Saturday, January 07, 2012

Mr. Klunk e o Senhor Klaxon

“Mr. Klunk e o Senhor Klaxon” é o título abrangente dos 5 actos que compõem este livro. São 5 estações frias balançadas entre uma linguagem por vezes crua por vezes poética, e que dão corpo a duas personagens, um homem e um cão, que se entrelaçam numa vagabunda amizade que na maior parte das vezes é composta de atritos.

Klunk é um orgulhoso diletante com duas paixões na vida, a literatura e a corrida, e que chega à meia-idade consumido pelas suas dúvidas existenciais e por uma vida adiada.

Klaxon é um cão de rua que nas ocasiões de maior introspecção pensa Fernando Pessoa. Um dos momentos centrais deste livro é o hilariante despertar da Fé em Klaxon. Em a “Maldita Fé” (4º Acto do livro), Klaxon encontra-se dividido entre a sua condição canina e a procura de Humanidade, cujo fim é a sua salvação eterna.

Título: “Mr. Klunk e o Senhor Klaxon”
Nº de págs: 88
Autores: Jorge Matos e Paulo Azevedo
Livros Espontâneos
Edição: Brochado, miolo em papel couché, preto e branco
ISBN: 978-989-97543-0-0
1ª Edição: 250 exemplares
Dezembro de 2011

Friday, January 06, 2012

St Trinian's cartoonist Ronald Searle dies aged 91 (1920 - 2011)

Ronald Searle, dead.
Ronald Searle, cartoonist & creator of St Trinian's, died in France aged 91 (Picture: REXMAILPIX)
Searle's drawings of the chaotic St Trinian's girls' school inspired a series of films, with the first one being released in 1954 and the latest in 2009.
The cartoonist also co-created the Molesworth series and received a number of awards for his drawings, which appeared in publications across the world.
The cartoonist's name became a trending topic on Twitter today, with many users paying tribute to the artist.

@_BeckyHart wrote: ' Oh wow RIP Ronald Searle, I loved his style, it was so quirky and unique.'

Illustrator @geoparkin added: ' RIP Legendary illustrator & creator of St Trinian's, Ronald Searle. Brilliant drawings, oozing with character & life!'
A family statement read: 'Ronald William Fordham Searle, born 3 March 1920, passed away peacefully in his sleep with his children, Kate and John, and his grandson, Daniel, beside him on 30 December 2011 in Draguignan, France, after a short illness.
'He requested a private cremation with no fuss and no flowers.'
The original St Trinian's films were released between 1954 and 1980. There was a 27-year gap before the release of the next film but the reboot of the franchise proved to be just as successful as the originals.

St Trinian's creator whose genius was forged by torture: How cartoonist Ronald Searle, overcame Japanese prison horrors to make us all laugh By Harry Mount

Ronald Searle’s death on the day before New Year’s Eve — at the age of 91 — has robbed Britain of its greatest cartoonist and one of its greatest artists.

He will be best remembered for his wartime creation of the thrillingly naughty schoolgirls of St Trinian’s, and Nigel Molesworth, the archetypal prep schoolboy invented by Searle in the 1950s with Geoffrey Willans.

Molesworth and the St Trinian’s girls were works of great comic and artistic skill, but Searle’s gift went beyond his cartoons.

Devoted: Ronald Searle, the cartoonist and author with his wife Monica
Devoted: Ronald Searle, the cartoonist and author with his wife Monica

When I interviewed him for his 90th birthday in 2010, he didn’t want to talk much about his drawings. ‘I’ve always felt I was pigeonholed as the St Trinian’s chap,’ he said, as he plied me with pink champagne in his French medieval tower-house in Tourtour, Haute Provence, where he had lived with his wife Monica since 1966.

Even at 90, he remained youthful, with a glint in his sparkling blue eyes, his goatee beard neatly trimmed and his clothes immaculately pressed.

Searle's Mrs Mole creation. His work was a unique combination between the funny and the wickedly bleak
Searle's Mrs Mole creation. His work was a unique combination between the funny and the wickedly bleak

In fact, so wary was Searle of being typecast that in 1953 he obliterated St Trinian’s with an atom bomb in one of his marvellous cartoons, instantly recognisable with their spidery, inky, darkly humorous lines.

‘When it reaches its peak and everyone adores it, you kill it off,’ he told me. ‘But then the films appeared; and you simply can’t translate a sheet of paper into people.’

Searle wasn’t being rude about the St Trinian’s films — he never could be with his old-fashioned manners and self-mocking wit. Instead, you got the sense that he hadn’t watched them simply because he hated wasting good drawing time. ‘Our DVD is on the blink,’ he said cheerfully.

The determination to fill his working hours with the best drawings he could produce was founded in the seminal experience of his life — four years as a prisoner of war in Changi Prison, Singapore, and on the Thailand-Burma ‘Death’ Railway during World War II.

Searle was born in Cambridge in 1920. His father was a station porter and his mother was from a line of clockmakers.

In 1938, he won a scholarship to Cambridge Art School, but the war interrupted his studies and, it turned out, very nearly killed him — but it was also the spark that lit his artistic career.

In 1940, while stationed in Kirkcudbright, Scotland, he met two schoolgirls recently evacuated from an Edinburgh school that happened to be called St Trinnean’s.

By the time his first St Trinian’s cartoon appeared a year later, Searle had been shipped out to Singapore with the Royal Engineers. But within a month of his arrival, Singapore was taken by the Japanese, and his horrific ordeal had begun. Searle managed to smuggle a pen into Changi Prison, however, where he drew 400 pictures of his dying friends and the brutal prison guards. Those drawings were often hidden beneath the bodies of cholera-ridden POWs as the guards were too scared to touch diseased prisoners.

One picture shows Searle, half-starved, shakily holding a rock above his head while a jailer jabbed him in the back with a bamboo cane.

Searle will be best remembered for his wartime creation of the thrillingly naughty schoolgirls of St Trinian's, pictured and author with his wife Monica
Searle will be best remembered for his wartime creation of the thrillingly naughty schoolgirls of St Trinian's, pictured

By the time he was liberated in 1945, Searle weighed 7st, his legs swollen by beriberi — a life-threatening disease caused by a vitamin deficiency — and his ankle cut to the bone by a tropical ulcer. ‘I’d had dengue fever and malaria 25 times,’ he later said, ‘I came out a walking skeleton, but I was alive.’

Alongside pictures of torture, Searle had kept up his enduring darkly comic line throughout the war. One surviving St Trinian’s picture was drawn on the back of an official notice listing prisoners who had recently died in jail.

A unique combination had been forged in Searle’s art — between the funny and the wickedly bleak.

‘The darkness in my drawings came from being a prisoner,’ he said. ‘I went into the war as an art student of 19 who did pictures of my mum and dad and the dog. Suddenly, you’re drawing people who are going to die.

‘With a subject matter so brutal, it was your duty to get something on paper that vaguely represented what was going on. I appointed myself an unofficial war artist.’

Demobbed after the war, Searle went back to the drawing board, his enthusiasm undimmed by imprisonment. He also married his first wife Kaye Webb, the editor of Puffin Books and mother of their twins Johnnie and Kate.

Near-death propelled Searle into extreme levels of productivity, creating thousands of St Trinian’s and Molesworth drawings, Punch cartoons, adverts and the work he was proudest of — his reportage, including drawings of the 1952 funeral of George VI and, in 1961, pictures of the Berlin Wall and the Adolf Eichmann trial in Jerusalem.

‘Reportage is much harder; you’ve got to get behind what’s going on, to locate the atmosphere people are living in,’ he said. ‘Anyone can do a cartoon and make people laugh.’

There was, though, one casualty of the hard work: Searle’s marriage. ‘It fell apart,’ Searle said. ‘I was 25, and completely lost with domestic life and burdened by its responsibilities.’

‘Kaye and I were both egotists in our work, so we barely ever met. When we had the children, the place was full of au pairs and nannies, and the treadmill of meeting deadlines and earning drove me up the wall.’

Greater happiness beckoned, however, when Searle met Monica Koenig, a jewellery designer, in Paris in 1958 where he was on assignment for Punch and Monica was working as a painter and theatre set designer.

Three years later, Searle left not only his family, but also England, moving to Monica’s Paris flat and marrying her. He remained in France for the rest of his life, happy to draw all day. If anything, Searle was even more prominent in France, and certainly more respected, than in his native England.

He drew a weekly political cartoon for French newspaper Le Monde until 2007, a year after he was awarded the Légion d’Honneur, the highest French decoration, while Britain had awarded him a solitary CBE in 2004.

He felt no bitterness to his home country, but it is telling that he has left his archive to the Wilhelm-Busch Museum in Hanover, Germany, where his work is hugely revered.

The mutual devotion between the Searles was overwhelmingly apparent when I interviewed them in 2010. It was a closeness intensified by Monica’s long battle with breast cancer, which began in 1969 and to which she finally succumbed last July.

Only last autumn, Searle published his last book, The Richest Hours of Mrs Mole, a collection of the drawings he made for each of her 47 chemotherapy sessions.

Searle was bereft without her. Monica’s death was, it seems, the final blow — the only unbearable one — for someone who had seen so many others die, who had drawn with that unmatched gift for creating laughter in the dark.

Thursday, January 05, 2012

Vasco de Castro condena Osvaldo de Sousa ao pagamento de uma indemnização pelo simples facto de ser Historiador da Arte da Caricatura em Portugal

Desenho de Strniza

            Para comemorar 30 anos de dedicação, divulgação e dinamização do humor gráfico em Portugal, a Relação, após o tribunal ter inocentado Osvaldo de Sousa, condena Osvaldo de Sousa a pagar 5.000€ de indemnização a Vasco de Castro por danos morais e patrimoniais, simplesmente pelo facto do historiador ter incluido o seu nome e obra na Historia da Arte da Caricatura de Imprensa em Portugal. O Juiz do Tribunal considerou que Vasco deveria agradecer, em vez de incriminar, mas a Relação resolveu inverter a sentença.
            Vasco de Castro que, até ao momento, só foi galardoado em iniciativas (com mais de 5.000€ em Prémios) organizadas por Osvaldo de Sousa (já que todas as outras nunca encontraram valor na sua produção) sentiu-se ofendido por ser incluído na História, com tratamento igualitário entre todos os artistas, ou seja, um desenho por periódico em cada ano, em que vários dos trabalhos são propriedade da Humorgrafe por terem recebido um Prémio (monetário que compra o original) e estarem no livro nessa condição. Esta obra não é comercial, apenas de divulgação, incluída nas comemorações dos 150 anos da Caricatura em Portugal. Século e meio em que nenhum historiador considerou relevante fazer a história desta arte, considerada menor. Por Osvaldo de Sousa ter ousado fazer esta compilação, Vasco de Castro castigou-o, talvez porque considere que é uma história que deve ser esquecida, uma arte que ele não considera de relevo para ser exaltada.
Contudo esta obra tem recebido criticas extraordinárias no estrangeiro, referida como obra exemplar que deveria ser copiada por outros países mais ricos que o nosso, e que nunca tiveram coragem de fazer uma com esta dimensão. É uma obra que resulta da oferta gratuita de anos de investigação; oferta de mais de 20.000 reproduções de jornal que custou cerca de 10.000€ de fotocopias e microfilmes; oferta de seis meses de trabalho de paginação; oferta dos direitos de autor do texto… Obra esta obra investigada, escrita e paginada totalmente por Osvaldo de Sousa (um trabalho solitário e penoso) que, no final, recebeu apenas 600 exemplares dos 1.500 exemplares editados e que agora tem de pagar sozinho uma indemnização de 5.000€ (mais de três salários da sua actividade profissional, com que tem de alimentar a família, não referindo as despesas judiciais), a um desenhador que recebeu uma carta (infelizmente não registada e por isso não há prova física disso) a perguntar se tinha algo contra ser incluído. Quem não quisesse bastava escrever a dizer que não queria. Ingenuidade do autor que deveria ter feito a pergunta ao contrário, com aviso de recepção, mas que conhecendo os artistas que raramente respondem quando aceitam, optou por fazer a pergunta ao contrário.
Osvaldo de Sousa, ao longo destes 30 anos, tem roubado muito do seu tempo à família porque, mesmo quando está em casa, está ausente nas suas constantes investigações, paginação dos catálogos, montagem das exposições sem terem grande proveito económico dessa ausência. 30 anos de deambulação pelo pais fora, correndo contra o tempo para nunca faltar ao seu emprego, com desgaste da viatura, desgaste físico, moral…. Tem sido um pai falhado, um marido falhado e agora o Tribunal sentencia-o também a um historiador falhado. Com mais de 300 exposições realizadas, com mais de 300 publicações editadas porque é que nunca enriqueceu? Por estupidez, por amar uma arte que considera fundamental para o ser humano. Pena que este senhor tenha uma ideia contrária.
Aproveito para avisar os interessados que este não é o único caso de perseguição deste desenhador. Tenham cuidado!

Humour de René Bouschet

Wednesday, January 04, 2012

Cartoon by Recep Bayramoglu - Assasination of Freedom of Speech

Ultimos cartões de Feliz ano novo


Fernando Campos

Resad Sultanovic

Monday, January 02, 2012









1.      Regardless of religion, language and race, this competition is open to all amateur and professional caricature artists or anyone who can draw cartoons.

2.      Theme: “A World without Engineers”

3.      Pieces of work to be sent for the competition should have the form of a cartoon. Pictures and illustrations will not be accepted.

4.      Cartoons to be sent for the competition should be in digital format. The Sizes of the Cartoons should be either A4 or A3 with a minimum 100 and maximum 300 dpi. Both color or black & white are acceptable. Name, surname, address, phone number and e-mail address of each participant should be indicated. Cartoons submitted for the competition should not contain any script – writing on them.

5.      A person can not be given more than one award.

6.      Before they are presented for the Selection Committee members’ evaluation, all cartoons submitted for the competition will be exhibited on a website formed with the aim of bringing submitted pieces of work to the attention and objection of all cartoon artists, cartoonists’ organizations and any other international organizations formed against similar – imitated – stolen cartoons. If a submitted piece of work is found to be similar, imitated or stolen, it will be disqualified from the competition.

7.      Each participant may join the competition with two cartoons at most. Along with the cartoons, a short biography in the Microsoft Word format [.doc] including name, surname, address, phone number and e-mail information and a recent photo of the applicant in the “.jpg” format should be submitted.

8.      All submitted cartoons will be archived at “Cyprus International Cartoon Museum”  to be formed by the Association of Turkish Cypriot Cartoonists (FECO – CYPRUS) regardless of the fact that they receive an award or not.

9.      All cartoons submitted for the competition may be printed, duplicated or published on cards, posters, albums, newspapers, magazines, books and CDs by FECO – CYPRUS. By submitting cartoons for the competition, the participants fully understand and agrees with the terms of the competition. Participants also agree to the future duplication, printing or publishing of materials relating to this competition without any financial compensation. 

10.   Results of the competition, as well as the selection committee decisions, will be released to the cartoonists who have qualified to receive awards, all participants and press.

11.   Cartoons should be sent to the specified e-mail address by 20 March 2012.

12.   Works of art sent for this competition will not be used in any other different event serving for any other purpose than this competition. However, Eastern Mediterranean University reserves the right to use these caricatures for non-profit educational activities or events.

13.   Should the cartoonists who have won awards in this competition wish to attend the award ceremony and the exhibition, they undertake all transportation expenses. Accommodation and any other related expenses will be covered by EMU.


20 March 2012



First Place Award: 1000 USD + Plaque

Second Place Award: 500 USD + Plaque

Third Place Award: 300 USD + Plaque

Special Awards [Plaque]


The exhibition will be inaugurated at EMU Library Exhibition Hall, Famagusta – Cyprus on 20 April 2012.



Gökçe Medical [Sıtkı Gökçe]


Hasan Amca

[EMU Faculty of Engineering Dean]

Hüseyin Çakmak      


Ulaş Gökçe               

[Representing Ramiz Gökçe Family]

Dudu Cumaoğulları   

[Famagusta Cultural Association Vice Chair]

Özgür Kofalı              

[EMU Cartoon and Humour Club]

Mehdi Sadeghi          

[EMU Cartoon and Humour Club]

3rd Representatives from the EMU Cartoon and Humour Club


Musa Kayra   

[Chair, Association of Turkish Cypriot Cartoonists]

M. Serhan Gazioğlu

[General Secretary, Association of Turkish Cypriot Cartoonists]

Hüseyin Çakmak      


Arif A. Albayrak 

[Executive Board Member, Association of Turkish Cypriot Cartoonists]

Mustafa Tozakı         

[Executive Board Member, Association of Turkish Cypriot Cartoonists]

Cemal Tunceri          

[Executive Board Member, Association of Turkish Cypriot Cartoonists]

3rd Representatives from the EMU Cartoon and Humour Club]

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