OS POSITIVOS

materialidades

« comics’ principal dialectic relationship of repetition and difference »

Se a escrita digital ameaça ceder à prosa botiana, espreitamos - o zeist always provides! - os movimentos arts and crafts em bd e, expoente máximo, zines. Repetimos com diferenças Kim Jooha com quem estivemos no arranque do ano anterior, desta retirado do Your Chicken Enemy. Um texto que divide à segunda parte uma "Ginette Lapalme on Reproduction", de "originality versus reproduction (copying)", uma "division of gendered high and low art with cute artworks" no contexto de "female-centric cultural practices" (*), com exemplo:

Thrillers or war movies are critically appraised and included in the canon, but “chick flicks” or romantic comedy are not
in "The Materiality of Comics in the Post-Digital Age: Kim Jooha examines CF’s Receipt Paper Comics and Selected Works by Ginette Lapalme" 2 set 2019

*) De zines em reprodução de práticas culturais female-centric, um exemplo recente por terras de cá encontra-se em Cecília Silveira da Sapata Press, que "lança bases inabaláveis de um novo e mais alargado campo e condições de possibilidades (...) um gesto de defesa contra inúmeras violências" em três objectos divulgados no LerBD. Dessa, desses:

Um importante espaço público para todo um debate complexo em torno das questões da identidade, que não se reduz de forma alguma apenas ao sexo, sexualidade, género ou outras categoriais sociais [com] objectos bem distintos entre si, entre o desdobrável e o pequeno livro, entre a estrutura mais ortogónica da banda desenhada, a da tira, e o texto ilustrado.
in "Três zines da Sapata Press" 30 ago 2019

Ora, apesar da ponta de interesse no original vs reprodução e destacando o very hand made que nos importa —

In the digital age where reproduction is extremely easy and universal — copy and paste are implemented as a basic function of a computer — by focusing on physicalities of "crafty" objects, Lapalme shows the potential of images that have not been appreciated.
in "The Materiality of Comics in the Post-Digital Age: Kim Jooha examines CF’s Receipt Paper Comics and Selected Works by Ginette Lapalme" 2 set 2019

— saltamos porque, u know: chicks!, toda uma outra relação dialética em repetição e diferença. Brincamos, mas seguimos apressadamente para exemplo melhor com os dois sets de "receipt comics" que um CF parece ter começado em 2016. Como sugere o nome, bd em papel de rolo de recibos que, graças ao digital, arriscam-se a tornar-se o tipo de papel mais usual.

As we communicate more on screens and less with the physical paper — books, newspapers, and magazines — receipt paper is the most used kind of paper right now.
in "The Materiality of Comics in the Post-Digital Age: Kim Jooha examines CF’s Receipt Paper Comics and Selected Works by Ginette Lapalme" 2 set 2019

Dos tais,

Each set has three comics made of a sheet of receipt paper around 40 feet. The materiality of the comics shows us CF’s persistent interest in the ephemerality of comics medium. Receipt paper is cheap, disposable, and ephemeral. It is weak in heat and sunlight; it changes color and loses the ink. It is not intended to be archived for a long time. It is not to be re-read several times. Once you read it, it is hard to re-roll it and the re-rolled “zine” differs greatly from the original state [e] adds to the difficulty of archiving these zines.
in "The Materiality of Comics in the Post-Digital Age: Kim Jooha examines CF’s Receipt Paper Comics and Selected Works by Ginette Lapalme" 2 set 2019

Mas não é só o formato, o conteúdo também: "fast-drawn" que se foca nos "fleeting moments and art" sobre uma estrutura geral de narrativa, a lápis.

Not only the distribution and material practice but also CF’s style tells us the artist’s interest in the ephemeral nature of comics. Arguably one of the most influential but under-discussed practices of CF was utilizing a pencil as the main tool.
in "The Materiality of Comics in the Post-Digital Age: Kim Jooha examines CF’s Receipt Paper Comics and Selected Works by Ginette Lapalme" 2 set 2019

E em adição a trama das teses (the plot thickens!), chegados ao destaque a reter:

The newspaper paper shares impermanence and cheapness (both in the price and quality) of receipt paper.

The receipt zine progresses in a one-dimension contrast to the two-dimensional traditional paper medium including print comics, newspapers, books, and magazines. While perpendicular, it reminds us of the smartphone vertical infinite scrolling interface we use every day. We could connect this aspect with the death of established print media.
in "The Materiality of Comics in the Post-Digital Age: Kim Jooha examines CF’s Receipt Paper Comics and Selected Works by Ginette Lapalme" 2 set 2019

Para regressos, todas as frentes parecem estar a convergir simpaticamente bem. E, aquilo do fim dos cheap, impermanent printed media.

materiais