The Happy Clown of Several Authors and Paging It in Order Over a Book

KUTI 29 Syksy/Autumn 2013 ISSN 1796-587X © Tekijät/Artists Painos/Print-run: 7000 Painopaikka/ Print: Satakunnan painotuote Oy Taitto/Layout: Benjamin Bergman, Pauliina Mäkelä Kansi/Cover: Heta Bilaletdin Toi- mitus/Editorial: Kutikuti Vastaava PT/Editor-in-Chief: Sami Aho Tekijät/Artists: Sami Aho, Robert Deutsch, Celine De Cadt, Roope Eronen, Marcos Farrajota, Petriina Koivunen, Søren Mosdal, Tommi Ollikainen, Aapo Rapi, Alessandro Ri- pane, Heikki Rönkkö, Kari Sihvonen Julkaisija/Publisher: Kutikuti Mainokset/Ads: [email protected] Kontakti/ Contact: [email protected] www.kutikuti.com Celine De Cadt 1. 2. 3. 4. 6. 5. 7. In the first part of the article I focused primarily on the ma- nipulation of images - comics jams, collages and “detourne- ment” now I’ll try to show a second type of “comix remix”, focused on the potential to “mix” exclusively narrative units by such as panels or strips. If in the first group of examples of Marcos “Comix remix”, the crux was the “creation” directed by an Farrajota artist, almost without intervention of others, in the next group of examples, comics are offered like an open-source in which the authors lose control over their creation though, without extremism as in music. In comics there aren’t simple electronic tools to make remixes as in the musical area; just pick two CDs like Project Bicycle (Ache Records, 2006) or Synthesis of all these experiences is Roope Eronen’s These two features, the fusion of Bosnian Flat Dog and Le Photographe Bipolar EP (Raging Planet, 2006) of [f.e.v.e.r.], both have an work, Ghost Story, a comic published in the anthology design, are important points in the travelling book Boring Europa (Chili audio track with all the separated sounds of the original music Glömp X (Huuda Huuda; 2009) and a part of an Com Carne; 2011) (3). Originally the idea of the book was to collect travel installation in the exhibition with the same name. It is diaries of the six elements of Chili Com Carne that between 1st and in order to be mixed by someone else who knows how to use a wooden structure consisting of four parallelepipeds, 15th September of 2010 travelled over Europe, on tour as if they were a software as the Fruityloops. each parallelepiped has four strips of painted comics on some punk rock band. However, instead of giving sweaty gigs the CCC the longest faces and, when rotated with a handle (set elements walked around to sell books and assemble exhibitions. The aside in each parallelepiped), they change the meaning fatigue of driving, from town to town, annulled the wish to draw with Building stories of the “page”. That is, with the help of the object we almost all of the participants, making a posteriori a collective book. As one obtain a comics “page” of four spinning strips. It was an interactive of the authors, I accumulated also the rule of editor’s and Joana Pires ence, the more usual way of “losing control” is put in the form of piece in the exhibition so that the public could read the many different the designer’s. Together we kept ordering a variety of loose materials Hreading the work, providing narrative games in the form of book, possibilities of storytelling. In the book, the chance to recreate these that were accumulated during the trip and after it: doodles, sketches, objects or even installations in exhibitions. parallelepipeds is offered by cutting the pages - each page has four strips different graphic material like currencies, traffic fines, comix jams, of each parallelepiped. If the Stripple affected the player, they may cut tickets, illustrations, emails... We created a “freak” comix, which merged In 2008, Jucifer participated in a project in which she had to use “Post- directly in to the book, damaging a beautiful experimental comic book! all the work to be read as one. There are several situations in which I Its” (1) to make original comics, later glued on a wall in a gallery. While used someone’s drawings to include them in my panels. Also, strips were most of the other participants created linear stories in these square Find the 7 differences displaced from the original page to another part of the book. The main adhesives, Jucifer, besides, having entitled her work Post shit (a feat concern was to keep a chronology of events and not to repeat the same in itself, as it distinguished her from “square” authors), took advantage n September 2003, I had the opportunity to see Max Andersson and stories of the six people involved. of the fact that the square shape of a “post-it” allowed the panels to be ILars Sjunnesson, two Swedes authors living in Berlin, working in autonomous, placed anywhere and, as such, aligned randomly, as the the last chapter of their Bosnian Flat Dog. It was curious to observe the One of the moments of inspiration for this tour book organization, author or the visitors wanted to! Although, this opportunity for visitors time they spent arguing with each other, (or else, the time seemed huge occurred during the meeting with the Austrian collective Tonto, from to be able to change the order of the “post-its” hadn’t been given during because I don’t understand a word of Swedish), all due to a detail of a Graz. In the interview we made, Helmut Kaplan and Edda Strobl the exhibition, unfortunately, the exhibition was never repeated, in order panel. After a consensus on the story and paging, the authors drew over admitted that we have many people in the group who make many drawings to have a new “remix”. Later, a self-published zine of this work was made, each ones’ drawings. An outlined image was inked from one or the other. but not comics! What Kaplan makes with these loose drawings is to mix again without the possibility to mix the images as it appeared in the form Even, after this action one of the authors didn’t know whether the other and give meaning to them, and creating comics! of a stapled zine. was going to respect the proposed design or if he was going to add more ink to make contrast, to change the form or detail, textures, etc… The The second volume of the Promessas de Amor a Desconhecidos main purpose was to present a coherent comic and you couldn’t figure Enquanto Espero o Fim do Mundo (2011) by Brazilian Pedro Franz is out who drew what, not even by the authors themselves. At some point, a package with several laminated sheets of paper that allows you to mix they even thought the comic could be made by a “third author”. This is everything at random and to be read as the reader wishes to. The same an example of the recent history of the comics where the unthinkable happens with the box Building Stories (Pantheon, 2012) by the “crying can come to light: author duos who write and draw together, without baby” Chris Ware. It consists of 14 publications of quite different sizes, any separation of tasks typical of industrial production comics, in which that allow you to read a story like a puzzle (2). The various phases of experts’ positions like writers, pencilers, inkers, letterers, colourists, etc... the life of these characters are butchered in those 14 publications, this were created to deliver the publication on time for the deadline. In Bosnian means, none of these books / newspapers / pamphlets / brochures has Flat Dog, as in “comix-jams”, the work is beyond the absolute control of a “full story”; everything is done in several random episodes, with the the creators, though the process is done by the artists themselves. The typical Ware’s depressing existentialism. This existential emptiness and difference of “jamming” is that here we find “fusion”a of entities while the tiny lettering, didn’t captivate me to read it all until the “end”. Did in “jams”, panel to panel, individual styles of each participant are evident. I miss anything? Despite of mixing two quite different mediums, photography and drawing, opposite page There are also books bound by rings with their pages cut into two or three it is worth to mention another “fusion” which is Le Photographe (3 1. Pedro Franz: Promessas de Amor a Desconhecidos parts, especially in the field of children’s illustration like the fabulous volumes, Dupuis; 2003-06). Comics author Emamnuel Guibert uses Enquanto Espero o Fim do Mundo Animalário Universal del Professor Revilod (2003) by the Mexicans Javier photographer Didier Lefèvre’s (1957-2007) contact proof sheets 2. Jucifer Blam: Post shit Sáez Castán and Miguel Murugarren. In comics, it is not common but you to tell Lefèvre’s adventures in his first mission with Doctors Without 3. Stripburger: Stripple can find this kind of experiences here and there, likeBio Building 421 Borders in Afghanistan, in 1986. The comics are used in these albums 4. Bio Building 421 (Lök; 2012), which brings together several authors of an Italian collective as “glue” between the various temporal ellipses of photographs or 5. Jess Collins: Nance where one can mix it’s strips - three per page - to create several different groups of photographs. The comics tell what is not seen between shots. 6. Roope Eronen: Ghost story stories. In order to be a narrative sequence, the existence of two characters Undeservedly forgotten is the work of the “third author”, which unlike 7. GIUDA and a shelf to assemble it were established. As a punchline, there’s a final Bosnian Flat Dog, is actually a person! Frédéric Lemercier made the sentence: who else can love you, love less.

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