Saturday, 9 March 2013

"Lad der flyde blæk, ikke blod"

"LET THERE BE FLOODS OF INK, NOT OF BLOOD"


ENGLISH TRANSLATION IN ITALICS



China ForbiddenNews påpegede, hvordan andre statsledere hver dag lod sig udsætte for bladtegninger, som offentligheden finder morsomme.

Putin blev nævnt, hvad der ikke ligefrem rammer sandheden. Chávez ligeså, og lad det være denne blogs minderune. Ikke så meget over manden, men over en tid, dens militærstyre i et nominelt åbent samfund og den principielle ret til at forholde sig kritisk.

For i princippet er der fri taleret i Venezuela, som tegneren Rayma Suprani fastholder, "Venezuela er ikke Iran, vi bliver ikke hængt på offentlige pladser". Men indirekte har en politisk fløj sit spil, og hun betoner frygten som den største magtfaktor. Chávez havde militærbaggrund, og i militæret er der ikke plads til flerstemmighed. Hendes eget kritiske ståsted har et videre eksistentielt perspektiv. Således svarede hun filosofisk på det konkrete spørgsmål, om hun stræber efter at øge bevidstheden?
- Jeg håber, at læseren stopper op og tænker. Bevidsthed er et problem for enhver.

Selv understreger hun, at hun tænker grafisk, hvad der i sig er en interessant udmelding, for hun er åbenlyst en skarp hjerne, der skærer igennem en problemmasse og kommer ud med en klart kontureret, måske nærmest lidt naiv figur, ofte kun det ene billedelement - og har blotlagt snavset ind til benet. Det er idé og grafisk udtryk i symbiose. Med hendes ord El humor es una cosa absolutamente seria: Humor er en yderst alvorlig sag.

Nedenstående tegning, der udsættes for overpædagogisk kuglepen, er en af hendes. Den blev sammen med en tegning af kollegaen Pedro Léon Zapata på El Universal gennemheglet i et halvtimes program af en Chávez-tro væbner i marts 2012. Skulle dette være et portræt af det venezuelanske folks situation?


China ForbiddenNews pointed out how other heads of state allow themselves to be exposed on a daily basis to cartoons that the public find amusing.

Putin was mentioned as one of them, which does not exactly come close to the truth. Chávez as well, and let it be this blog's commemorative words on him. Not so much on the actual man, but on an epoch, its military rule in a nominally open society and the fundamental right to be critical.

In principle you are free to speak in Venezuela. The cartoonist Rayma Suprani insists that "Venezuela is not Iran, we are not being hanged on public squares." But indirectly one political wing is maneuvering according to its own agenda and she emphasizes fear as the central factor to obtain dominance. Chávez had a military background, and in the military there is no place for polyphony. Her own critical stance takes wider existential perspective. Thus she gave a philosophical reply to the direct question whether she strives to raise consciousness?
- I hope that the reader will stop and think. Consciousness is everybody's problem.

Rayma emphasizes that her thinking is visual of nature. Which in itself is an interesting statement, since she is so obviously a sharp intellect who cuts through the maze and comes out on the other side with a strongly contoured and intentionally simple motive, often just the one pictorial element - exposing the dirt to its very essence. A symbiosis of the idea and its graphic expression. In her own words: El humor es una cosa absolutamente seria: Humor is a most serious matter.

The cartoon below, the victim of an educational pen, is one of hers. It got flogged along with a drawing of her colleague Pedro Leon Zapata at El Universal during a 30 min. TV-program lead by a pro-Chavez watchdog in March 2012: Is this supposed to portray the situation of the Venezuelans?





Rayma understreger konstant, at bladtegningen er en kunstform, der bevidst har valgt at indgå i sin tid. Der findes ikke et per se for bladtegningen, og dette er hendes virkelighed som tegner. Den politiske agenda, støjrammen og ikke mindst iscenesættelsen fra den modpart, hun tegner op imod:

Rayma constantly stresses that cartooning is an art form that has deliberately chosen to be a part of its time. There is no per se for cartooning, and this is her reality as an artist. The political agenda is the fabric, not least the mise-en-scène of the opponent, against whom she is drawing:



(VIDEO) La hojilla del día miércoles, 14.03... by IVANGARCIAZAMA


Hendes tegning er en insulto, får vi at vide. Dette er visionen om folket som hunde og mi comandante som abe tegnet af Zapata. Mario Silva udpeger hvert et billedelement med slag af kuglepennen, begge pegefingre og omhyggeligt udraderet ironi. Her må ingen øvre eller nedre lag komme ind i regnskabet, alle tankelag skæres væk, og teknikken er gentagelsen, gentagelsen, gentagelsen, til han kan konkludere det modsatte af tegningernes hensigt. Når man konkret ser et menneske i et hundehus, så må det være tegnerens forståelse af sine landsmænd. Det er racisme, det er forræderi.

I sig en temmelig fantastisk argumentationskæde, mens beskueren bombarderes med et yderligere visuelt lag. På billedskærmen bag ham ser vi Chávez i alle belysninger og vinkler, Marx og en længere række nationalhelte. Vi får endog øjenkontakt med Castro. Fjendeikonet Stars and Stripes optræder på barberblad, hvad der er en egen bladtegningsession værdig.

Avislæseren får disse tegninger at se hver eneste dag, fremhæves det igen og igen. De udsættes for det syn, han netop selv har sørget for at give sine seere. Hvorefter han gennemhegler handlingsplanen for disse tegningers udbredelse og med hvilke værdier som hensigt.

Rayma forsøgte under og efter programmet at twitte om sine egentlige hensigter for tegningen. Hun opnåede forbud mod at tegne Chávez, formodentlig i forlængelse af straffeloven mod at fornærme nationale symboler, såsom nationalsangen og flaget. I stedet begyndte hun at tegne Chávez som banan. Uhåndgribeligt for den, som ikke længere har et ansigt at argumentere et forbud til beskyttelse af, og hvis det skulle lykkes havde hun blot fundet en ny genstand.

Hvis tegnere klæber til et politisk projekt, har hun pointeret, mister de al troværdighed. "Den satire forsvarer de svage og de ​​svageste nogensinde er ved magten". Nu er titelfiguren ikke længere, og israelske Michel Kichka, som Rayma selv har citeret for hans "Lad der flyde blæk, ikke blod", tegnede hende i fuldt frontal triumf med den ultimative hån fra tegnerside slet ikke at tegne Chávez:

Før og efter - "Før havde jeg ikke lov til at tegne Chávez. Nu har jeg ikke længere grund til at gøre det":

Her drawing is an insulto, we are told. This is the vision on the people as if they were dogs and mi comandante a monkey as drawn by Zapata. Mario Silva identifies each pictorial element with beatings of the pen, both index fingers and any hint of irony carefully eliminated. No extra layers are allowed in the calculations, and his technique is repetition, repetition and repetition until he draws a conclusion that is in direct opposition to the intention of the drawings: When we literally have a man in a doghouse before us, then it must be the artist's understanding of his countrymen. That is racism; that is treason.

As if that was not already a pretty perverted chain of arguments, the viewer is bombarded all the while with an additional visual layer. On the screen behind him we see Chávez in lightings and angles of all varieties along with Marx and a long series of national heroes. We are even making eye contact with Castro. The enemy icon of Stars and Stripes appears on a razor blade, a combination worthy of its own cartooning session.

It is continually accentuated that the newspaper readers get to see these drawings every day. They are exposed to the phenomenon he has just have made ​​sure to pass on to his viewers. After which he lambastes the distribution chart of drawings such as these and the values that would be the intention underlying it all.

Rayma tweeted during and after the program in an attempt to stress her actual intentions of making the drawing. Instead, she obtained a ban on depicting Chavez, probably as an extension to the criminal law against insulting national symbols such as the national anthem and the flag. And so she began drawing Chávez as a banana. Out of reach for the one who no longer had a face to argue a ban in protection of, and if such a ban were to go through, she would just have found a new object. .

If cartoonists stick to the one political project, they lose all credibility, as she has pointed out: "That type of satire defends the weak and the weakest ever are in power." In the meantime the title figure himself is no longer, and Michel Kichka, whom Rayma have cited for his "Let there be floods of ink, not of blood," drew her in her full frontal triumph with her ultimate insult as a cartoonist not to draw Chávez:

Before and after - "Before, I was not allowed to draw Chavez. Now I have no reason to do so":


Michel Kichka, March 6, 2013.


På dagen for offentliggørelsen af Chávez' død, var hendes tegnede replik en skakbrik. Kongen var sat skakmat.

On the day of the announcement of Chavez's death her drawn response was a chess piece. The king was checkmated.


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