artworks

Aren't we all political cartoonists? by artnoise

Political artists maybe? Where the politics ends and art starts? How thin is the threshold? Is this a solid line between the two or are there some gaps? Perhaps a dotty lines like this ........................... will solve all our doubts.

Seriously, art and images are really more powerful than words, especially in politics. Art is indeed powerful even in peaceful situations, and when it comes to depict the horrors of a war or a vicious political debate, it's the best way to provoke awareness. I know the feeling that takes a cartoonist or a photo journalist to a certain point where your guts have the power on you, on your capacity to express disgust of what you see, through your art. On the other hand, when it comes to make art, it's a different matter. The art's purpose should be spread beauty and provoke something in your guts that are far from awareness of corruption, poverty, warfare and so on. How artists can manage they unconscious reactions and feelings towards what happens around them, is not our business, but definitely it's something we can only see through their art. The way they face all the political issues, social disruptions and harsh realities, is something that fascinates me until the point to investigate about their socio-political background, finding out the real meaning behind those lines, colours and violent paint strokes.

A taste of what I'm talking about: I've bumped into an interesting website earlier this week called Cartoon Movement where artworks depict social and political issues without favoritisms and with a hint of sarcasms, wisely reviewed. www.cartoonmovement.com

Vasco Gargalo's perspective on the   civil war in Syria  , based on the most powerful anti-war painting in history,   Guernica     by Picasso.

Vasco Gargalo's perspective on the civil war in Syria, based on the most powerful anti-war painting in history, Guernica by Picasso.

We are the peeping people, witness of various historical events ... by artnoise

What if, for once, the painting itself, or the people in it, would tell us a story? A story of art, architecture, history, something happened at that time, in the painting. Maybe something in the past within a social-political background that we ignored. Maybe we haven't paid attention to THAT detail or the artist's point of view. The real, genuine, blunted opinion of who was living a social life far from what we are living today, within a background that has influenced the painting itself, people portrayed in it, people outside of it, the whole art world.

It is not only a matter of peeping people.

Les Demoiselles D'Avignon, Pablo Picasso, 1907

Demoiselle no.5 has her say

"...It's not just modeling, you know, it's about freedom. I'm stuck here since 1907 with no pants and a face that I barely recognise as mine. And I'm supposed to stay here in these conditions for ever. When I was figuratively born, in this room, on this canvas, I thought for a second it would have been easy for me: having a look around,  having my says, have something to eat, etcetera. But it wasn't. He gave me four more friends and you know what? I'm the most uncompleted and the ugliest one! No, wait a minute, this one next to me is the ugliest.

I know we are not in Paris anymore. I'm not sure I'm gonna like this new place though. Despite these women around me, I feel alone. I have seen a woman with him. She's very young and pretty. It seems he was inspired by her whilst painting one of us. Not me for sure. I've also seen this subversive poet with him. They must be friends. They are both Don Juan.  I can observe without interferring, i can see the passion, the fights, the violence. I can see and look at the disappointed faces around the studio, not saying a word. I have the beneficial negation of speak.

My legs are hurting a bit. It's the position I suppose. Also my neck is in pain. My body is not very rounded like a woman's should be. Even a woman like me, you know, THAT kind of woman, deserve a harmonic body. We are different. We are angular, hence hostile. That's why on our face there's a hint of disapproval."