Leonardo i Weekendavisen

Portræt af Cecilia Gallerani ('Kvinden med hermelinen'), ca. 1488, olie på træ, 54,8 x 40,3 cm., deponeret på Nationalmuseet, Krakow.


I denne uges Weekendavis kan man læse min anmeldelse af den forrygende Leonardo-udstilling, der netop er åbnet på National Gallery i London. Se den udstilling hvis du overhovedet kan.

Desværre har avisen ikke fundet plads til at gengive et af de billeder jeg diskuterer indgående, nemlig portrættet af Cecilia Gallerani, i fuld størrelse (det reproduceres i beskåret form i topmenuen på kultursektionens forside). Men her er det så.

KOLOR KLIMAX /// Sneak Release /// 17 November /// Copenhagen


Join us this Thursday, 17 November from 5pm, at
Din Nye Ven, Skt. Pedersstræde 34, Copenhagen, for the sneak release of KOLOR KLIMAX, the new Nordic comics anthology helmed by the Finnish Comics Society, edited by yours truly and set for American release in March from Fantagraphics Books.

The release will see the participation of the Danish contributors to the book, copies will be available for sale, and there might even be a little something for early birds. See you there!

KOLOR KLIMAX on Facebook. Follow KOLOR KLIMAX on Twitter @Metabunker.

The Week

The week in review.

Another fine week. Spent a few days in London for work and had the chance to see a number of the exhibitions on display there. I will return to the landmark Leonardo show at the National Gallery presently and hopefully also to the eye-opening Degas show at the Royal Academy, and perhaps even the enjoyable John Martin retrospective at the Tate. Here, however, I just wanted to attach a few words to the Gerhard Richter retrospective at the Modern.

Extremely well-received critically as well as commercially, Richter is no doubt one of the heavy hitters of contemporary painting. It is easy to see why. Clearly an intelligent artist, he speaks directly to central aspects of postmodern discourse, engaging in his work trauma (the Holocaust) and ideological violence (Rote Armee Fraktion), art history (from Titian to Mondrian), as well — and most essentially — his own medium. His art, which merges the techniques of photography and painting in innovative ways and alternately emphasizes and suppresses the author’s hand simply screams META!

Essentially, however, he is a purveyor of kitsch. Yes, he can emulate strikingly the look of a photograph, but beyond the theoretical reception his subversion of mechanical reproduction enables, these pictures are self-importantm, dim reiterations of his paragons, from Friedrich, Redon and Hammershøi to Duchamp and De Kooning. Gimmicky but decorative — hi-fi bank art, fit for the transnational corporate penthouse. Where he really shows his hand, however, is in his abstract art, particularly his squeegee paintings. Loud and garish, they lack any real sense of color or expressive touch. The work of an intellectual, not a painter.

The week’s links:

  • Not really a recommendation, but the distinguished T. J. Clark provides a lengthy counterargument to my little rant above in this panegyric to Ricther.
  • R. Fiore on Will Eisner’s instructional comics for PS Magazine. The Comics Journal‘s venerable critic is in fine form here in this essay on one of the puzzles of Eisner’s career.
  • The legendary hip hop producer marks the sad passing this week of golden age great Heavy D with a great mix of testimonials (and often rare) gems from the Hevster’s career.
  • Above: Gerhard Richter, Cage 4 (2006).

    Heavy D RIP


    Yesterday saw the passing of golden age hip hop MC Heavy D, “The Overweight Lover,” at the too-early age of 44. Best know to the world at large as the man who spat the nimble rap verse on Michael Jackson’s “Jam” (1992), he was an important figure in 80 and early 90s hip hop whose substantial contribution is perhaps a little overlooked today.

    Musically, his greatest contribution was arguably helping define the so-called ‘new jack swing’ sound along with producer Teddy Riley — the amped-up fusion of hip hop and r’n’b that ruled the airwaves through most of the nineties and eventually won over even Mr. Jackson himself. While this synthetic, slightly facile vein of pop music hasn’t dated all that well, however, the Hevster’s emceeing sounds as fresh today as ever.

    The Week

    The Week in Review.

    As the Arab Spring is moving into its second, rather messy and somewhat disconcerting phase in certain countries, it figures that we would get another cartoon flareup. The firebombing of the offices of French satirical newspaper Charlie Hebdo is yet another low point in the ongoing and increasingly polarized discourse surrounding free speech and religious iconoclasm today. In this post-Danish cartoons landscape, the despicably violent response of the anonymous firebombers naturally tends to get all the attention, but it is also the easiest part of the event to deal with, in that it can be condemned outright.

    The real question, as I see it, is why Charlie Hebdo figured it was a good idea once more to trot out the “likeness” of Muhammad. I found Luz’ cover, showing the prophet threatening a hundred lashes to whoever didn’t find it funny, worth a chuckle, but what purpose did it really serve? Why, exactly, did we need this piece of satire? The extra-legal power exercised by Islamic extremists deserves to be mocked and condemned, but it is also something most of us can easily agree to despise (stay safe Charlie!). It seems to me, however, that the blunt instrument of depicting the prophet merely further encourages these maniacs, while broadcasting once again that the beliefs of millions of non-violent Muslims is apparently not worthy of respect here in the West.

    Satire has no prerogative to be constructive, but free speech is such a potent idea that ceding it to this kind of bullying is unfortunate. Yes, we are entitled to insult whatever belief we like, religious or otherwise — and that is how it should be (good on Libération to open their offices to Charlie) — but it would reflect well on our principles if we also employed them to speak out against the general coarsening of what was once civilized discourse.

    Oh, yes, links:

  • Slavoj Žižek on the Arab Spring, the recession, Occupy Wall St., and everything else going on. Rambling and insightful as usual, Žižek is always good company. It all comes back to communism, of course…
  • Gary Groth interviews R. Crumb. This is perhaps the quintessential Comics Journal interviewer/ee constellation, and although this time around is a little light-weight, it’s still the good and fun read you’d expect from these guys.
  • A House Divided: The Crisis at L’Association

    Mattt Konture, Killoffer, Stanislas, Lewis Trondheim, Jean-Christophe Menu, David B., Philippe Dupuy and Charles Berberian in Angoulême in 1991. Photo Courtesy lewis Trondheim.


    I’ve spent some of the summer interviewing a number of the central figures in and around seminal French comics publisher L’Association (publishers of Marjane Satrapi’s Persepolis and many other quality books) about the crisis they’ve been through over the last year or so. An interpersonal crisis that eventually led to a strike amongst the employees and resulted in the return of four of the publisher’s estranged co-founders as well as the departure of another, Jean-Christophe Menu, and his announcement of a new publishing house, L’Apocalypse. The first part is now up at The Comics Journal, with the second to follow soon.

    The Author’s Face?


    The Tintin movie makes good on the promise of not disgracing its august comics source. Spielberg is a pro and he delivers what he does best — a sense of adventure and possibility and a sufficiently sensitive approach to his film technology that his characters come alive despite the mo-cap plastic feel. The rewrite of the books (mainly The Secret of the Unicorn and The Crab with the Golden Claws) is well thought out and most of the characters are well realized, with good voice performances all round. The personal, slightly brooding and troubled subtext of Hergé’s work pretty much gets lost in the mix, but hey — this is a popcorn movie and a pretty good one.

    Spielberg hits a couple of false notes.

    The Week


    The Week in Review

    What a week. Starting with Fantask’s fortieth anniversary celebration last weekend and ending with my participation at NNCORE’s foundational meeting with a short Berlin jaunt to see the astonishing Renaissance portraits and Hokusai shows there. I hope to return a bit to the portraits (though I can’t promise anything), but just wanted to say a few words about Hokusai here.

    A huge retrospective covering the artist’s eighty-plus year career, the show really brought home just how prodigious an artist he was. He must have been drawing all the time. The kind of artist whose ambition is to understand no less than everything about the world through drawing, like Leonardo or Dürer. From the proliferating analytical notations in his manga and other instructional booklets to the elegant summaries of his brush paintings, his is a recording of human experience as such. Not the idea of it, and not really with an attempt to comment, but rather a continuous ambition to formulate a vision that suspends it within a order that grasps it all without reducing it to style. In a sense, what all cartooning should aspire toward.

    Some links:

  • Questlove’s Top 10 Life-Shaping Musical Moments. As always writing with passion and insight the Roots backbone takes us down memory lane through the songs that shaped his life and work.
  • Ben Katchor on picture stories. The great New York cartoonist does something similar, if less personal, for comics here. A fine thinker about comics, his recommendations contain plenty of nutrient for your dome.
  • Eddie Campbell on Simon and Kirby’s romance comics. The same goes for this, which serves as a reminder just how much of his career Kirby spent creating reality-based comics, and how important the romance genre used to be for comics.
  • Enter NNCORE

    British comics scholars Laurence Grove and Ann Miller at the meeting.


    These last three days saw the foundational meeting of the Nordic Comics Research Network (NNCORE) at the University of Southern Denmark in Odense.

    Initiated by lecturer at the Department of History, Culture and Society Anne Magnussen, and funded by a grant from the Danish Research Council, the network seeks to develop relations between comics scholars in the Nordic countries. It is overseen by an advisory board comprising some of the foremost international comics scholars today and at present has a membership of a few dozen.

    The meeting was characterized by optimism and friendliness and bodes well for the future of comics research in the region. Get in touch if you’re interested!

    Wanderlust : Ulli Lust’s Heute ist der letzte Tag vom Rest deines Lebens


    In 1984, when she was 17, Ulli Schneider went to Italy on a lark. She returned to Austria two months later, a changed woman. The following year she had a child and went on with life. She attended art school in Vienna, became an illustrator and produced several children’s books, eventually assuming her mother’s maiden name Lust. In 1995, she moved to Berlin to study graphic design. She fell in with the notable Berlin collective Monogatari and started drawing short comics, invariably in non-fiction: reportage, documentary, observational. She refrained from doing straight autobiography, however, regarding it as a somewhat hackneyed default shortcut for budding comics “auteurs.” But that defining journey through Italy evidently lurked somewhere, and in 2005 she decided to tell the story in comics form. She started serializing it on her online comics site, electrocomics, completing about half there before reworking it, adding a second color, and publishing to it great critical acclaim in Germany in 2009 as Heute ist der letzte Tag vom Rest deines Lebens (‘Today Is the Last Day of the Rest of Your Life’).

    Told with great confidence and uncomfortable frankness across a sprawling 450 pages, it is a coming-of-age narrative that inevitably places itself in the tradition of German travel literature, perhaps unwittingly joining the company of such august figures as Goethe and Hesse.