven, New York, Greenwhich Village’de yaşadı, erkek dadacılar kadar adı duyulmasa da avangard ve çağının oldukça ötesinde işler üretti. Provoke etmeye ayarlı el bombası kadar güçlü şiirleri ancak 2011 yılında basılabildi. Diğer yazılarını da kapsayan bu derlemenin adı ‘Vucüt Teri: Elsa von Freytag-Loringhoven’in Sansürsüz Yazıları’ adını taşıyordu. Yazdıkları 1918’de dergilerde James Joyce’un yazıları ile yanyana basılıyordu ve Jean Heap onu ilk kadın dadacı olarak tanımladı. 1913 yılında bir Baron ileevlenerek Barones ünvanını aldı, yazıları kadar avangard fotoğrafları ile de ünlü olan Barones, Man Ray’e sadece poz vermekle yetinmedi, şu an kayıp olan ve jenital bölgeleri traş ederken çekilmiş olan kısa bir filminde de oynadı. Marcel Duchamp’ın R. Mutt adıyla imzalayıp 1917’da Bağımsızlar Sergisi’ne katmak istediği ‘Fountain’ çalışmasındaki ürinalın arkasındaki el de Barones‘e aitti. ‘Sound poetry’ denen dadacı şiirlerin ilk üreticilende de biridir. 20’li yıllarda parasızlık onu Avrupa’ya dönmeye zorladı. Almanya’da para kazanmayı umuyordu, ancak birinci dünya savaşının yıkımından beri toparlanamamış olan Almanya’da bunun imkansızlığını görüp Paris’e geçti. Durum orada da farklı değildi. Djuna Barnes gibi Amerikalı lezbiyen sanatçılar onu Amerika’ya geri aldırmaya çalışsalar da 1927’de Paris’teki evinde açık unutulan havagazından zehirlenerek öldü. Atina avangard film festivalinden Nina Veligradi’nin Ankara 4. Kuirfest için seçtiği flmler arasında gösterilen, Lily Benson ve Cassandra Guan adı sanatçıların 2013 yılında çektiği yönettiği ’The Filmballad of Mamadada’ ‘Dadaananın Şarkılı Filmi’ bu yüzyılın ilk dada sinema örneklerinden biriydi. Kült yayınlarının ‘Dada bakire bir mikroptur’ kitabında da Barones’in seçme yazılarına Türkiye’de ilk kez yer verildi.

Cemal Akyüz, 2015

GFX: Nils Bertho

’Bir Düzine Koktey— Lütfen’

Baroness Elsa von Freytag Loringhoven

Çeviri: Cemal Akyüz

Yok bana bakire lolipop – evet – yok
Muzumuz. İştahlı bir damağım var – Yerim
Onları hep – – – – — — — —
Selüloitten züppe boruları var—- her boyutta —
Şeytani bir şekilde bir babunun kıç rengine boyanmış .
Bir adam —-
Saçmalıktır!
Bir deste arzu ! İşte ürküten bu
Modern Amerikalı’nın sorunu
Ev konforu? Eksik serserilik
Aslında bakımlı olması gereken concona !
İşte başlıca sorun bu.
Vibratör var — — —
Nazlı yosmaoyuncağı ! ben erişkin bir bireyim
Oy verme hakkına sahip — — — cömertce payımı istiyorum
Hangardan – bebeğimizin cadı şabatı –
Iyon dikililitaş.
Radyo ne için — — Lütfederseniz?
Havva’nın oku ayıcıkları deler
Dikenli telin üzerinden.
Günde bir elma — — —
Gelecek — — —
Ha ! Ne zaman? Ben dil yutan bir yogi değilim.
İlerleme çok sevindirici —
Etkilemez beni –
Dürt onu –
Tekmele onu – –
Kışkırt onu – –
İt onu –
Yayınla — — — —
Şimşek çaktıran fikir bu !
S.O.S. ulusal kısaltmasıdır –
Neyin?
Nasıl reva görürüz
kalkmiş salıncağı
Pışş ! herhangi bir ibne şairin Freudcu göğsünde yeterince
Kimyasal var mı çekmek için
Kendini beğenmişliği. Kiralarız bir tane.
Lanet ! O değil de ! Sorun şu —-
Horoz kabarır aptalca !
Ah iyi !
Fransa’dalar — sıradaki hava—
Kutuplar — — — —
Onlara dalgalar yollamış — şeker gibi —
Valentinler —
Söyle beraber — — —
Vidalae!
Ah yıldırım !
Yılansı hava akıntıları — — —
Hııışşşşşşşşş ! Deler sözcükler
Sersemlemiş hissediyorum !
Bundan hoşlanıyorum. Oğlanların peşinden korkmuyorum
– Ama hakkım var
Derinden şok olmaya.
İşte biz böyleyiz – ama sen de boşlukları dolduruyorsun
Canım— Ben kuir değilim— sek istiyorum — —
Bir düzine kokteyl – lütfen — — — —

GFX: Nils Bertho

Yaşadığınız topraklar, ormanları katleden, suyu ve havayı kirleten ve besin kaynaklarınızı zehirleyen yaratıklar tarafından işgal edilseydi, direnir miydiniz?

“Diren ya da Öl!”

Si votre patrie était envahie par des extraterrestres qui abattaient les forêts, empoisonnaient l’eau et l’air et contaminaient l’approvisionnement alimentaire, résisteriez-vous ?

Wenn Ihr Heimatland von Außerirdischen überfallen würde, die die Wälder abholzen, das Wasser und die Luft vergiften und die Nahrungsversorgung verseuchen, würden Sie Widerstand leisten?

Persuasion. Industrial Music and Mind Control (1975-1995)

Exhibition, April 2015, HEAD – Geneva

The works of

order: Shock Factory

order: THE LAST SLOGAN

> nicolasballet.com

> EDITION <

“This moment is ours and we encourage you to see it with our eyes as well.”

Nackt Kollektiv made up of artists and activists who want to speak the truth of their minds and bodies through art.

VIVI BLACK

> ViVi BLACK

Jördis Hirsch

> joerdishirsch.com

Photography by minuit moins six

THE GIRL THAT SETS WORLD ON FIRE

KARPETT

My art is a riposte.

> karpett

Photography by minuit moins six

ANKA

Anka also published a book of Darkam’s illustrations and recorded a very transgressive live performance held as part of the exhibition.

> anka_drawings

Mariana

Rodríguez Acebal

The line of the illustrations are filled with cynical humor, and the concepts touch absurdity in order to reflect the irony of reality.

> Walrus Blues

Teresa Hide

Analog Photography

MICHAELA PETRANOVA

CRIMINAL FLOWERS

don’t forget to check out for more:

A Northerner Storm

Mallie Hellström

These are not enough for Hellström, with the collage technique she has developed, the artist begins to create touching and critical scenes over time.

for more > artbyhellstrm

Maria Mö

a.k.a Maha Mask

KATYA YAKIMAHA

Chaos in Order

KRISTINA ZERO

“How do we live in this fast-paced modern society in a spiral of endless consumption, increasing right-wing politics, patriarchy and inequality?”

Naava Kelo

IINA

SARA BIPEDE

Marina Knup

LONG LIFE TO OUR LADIES!

We vindicate the figure of the LADY as a perpetuator of the D.I.Y, as a survivor of a rotten system that belittled, mistreated and silenced them. Their experience and knowledge will always be an inspiration.

Their resistance is what defines them.

Let’s vindicate the figure of the LADY!

Liberation and freedom for a life in Diversity and with creativity.

“We are a ‘Women Collective’. If so far most of our members are cis women, I would say that we are a “FLINTA” collective, we are open to women and queers, gender non conforming or trans people and we want to create a safe space for them to create.”

An AnarchoPvnk feminist Art Collective

based in Berlin

SO PAY ATTENTION !

“Nul n’est prophète en son pays. À part peut-être Ben Laden !“

LE SALON VENDETTA & LE FESTIVAL VENDETTA TA-TA-TA

Chéries Graphies

Après la pause covidienne, le salon marseillais du fanzine Vendetta fait son retour. Et la nique aux censeurs avec un hommage au pilier de l’underground canadien, Henriette Valium.

After the Covid break, the Marseille salon of the Vendetta fanzine is back. And the picnic to the censors with a tribute to the pillar of the Canadian underground, Henriette Valium.

Après s’être retourné le cerveau et les pupilles à la Friche, direction donc Data et l’Embobineuse pour mettre ses tympans à rude épreuve.

“At the end of his life, Valium lived in a garage that he built himself by gleaning here and there pieces of pallets, bits of wood. His cabin in Canada…”

Hello dear friends and supporters,

Faut-il l’ajouter : Olivia est la dessinatrice de BD la plus mo­derne, la plus en avance, celle dont la sensibilité est la plus ai­guë. Il serait temps que les femmes lectrices de BD com­mencent à s’en apercevoir. Ça vient.

Is it necessary to add it: Olivia is the most modern comic strip artist, the most advanced, the one whose sensitivity is the most acute. It’s time for female comic book readers to start realizing it. It’s coming.

“Explique toi please !“

…

N’oubliez pas de visiter la fan-page de l’artiste pour plus d’oeuvres et de bandes dessinées:

The story of the Street Gangs from Paris that stood up against Fascist & neo-Nazis Skinheads in the late 80’s. Meet the Red Warriors, Ducky Boys, Ruddy Fox…!!

Les boutiques qui vendent ces marques sont donc source de tensions ?

Haziran İki Bin Yirmi İki,

Bir Gecesi Gördüğüm Rüya

Lamba Kutusu Bir Dudak

Otopside Buz Kal

> errenburhan

Très chères toutes et tous,

Joie Panique continue de vibrer et d’explorer…

Faut-il l’ajouter : Olivia est la dessinatrice de BD la plus moderne, la plus en avance, celle dont la sensibilité est la plus aiguë. Il serait temps que les femmes lectrices de BD commencent à s’en apercevoir. Ça vient.