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Je suis Charlie

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Illustrations in solidarity with Charlie Hebdo by Jean Jullien (‏@jean_jullien), Francisco J. Olea (‏@oleismos) and The Independent newspaper (top, middle, bottom).

Illustrations in solidarity with Charlie Hebdo by Jean Jullien (‏@jean_jullien), Francisco J. Olea (‏@oleismos) and The Independent newspaper (top, middle, bottom).

The weekly is pugnaciously irreverent and its satire is biting. Charlie Hebdo, the publication, has been far more than the lampooning weekly with the wicked wit it has been described as. To be vulgar, provocative and offensive and to be so often was what made Charlie Hebdo so spot on about contemporary politics and society.

It wrestled with pen and ink for the freedom to be all this, and in so doing, strengthened also the freedom to protest. There were no taboos – to question, with cleverness and humour, and to reflect boldly the contradictions of society, through illustration and cartoon, were what the weekly did consummately well.

With these methods – much loved in France, well liked in those parts of neighbouring Europe – Charlie Hebdo explained some of the essence of democracy. And of freedom of expression, so dear to all journalists and commentators, whatever their medium.

For giving such a service, the journalists of Charlie Hebdo were murdered.

Tolerance is a value our societies strive to inculcate and practice, but there is no virtue in tolerating those who murder. The murderers of Charlie Hebdo are the foullest criminals, reeking cowards who must be prosecuted for they are rank criminals and not holy warriors, however they might choose to describe themselves.

This is a weekly that stood – never mind its irreverence and vulgarity – for freedom from fear, including the fear of being different, of speaking out, of questioning majority (and minority) beliefs.

As the thousands of placards and hand-written signs and poignant drawn tributes have collectively said – we are all Charlie Hebdo. #JeSuisCharlie

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Written by makanaka

January 8, 2015 at 21:15

The devil’s summer camp

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Thanks to the ever-nouvelle and culturally rich labyrinth that is Le Monde Diplomatique, among the most readable journals in the world. They have talked of the work of a variety of artists and visual commentators, who have at some point or other had a connection with the Diplo. I’ve selected just three to show how varied and interesting a visual contemporary account of our world can be.

Artists Pat Shewchuk and Marek Colek“The source of inspiration for the comic was our interest in folklore and mythology, and our ongoing research in this area. The experiences of a winter holiday we went on to an organic farm on Salt Spring Iceland, influenced the comic as well: the moonlit nights, a flock of crows in the nearby woods and a herd of wild goats nearby gave rise to the kind of picture-book fantasy, the central point of our art and animations. During our walks in the lush rain forest, we discovered frequently huts that were built from branches and were sometimes enormous proportions. We imagined that this would be the devil’s summer camp, whom he visited when he was down in hell too hot and humid.”

Pat Shewchuk and Marek Colek working collectively under the name Tin Can Forest live in Toronto, temporarily elsewhere (wherever it suits them over time). They mainly work as animation film makers, but also as combined graphic designer, cartoonist and painter.

Graphic artist Henning WagenbrethThe graphic artist Henning Wagenbreth has found a good solution to handle the daily flood of words from messages. He cuts it simple – as in the comic book for Le Monde Diplomatique:

“The illustration was created with the automated system ‘Tobot’.  ” ‘Tobot’ cuts through the world of images and texts into tiny components and uses the fragments according to different rules together. The results are often absurd, paradoxical and strange, but so are the various forms of politics in anything after.”

Henning Wagenbreth attended the art academy in East Berlin Weissensee. Before the fall of the Berlin wall, he supported various citizens’ movements in the GDR with its posters. Since 1994 he is professor of illustration in the Visual Communication course at the Berlin University of the Arts. For his posters and book illustrations, he was awarded numerous prizes.

Artist Mark MarekFor Le Monde Diplomatique, the American artist Mark Marek has drawn a history of his favorite character ‘Father Dirty Harry’. “I was raised Catholic, so is the inspiration for Father Dirty Harry.” I wrote it originally for a Rolling Stones album ‘Dirty Work’, back in the 1980s. However, the legal department of CBS Records got cold feet. I have something else then devised. But I liked the character very much. Some comic strips appeared later in the satirical magazine National Lampoon, until its legal department got nervous.”

Mark Marek has worked many years as a cartoonist and illustrator. Meanwhile, he made animation and even ‘Dirty Harry Father’ has been animated.

Meanwhile, the latest Le Monde Diplomatique’s annual Atlas (2009) takes a thoroughly different world in mind. I’ve taken this from the Deutsch edition and this map is called ‘Die Welt von Morgen’ or The World of Tomorrow. Using as its backdrop the events of the deepest crisis in the world economy since 1945 (the end of World War Two), the BRIC countries (Brazil, Russia, India and China; actually the BASIC bloc since South Africa is included), are depicted as having shifted the geopolitical balance of power.

Le Monde Diplomatique, Atlas 2009 — Un monde à l’envers

Le Monde Diplomatique, Atlas 2009 — Un monde à l’envers