tradução Google: "Eu sou uma pessoa estranha"
Coincidências. Muitas além do título.
Nós, das últimas semanas: gaijas a não conseguir fazer carreira na BD? Isabelinho? Punx? Comix underground? Banda desenhada em modo porco-agressivo? Os materiais em que se fazem as BDs? Fanzines? Trump, activismo, política? Imprensa? Fake news? Autenticidade? Cartoons editoriais? Artsy-fartsy? O $$$? Carreiras vs lazer vs criatividade?
Estes e muitos outros tópicos recentes e repetentes aqui nOS POSITIVOS: o TCJ volta a seguir-nos na deixa e publica ontem uma entrevista que seriam perdoados de pensar que se destinava ao nosso espaço: "I’m an Outsider Person": The Carel Moiseiwitsch Interview 12 abril 2017
A propósito de Carel Moiseiwitsch (*), de quem nos avisam que os seus trabalhos "were dangerous because they gave us the raw truth", tendo publicado em alguns dos títulos obrigatórios da história da BD alternativa, "Rip Off Comix, Wimmen’s Comix, Weirdo, Real Stuff, and Twisted Sisters".
* Pesquisem e o Google devolve nos resultados de topo um resumo pelo Isabelinho.
O resumo de executivo, directamente da intro do TCJ:
As Moiseiwitsch drifted away from comics, like many of the singularly eccentric greats of that era did, she became more involved in fine art and world-wide activism.
A infinidade de literatura que poderíamos produzir sobre essa pequena citação para tratar da relação art - comics - politics é-nos tão próxima e apaixonada, que apenas o ainda mais colossal esforço necessário ao rearranjar de todos esses caracteres numa prosa linear, coerente, a partir do caos de pensamentos suscitados que se tropeçam em cadência alucinante pela sua vez, nos impede de o fazer.
Talvez no verão, todos precisamos de um summer project.
Ficam os highlights. OS POSITIVOS: ya welcome.
Punk é a melhor arte :)
- You mention that punk rock was a gateway into other types of art for you.
- Oh, yes. When I got to Vancouver, the general function of art seemed to be comforting, decorative, pretty, beautiful … basically consoling. Things that would fit in nice in your office or next to a sofa or whatever it was, you know? That was still the idea. There was a certain amount of class. Then suddenly there were these punk posters up and zines around. I thought, "Wow! This is it!"
"Open Road", "The Rocket", "The Stranger", "Village Voice", outros jornais, cartoons editoriais, aquilo das gaijas não terem hipótese:
- You were doing editorial illustrations for them?
- Yeah, and sometimes they were humorous articles and sometimes they were very straight articles. I was always trying to come up with unique angles. Eventually I was fired.
- Why were you fired?
- The new editor did not want "that woman" in his newspaper.
Há poucos dias o Ben Katchor dizia-nos que abraçava o digital porque era o meio perfeito para a sua arte. Registamos o seu oposto, e cremos que uma Carel Moiseiwitsch mais nova não teria dificuldade em encontrar um brush online para resultados semelhantes aos que se viu forçada a abandonar - quando, passe a ironia, acabou o papel.
- Was that story done with etching or some sort of stamp-making?
- I was using scratchboard with razors.
- That style seemed to be way more popular amongst artist in the ’80s and ‘90s than it is now.
- Right. It’s seemed to have fallen out of style. One of the reasons I don’t use that style anymore is because I can’t get the good scratchboard anymore. I used to get that from England and it was really good. I can’t get the right ink because it’s all acrylic based now. It just doesn’t look right, so I had to give it up and I was really good at it. I tried looking for all the materials in England. I tried ordering it. It never worked, so I just gave up. It needs to come back! It’s a good medium.
Repetimos aquilo das gaijas? Repetimos.
"there was always the feminist analysis I brought to things"
Argumento e desenho? O melhor é aquele que não o separa. A Carel provavelmente concordaria:
Writers in comics often just see the illustrator as a decorator for their text. Most magazines treat illustrators that way too. I like when illustrators undermine the text or oppose it, not just reiterate what’s already in there like the readers are dumb or something.
Falámos a propósito dessa relação no tópico da inteligência artificial. Carel seguramente concorda. Na continuação do excerto anterior:
- Is that irritating?
- Yes! It’s very boring. Go get a robot to do that.
A indústria dos comics, e um cheirinho de internet:
- I was thinking about your era of comics and how many fantastic artists just drew for a couple years, then got out completely. Or ones that went into fine art and never made comics again. Why do you think that time period of the late ’80s to early ’90s had so many artists like that?
- It’s not fruitful and it requires such hard work. Also everything became kind of corporate.
- Can you recall when that changed?
- It’s when corporate values became dominant. And the internet doesn’t make it any better.
A CM tem 76 anos, enquadrem a sua relação à web nessa medida, e demos-lhe razão onde a tem: a web segue em modo corporativo nos próximos episódios se ninguém rescrever o guião.
Aaaaaquilo das gaijas. Fodido, mesmo.
- These cartoonists in Wimmen’s Comix and Twisted Sisters who never made comics again — do you think there was an issue with women too? That you weren’t as welcome?
- I really don’t know. I really don’t. For me, I felt that comics became a dead end.
Art. Artsy. Fartsy. Arte com "e".
- Do you think there were more open doors in the fine art world than there were in the comics world for you?
- It’s much easier to get sucked into the art world. It’s very seductive. People are a lot more reverential towards fine artists and really in a way they shouldn’t be. There are a lot of shitty people — very tiny, self-absorbed, and boring.
- You’re talking about painters?
- Artistes. It’s very serious, you know?
- Right. Art with a capital "A."
- And with an "e" at the end. Artiste. Those people. Competitive snobs. So weird. It seems to me that in political activism — not comics, not fine art — people are much more friendly and real. I’m much more comfortable in a group of activists than I am in a group of artists.
Punx, takin' it to tha streets:
- Do you think street art is politically important?
- I do. The streets, the walls, those are some of the last free places, aren’t they?
Imprensa, jornalismo, politics, opiniões, a propósito de um episódio recordado na entrevista:
- I had to go back and say what was going on because there’s nowhere to read it. It almost gets completely deleted from the mainstream press.
- Mmmh … news gets deleted altogether or diluted?
- I’m not sure I should get into this conversation. It might … offend you.
Punx: meant to offend :) No seguimento da entrevista, activismo, e ainda aquilo da arte:
- Do you think art is the best form of activism? Is art a form of activism at all?
- It can be a form of activism, but there are many different forms. I went that route because I’m better at art than other things. I’m not very good at giving speeches, but I’m good with images and things like that. So I do that.
- So you think that artists who aren’t involved socially or politically are wasting their time?
- I don’t know if I would say that. I guess there’s a great need for some people to look at pretty, consoling pictures that they can put on their walls. There’s enough room for everybody. [Laughs] I don’t know if I actually believe that anymore.
- Those people making pleasant paintings tend to be better known and make more money than the artists using their platform for activism.
- Oh yes! [Laughs] But we don’t really need that much money, do we? We just need enough to get by. Pay the bills. Pay the rent, hopefully.
Guito? Pagar as contas? A Carel escolheu, por uns tempos, dar aulas. Da sua experiência:
- Did you enjoy it?
- I did. I really liked it. I’m actually quite good at it.
- Do you miss it?
- No. [Laughter] Such a pain in the ass. But it was really interesting.
E se estamos a tecer paralelos, reconhecem o método de desenhar a bd?
- Is that how you work?
- Yes. I don’t do very much planning. It’s hard for me to sit down and plan. I’m impatient.
Eee se estamos (ainda) a tecer paralelos, voltando às generalidades do acto de laborar:
- That illusion that things are better if they look like they took a long time. That’s all based in capitalism, isn’t it?
- Could be. Good old work ethic.
Tão caricato que quem faz mal ou tarde seja mais valorizado do que que faz bem e rápido. Capitalismo: só se percebe que ainda subsista enquanto modelo económico quando nos recordamos que sobrevive do parasitar o próximo. Aquilo do rat race.
E fechando a entrevista, o boom a que chamamos a tempestade perfeita para o call-to-arms ao digital: Trumpas. E o cartoon editorial.
- Any hope that you return to comics at all?
- I’d like to. I have to say that Trump is very tempting.
- Like doing an editorial cartoon?
- Oh, I’d like to do a bit more than that! Everyone thinks people like … Stephen Colbert are so outrageous. [Laughs] He couldn’t even get in the kitchen with me and my art. Things need to be said, but in a slightly different way. And I might do it.
E o fecho da dita... -
- The only problem is that I’m frightfully ancient now.
- You’ve still got time to make more great art.
- I hope so.
- ... punx '77.
E no tópico de fazer um esforço:
Ao fim de mais de dez anos de rotina instalada estamos a abandonar o nosso software de desenho de sempre e a testar novas ferramentas. Não precisamos de muito, um pincel preto e uma borracha chegam-nos a maior parte das vezes. Still, o hábito dos atalhos e outras pequenas tretas que damos por adquirido tornam-se de repente bem visíveis. Se tiverem sugestões a fazerem-nos, somos todos ouvidos: conhecem o estilo, intenções e método, drop us a line de soluções que recomendem/usem. A integração digital/impressão é um must. Da nossa parte, não somos ainda assim tão velhos que não possamos mudar. Efectivamente, por uma vez, estamos a pedir-vos a opinião: segunda grande revolução pessoal da década. Sugestões para email@example.com.