Pale Saintliness
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Marcin Bondarowicz
Marcin Bondarowicz is a skilful Polish cartoonist. He is also a painter, a photograph and a poet. He was born in 1976 in Starachowice, Poland. He lives now in Poland as a freelance artist. Marcin works in traditional and digital graphic. He is doing all sort of illustrations in various techniques such as : oil painting, acrylic, computer illustration. Marcin has recently been working as a journalist specialized into press illustration. He worked for magazines such as BusinessWeek/Poland, Bonnier Business Polska, Integracja Europejska, Gazeta Bankowa.
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Recent artworks by Marcin Bondarowicz
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The seven graphic arts are by Marcin Bondarowicz ©
THE GLORY MEADOW
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THE GLORY MEADOW
by thepoetryman
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The warrior tilted her face
The warrior tilted her face
In the groan of fine bravery;
A ferocious battle well fought
Leaving such empty pleasure.
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There were no such dignities.
Rain slanted its gleaming lances
Upon the backscattered skies
In refractions glory meadow.
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Reflecting upon the dulled luster
The warrior’s fingers grew damp
And, in apprehensive assembling,
Did discharge her bludgeoning.
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O! Divine glory! Phenomenon!
Transport their gaze to wonder’s face!
Call out to them! Reaffirm “peace”!
Shift them nearer to beauty's grace!
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Upon the backscattered sky we lean.
Of the bludgeoned warrior we howl.
Upon the divinity we beseech,
“Bring their spirits home!”
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Inspired by Quasar9
More photos from the International
Kruger Workshop
Jeremy, Bernd, Henning, Rohan
Jurgen
Siv GretheWarm thanks to Siv Grethe for sending me those pictures.
More photos from the 2nd International
Kruger Workshop
Warm thanks to Siv Grethte Bohn-Petterson
for sending me those pictures
The National Caricaturist Network is an international non-profit trade association. Its purpose is to promote of the art of caricature, educate the public and the media about the art of caricature and to provide its members with helpful information about caricture as an as artform as well as a profession. The NCN currently has close to 500 members from around the world, and is growing every day. Members receive our quarterly magazine, Exaggerated Features, which has articles about caricaturing, featured artists tips and stories as well as other useful information about caricature illustration. The NCN annual convention is held each year in a different location. The conventions features a guest speaker, lectures, seminars, competitions, awards and the camaraderie of your peers in the art of caricature drawing.
The NCN is a professional association but welcomes anyone interested in the art of caricature. Associate and student memberships are available at discounted rates for those who wish to simply be a part of the organization or who want to learn more about becoming a professional caricaturist.
The NCN was formed in 1989 by Wallace "Buddy" Rose. Buddy created a forum for caricaturists by providing a quarterly newsletter and annual convention. The original goal was to create an organization that would seek out charitable and mutual benefits for united artists. It operated briefly as a booking agency until filing its application in compliance with article 5154a making it a trade union in 1994. In 1995 the new constitution was ratified in San Antonio, TX, the NCN was granted non-profit status, and the first election was held. In 2005, the NCN was changed into a non-profit, unincorporated association.
The association boasts some of the most recognizable names in the industry as members and friends of the NCN. Jack Davis, Sergio Aragones, Mort Drucker and Tom Richmond of Mad Magazine, Jan Op De Beeck, Sam Norkin, Rudy Cristiano, Bruce Blitz, C.F. Payne, Pancho Willmarth, Mike Peters, Steve Silver and Sebastian Krüger have all been keynote speakers and members. Many NCN members are accomplished as artists not only in caricaturing, but in other artistic fields as well.
Ben Heine by David baillod
Time Slip
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Time Slip
by thepoetryman
To achieve what war cannot;
To achieve what war cannot;
Dislodge the facts.
Usher in hope.
Create breath.
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To create what the warrior cannot;
Yielding dreams.
Lasting peace.
Earnest love.
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To carry the lode that liars cannot.
Words of wisdom.
Grains of trust.
The truth.
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The truth.
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It is not an issue of one knowing the truth of
war;
But rather the ability of one not to wage it.
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Here follows a selection (by thepoetryman) of sites to be visited
Ben Heine
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By Peter A
This is a post prompted by the talents of a young artist named Ben Heine. His artwork has been showing up with great frequency on different blogs for quite a while, and it has been greatly impressing me since the first image appeared. Ben Heine is a young artist that is not satisfied to work well in one medium; he works extremely well in numerous mediums, including political cartoons, pencil drawings, realistic drawings, and paintings … and more. If there is one thing that I have been able to recognize after all the time I spent studying and practicing my own craft that is talent: the arts may not be interchangeable when it comes to ability, but when you are experienced in what you are doing it isn’t very difficult to recognize quality work and genuine talent when you encounter it in another.
In the case of Ben Heine, there is no question about it, he possess tremendous artistic ability and a keen sense of timing for his political cartoons. His ability to convey his ideas through the visual medium is the kind of talent that does not come around too often and should be encouraged at every turn. This is especially noticeable when you look at his paintings, found at his main website, not his blog. One painting that I’m particular drawn to is his “Visage Téléscopique”, a large acrylic painting that depicts a head that seems to be drawn as a relief map … it is tremendously effective.
Ben was born in 1983 and is producing the work that he is today at the age of 23. As a composer and writer I have spent over fifteen years involved in pedagogy, so I have absolutely no reservations in saying that this “youngster” is well beyond the stage of a “developing” artist. He will mature in his work and his technique will be refined, but it is quite obvious that the artistic mind behind the work is fully engaged in what is being done. That is why I have decided to write this post.
Enjoy the images, and be sure to visit Ben’s blog and his main website. Thank you for reading, and thank you Ben; may your talent continue to grow beyond your wildest imagination.
That is the end of the pictorial tribute to Benjamin Heine. I would have loved to include an amazing portrait entitled “E=MC2” which is on his website, but the image couldn’t be downloaded, so you will have to go visit there yourself to see just how amazing this talent is, though this small sampling of his work should give you an idea. Once again, thank you Ben, and keep up the great work. Maazel Tov!
Ludwig II, a Mad King ?
King Ludwig II of Bavaria was born in Nymphenburg Castle outside Munich in the early hours of August 25, 1845. He was the eldest son of King Maximillian II and Queen Marie, and was named after his grandfather, King Ludwig I.
Ludwig's Childhood
As a boy, Ludwig was given a typical 19th century upbringing - an indifferent father and schooling which consisted of constant beatings. It is fairly obvious that he would have been miserable as a child. His favourite times of the year were the summer holidays the family spent at the Royal Castle Hohenschwangau which King Max had restored between 1832 and 1836 in a romantic medieval style. Hohenschwangau's position can only be called magnificent; it is situated beside a blue alpine lake, the Alpsee, and about 2 kilometres from the Austrian border and the Tyrolean Alps. The Royal Family in 1862. Left to right, Ludwig, Queen Marie, King Max II, Otto. The Queen enjoyed taking Ludwig and his younger brother Otto on lengthy hikes in the nearby alps and it would have been on these occasions that Ludwig developed his love of the mountains and their solitude, as well as his lifelong devotion to the Schwangau region. He also loved to feed the wild swans that lived around the lake, and several drawings of swans that he made at this time survive today.
The discovery of Wagner
In 1858, when Ludwig was thirteen years old, his governess told him of the upcoming production of Richard Wagner's opera Lohengrin, the story of which centres around the heroic medieval Swan-knight Lohengrin. Since the walls of Hohenschwangau were covered in frescoes featuring Lohengrin, a curious Ludwig acquired a copy of the opera's libretto and he read it voraciously. It wasn't too long before the Prince had learnt the entire libretto off by heart, as well as the libretto of another Wagner opera, Tannhäuser. He was soon devouring every book written by Wagner, and on February 2nd, 1861, Ludwig heard a Wagner opera for the first time. Lohengrin, the Knight of the Swan, reveals his identity to the people of Antwerp at the dramatic climax of "Lohengrin". Appropriately it was Lohengrin and the experience left a profound impression on the Prince. In 1863 he acquired Wagner's recently published Ring Cycle, the preface of which contained a comment about the miserable state of the German theatre. In order for the Ring to be produced, Wagner wrote, a German Prince would need to be found to provide the required funds. To Ludwig, this was a direct message from the master. He would be that Prince.
Ludwig becomes King
On March 10th, 1864, King Max died at the age of 53. Ludwig assumed the throne at 18 years of age. Within days of his ascension, the young King ordered his ministers to track down Wagner and bring him to Munich. The task was not as easy as first thought, but eventually Wagner, running from his creditors, was located in Vienna and brought to the King. To the 51 year old composer Ludwig was a new Siegfried, come to rescue art. To the 18 year old King, Wagner was a god. Ludwig became Wagner's patron, settled his debts, and set him up comfortably in an Italianate-style villa. The two were inseparable, and Ludwig was soon planning the construction of a large festival theatre in Munich. On several occasions Wagner stayed with Ludwig at Schloss Berg, another mock-Gothic summer castle, as well as visits to Hohenschwangau. Richard Wagner photographed at about the time he met Ludwig.
The tide turns
Soon, however, Munich society was growing tired of Wagner's arrogance and jealous of his influence on their young King, and the ministers feared Wagner would try to influence Ludwig in political matters. It was only a matter of time before Wagner was forced to leave Bavaria. Eighteen months after his arrival, Wagner left Munich for Switzerland, and to a house rented by Ludwig for him. Ludwig fled to Hohenschwangau. The one thing that was giving him happiness had been taken from him.
War
The first few years of Ludwig's reign was a series of tragedies and disappointments. In 1866 war broke out between Austria and Prussia, the most powerful of the German states in what became known as the Seven Weeks War. Because of Bavaria's strong links with Austria, she too was drawn into the conflict on the Austrian side. Unfortunately for Bavaria, Prussia was victorious, and the country was thrown into gloom. In a secret treaty Ludwig placed the Bavarian army at the disposal of the Prussian General Staff. A part of Bavaria's independence was lost.
The honeymoon ends
The date for the wedding was first set for August, 1867. Shortly after it was changed to October 12th, the date both Ludwig I and Max II had married. But it was beginning to be obvious that not everything was well. Ludwig and Sophie were seen occupying separate boxes at the theatre, and people remarked that the couple seemed to be lacking a glow. Further evidence of this happened when Ludwig left court balls early and alone in order to catch the final act of plays. The truth was that Ludwig was desperately worried about the wedding. He stated to the Court Secretary that he would rather drown himself in the Alpsee than to marry. As the wedding date dew nearer Ludwig was more agitated and miserable. He wrote to Wagner "Oh, if only I could be carried on a magic carpet to you . . . at dear, peaceful Tribschen (Wagner's house in Lucerne, Switzerland.) - even for an hour or two. What I would give to be able to do that!" But Sophie was just as miserable. She knew that the King didn't love her. Finally she sent a letter offering Ludwig his freedom. But rather than except it, yet another postponement was made, to December.
Meanwhile, wild rumours were circulating through Munich, the most absurd being that Sophie had broken Ludwig's heart by having an affair with a local photographer. (This rumour still persists to this day.) In the end it was Sophie's father who ended the affair. He sent word to Ludwig in early October demanding that he set a definite date at the end of November, or withdraw his proposal. Ludwig took the latter option. That night he wrote in his diary, "Sophie is finished with. The gloomy picture vanishes. I longed for freedom, I thirsted for freedom, to wake from this horrible nightmare." Ludwig fled to his beloved Alps, and hid there in his dreams. He wrote to Wagner from Hohenschwangau on 21 November, 1867; "I write these lines sitting in my cosy gothic bow-window, by the light of my lonely lamp, while outside the blizzard rages. It is so peaceful here, this silence is stimulating, whereas in the clamour of the world I feel absolutely miserable. "Thank God I am alone at last. My mother is far away, as is my former bride, who would have made me unspeakably unhappy. Before me stands a bust of the one, true Friend whom I shall love until death. . . If only I had the opportunity to die for you." (The following year Sophie married Prince Ferdinand d'Orleans, a grandson of King Louis-Phillipe of France.
In 1897 she died in a fire during a charity bazaar in Paris.)It was from this time onwards in his life that Ludwig began planning and building his castles. The task of being king was far too great for a young man in his early 20's. This is possibly the most important fact that we must keep in mind when dealing with Ludwig. At the age of 20 he signed the order for mobilising the army and joining the Seven Weeks War, and thereby ordering thousands into battle. The traumatic episode of his failed engagement occurred when he was 21. But tragedy was still about to descend on the young King. Two years after his broken marriage plans, Prussia went to war with France, and since Prussia now effectively controlled Bavaria's army, Ludwig ordered his troops into battle once again into what became known as the Franco-Prussian War. During this war Ludwig withdrew from the real world and into a world of make-believe. The plans for both Neuschwanstein and Linderhof date from this period, and the foundation stone for Neuschwanstein was laid now. (In 1869.)
"The Dream King"
Ludwig was quickly changing in both mind and body. Photographs show how his appearance changed from a slender youth to a huge man in just a few years. He began to spend all his time in the mountains, at Hohenschwangau and Linderhof when it was ready to move in to, and his small mock-Gothic castle at Berg, beside Lake Starnberg. He refused to see his ministers and preferred the company of the mountain people. In fact, the only time he stayted in Munich was the annual investiture and banquet given in the Residenz for the Knights of the Order of St. George, Bavaria's highest Order of Chivalry Ludwig was the Grand Master of this Order. From paintings of these dinners, we can see Ludwig enjoyed himself immensely. The famous "Private Performances" also date from around this time. Sitting alone in the Residenz Theatre or the Court Theatre in Munich, the King would attend plays, concerts and operas put on for him alone. Plays were commissioned by the King to take place in settings designated by him. These settings were invariably exotic; the Himalayas; the court of Louis XIV; Tibet, Imperial China etc. The final trauma for Ludwig occurred shortly after Prussia's victory in the Franco-Prussian War. Bismark requested Ludwig's approval for Bavaria to enter a unified German Empire with Prussia as leader. After several days procrastinating, Ludwig agreed and wrote a letter inviting Wilhelm II to become Emperor of a united Germany. Bavarian sovereignty became an idea rather than a reality, and Ludwig a figurehead in a constitutional monarchy. These incidences, then, were responsible for his reclusive existence, and his alleged "madness". The world had never been kind to him, and he withdrew from it into a world of his own making. This was the reason for his castles.
Source : http://www.schwangau.de
Website about Ludwig II
Ben Heine by Henning Ahlers
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Hadi Heidari interviewed by Channel 4
Hadi Heidari was born in 1977 in Tehran. Graduate of painting from Art & Architecture university. He published “Iranian cartoon literature during the reform era”. He is a Member of the International Federation of Journalists and the founder of "haditoons"/"Persiancartoon" website & foundering member of "Persitoons" website.
Collective Interview with Hadi Heidari by channel 4 (England)
(06/11/2006)
JULIAN RUSH: The road to the Iranian nuclear crisis began here 32 years ago, under the shah, with the start of construction of the German-designed Bushehr nuclear power station. We were escorted to the site, but no restrictions were placed on what we could film. It's now 90 percent complete, with a thousand-megawatt Russian reactor inside. Iran insists its nuclear activities are nothing but peaceful. This a standard civil reactor, nothing sinister here, the message.
Even before this plant is complete, Iran is plowing on with ambitious plans for more, almost as if there were no nuclear crisis. A leading politician telling us international tenders for two more reactors at Bushehr will go out within a month.
KAMEL DANESHYAR: From construction of nuclear power plants to the manufacture of nuclear fuel, we invite countries to come into partnership with us, 50-50 with English, European, even American partners. Chinese, Japanese, Indian, we'll work with them.
JULIAN RUSH: Iran's nuclear ambition is fodder for the country's cartoonists. Cartoons are very popular here, the jokes allowing oblique criticism of the regime, allowing boundaries to be pushed. This collective of some of Iran's leading cartoonists set up their Web site three years ago.
I don't think I need an explanation. The big guy is Russian with a knife behind his back.
(LAUGHTER)
The apparently untrustworthy Russians are at Bushehr, their engineers helping the Iranians finish it. Iranian political observers say the government's nuclear policy of demanding the right to enrich uranium is based on a consensus between factions, nuclear power moderates agreeing to support a more hawkish group, as long as they stop at enrichment.
But enrichment is the stumbling block. The latest IAEA report details numerous examples of Iran's continuing reluctance to cooperate. Iran's still refusing, for example, to explain the role of the military and evidence it had acquired documents related to designing a nuclear bomb.
The West suspicious the hawks will go beyond enrichment and their stated position that they don't want nuclear weapons now, just the potential to build them should the need arise.
PROFESSOR NASSER HADIAN: They would argue that we have to develop nuclear weapons capability. I will not make this distinction between the capability and the weapons themselves. So they would argue that, if we have the nuclear weapons capability, that would give us effective deterrence.
JULIAN RUSH: Iran says it wants to build 10 to 15 nuclear power stations, like Bushehr here, over the next 20 to 30 years to meet the soaring energy needs of a growing nation, but it's also a matter of national pride here, too.
"Nuclear power is our inalienable right," is the constant refrain, but this is a country rich in oil and gas; so does Iran really need nuclear power?
Iran may have the second largest reserves of oil in the world, but the oil and gas industry here isn't in good shape, the infrastructure, old, the management, inefficient. Nevertheless, oil and gas exports drive the rapidly growing economy, so perhaps a political and economic argument for nuclear can be made here.
ALI GHEZELBASH: We're looking at an economy that's growing at average rates of about 5 percent a year. Given it's not the double-digit figures we hear about China, but nonetheless it's pretty impressive growth for an economy.
Iran needs to export its oil for hard-currency income. If we're merely to use the oil and gas domestically, I'm sure Iran can survive for another 150 years. But the point is: Are we going to use this for self-sufficiency just to burn up the oil or is it going to be used to strengthen the economy?
HADI HEIDARI: Atomic energy is like a yo-yo that goes up and down. They're playing with it, and they don't always have control of it.
JULIAN RUSH: State TV stations frequently carry programs to encourage support for Iran's nuclear position. When Iranian diplomacy fails to divide its critics, as it did last week in Moscow and Vienna, the message is: Intransigence is denying Iran its rights.
It's all led to huge public support for the government's policy. The programs appeal to national pride and promote modern technology as the way for Iran to gain status in the world with nuclear in the vanguard. Yet, should the recent rhetoric of America's U.N. ambassador, John Bolton, ever be translated into preemptive military action, then the sleepy port of Bushehr may become a target.
UNIDENTIFIED IRANIAN CITIZEN (through translator): They've been deceiving the people. It was supposed to have opened 25 years ago.
UNIDENTIFIED IRANIAN CITIZEN: The majority of Iranian people will support nuclear power because this has become a national goal. All of us will try to achieve this goal.
UNIDENTIFIED IRANIAN CITIZEN: People aren't worried; they'll sacrifice themselves to the last drop of blood.
دوستی هسته ای ایران و روسیه/ کیوان زرگری
دوستی هسته ای ایران و روسیه/ کیوان زرگری
JULIAN RUSH: One of the few to speak out against nuclear here says there's no real debate, little chance for ordinary people to hear that it simply doesn't make economic sense.
AHMED SHIRZAD: Ordinarily, people feel that we will find something very important and we should defend against (inaudible) which they want to prevent us to have it. When they put this pressure on Iranian people, the question of, is it useful or not, is it efficient or not, and some specialistic questions, engineering questions, they disappear.
JULIAN RUSH: It's a great picture of Mohamed ElBaradei, but what do the Iranians see in that?
HADI HEIDARI: This is playing with the face of ElBaradei and the Atomic Energy logo.
JULIAN RUSH: Expectations in the government are high here after all the rhetoric at rallies, but if Iran does eventually compromise with the international community, there may be a domestic political price to pay.
HADI HEIDARI: To me, that's a mistake what government is doing, and they are going to pay a cost. They think that they can manage it in the future.
The government feel that they're going to be able to manage that in the future if they make a deal. But to me, yes, they would try. They would try to explain they want to make a deal, but still they're going to pay a cost.
JULIAN RUSH: Several times we were told further pressure on Iran will shift the balance of power in the nuclear consensus here to the hard-liners; hard to know in the opaque labyrinth that is Iranian politics, but just one more factor for the diplomats meeting in Vienna to take into account.
Cartoons by Hadi Heidari
This interview first appeared on Persian Cartoon
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Thrusting America's Love Outward
I compel you to love your country.
To draw her into your arms ever so tenderly,
To embrace her softly, dearly to your heart,
To huddle close, near together her masses,
And sense her least sustained yearning.
I compel you to love your country.
A nation that lifted the breast of humanity
Caressing it tenderly toward equality’s rapture
With gentle fingers of selfless, searing desire
Exploring over her ever toward paradise.
I compel you to love your country.
Freedom lovers damp in stiff-limbed writhing
Stumbling kisses upon red-barreled bravery,
Softly probing her robust and supple liberty,
Heed now her cries of woeful sovereignty!
I compel you to love your country.
Between her Trail of Tears and Mount Misery
She still waits upon the coupled plains of affection
Ready for our design and mastery of this worlds love
Panting heavy expectation upon her shape.
I compel you to love your country.
Perched upon the shore of Rolles Creek she waits
With Mount Pleasant in reach of her willing fingers.
With expectant sounds of closure now within her folds
She lunges forth with an expectant mouth!
I compel you to love your country.
O! Gentle sleep now beckons to her languid pink flesh
As the rogues tongue laps at her ebbing shores of joy
And beckons her let go of her valuable love’s embrace
Lunging forth behind her eager lips!
She counters not… for she is the boiling hunger we seek.
What a devoted worship we’ve had with the motherland.
Many a great poet has written their songs upon her flesh;
Their bright and shimmering waters lapping her shores
In ardent freedom’s want of hopes howling, dripping heat.
I compel you to love the world!
On this day of days let us remember her youthful glow,
Her ripe fruit of wonder, her drowsy ache of emancipation,
Her most alluring burnish upon our exploring of her skin.
(The burden of immense throbbing now falls upon her heart!)
I compel you to love the world!
America, carry your waves to all shores. Hope, not savagery,
In your goodness, not in impudent desire to control destiny.
Leave not the naked child, but your desire alone on the road.
Shelter not your intentions, but those most needful and hungry.
I compel you to love the world!
We have been witness to our dove, crippled and flailing in terror!
We’ve been onlookers to our expectations emerging fruitless.
Watching unmoved while our oily desire bleeds into the waters
And the cold white eyes of death tread progressively before us.
I compel you to love the world!
Come now, peace. Come now, warriors, lay down your guns
To witness the beauty at your hands as she lays down your sword
And with dripping red lips envelops your craving to possess her.
Do you not hear the night voices calling you with an angels whisper?
I compel you to love the world!
To open the door and step out into the bright sun, desire can wait.
Take notice of the many tender, breathing, soul-caked living.
Gaze upon the world’s most unbendable faith in humanity.
Gently touch her skin, delicately massage her furious soil.
I compel you to love the world!
Enter her sculpting space and weave a covering made of lifeless war
.Paint upon her face a gentle art made of your temples sweat.
Scribe a love song upon her back with the eagle’s most willing blood.
Erect in her a tower of light for all to see that they might weep.
I compel you to love the world!
The masses of age lie here and we should not be so ready to die
Like confused animal’s hooved in selfishness, deficient and artless.
The world is full of freedom lovers damp in stiff-limbed writhing
Stumbling kisses upon red-barreled bravery, tenderly probing liberty.
I compel you to love the world!
Amid her supple lands and majestic mountains she waits our affection,
Ready for our desire and design embracing her most ready warmth
Needing our hot hope upon her shape, wanton as wide-eyed first love.
(Heed now the world’s hot desire for freedom pulling us in.)
With hopeful whisper's within her waters, she leans forth, expectant.
Copyright © 2006 mrp / thepoetryman
Original "Thrusting" Post
An Extraordinary Occurence
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In the gleaming of our time together in freedom
We watch the hand choose its own new beginning.
It is strange that only now, as the world hemorrhages,
Do we sense a resurgent vigor of our treasured being.
Our neighbors are holding hopeful that we proceed
And that our hearts can quell the rumbling earth.
Anon comes our most extraordinary occurrence
Which we, with wild modesty of our grand estate,
Do pray angels might hover within our strain
Stuffing the dreary look with the consult of truth
And burst forth with a great cry of liberty
That she shall, within our hands, forever remain.
Copyright © 2006 mrp / thepoetryman
Don Quichotte International Cartoon Contest 2007
"Immigration"
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Cartoon : Erdogan Karayel.
INTERNATIONAL DON QUICHOTTE CARTOON CONTEST
INTERNATIONAL DON QUICHOTTE CARTOON CONTEST
Into Turkish and into appearing German caricature magazine -Don Quichotte- specified the topic to second competition in this year as -immigration-. -Don Quichotte- is a bi-lingual culture magazine, to make possible a whose goal a direct connection of the Turkish caricature with the world caricature and to point the topics out of the world from different point of view as well as to bundle these works in an exhibition to a forming of an opinion. These topic tables` definitions are in the 50. Anniversary of German -immigration-, both in the society, and in the intercultural exchange, once more the centre. The goals of this competition are to be pointed out above all the reasons of immigration and the analysis of the problems of the immigrants. The basis of this topictable\'s definition lies in two questions hidden:
1) Why do humans decide to leave and live in another country live its country?
2) Why do the country of the immigration accept these humans not as like their own citizens?
The problems of the illegal immigration employ us in the whole world each day ever more. Humans, who are transporters illegally from a country to another, the either at hunger and suffering or as we in the last months frequently experienced, drown on grausemer way in the sea. The powerlessness of the states before this problem and the inability to find a durable solution increase this kind of tragedies each year. -Don Quichotte- hopes by the diversion of the attention by designs, its contribution for the identification of a durable solution, carries out to be able.
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THE RULES OF COMPETITION:
1) The participation in competition is possible only by Internet.
2) The participating work may have been published neither with another competition presented nor on any way. With an offence, the deprivation of the achieved prices is the result.
3) The designs are to be drawn in A3-Size to deliver in 300 dpi dissolution and in JPEG format. They know both and black-and-white, and to be colored, the coloured representation is exactly the same as the colortechnical treatment of the work is incumbent on not a containment.
4) The sent in caricatures are issued first on the web pages of the -Don Quichotte- under the column (today/Bugün). Thus the work those is excluded the regulation to contradict, promptly from the competition. Thus in the past the pretty often experienced unauthorized counterfeit, of a work is avoided.
5) The closing date of the competition is 28 February 2007.
6)The jury, from the artist living in Germany, writer, politician, journalist (immigrant like also Germans) exists, evaluates the works between 10. and 15. March. Results of this evaluation and conception of the price-crowned works are published on 31 March 2007.
7) The award of the prize will take place in the context of the opening of the exhibition in April in Esslingen (place and date of this meeting are communicated at a later time).
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THE PRIZES:
- First Prize: € 1,000, 00
- Second Prize: € 750,00
- Third Prize: € 500,00
- Special Prizes (given change from the Institutional and federations Active in Germany in this area)
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JURY :
- Marlene Pohle (President general of FECO, cartoonist in Stuttgart)
- Valeri Kurtu (Cartoonist, Berlin) - Derek Easterby (Cartoonist- Nürnberg)
- Steffen Jahsnowski (Cartoonist- Berlin)
- Selma Aykan Emiroğlu (Cartoonist, Soprano Munich)
- Muhsin Omurca (Cabaretist, Cartoonist Ulm)
- Erdoğan Karayel (Cartoonist DQ Publisher Stuttgart)
- Hayati Boyacioglu (Cartoonist, Journalist- Berlin)
- Ismail Çoban (Painter-Wuppertal)
- Mahmut Celayir (Painter-Stuttgart)
- Sinasi Dikmen (Author Cabaretist Frankfurt)
- Mehmet Ünal (Photography artist- Mannheim)
- Gürsel Köksal (journalist, ATGB chairman Frankfurt)
- Ozan Ceyhun (Politician SPD-Berlin)
Rush Rush Xanadu Rush Rush
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In Oxycontin did you, Rush Limbaugh
With hypocrite-sheathed debasement
Mock these tremors in crippling jest.
And through politico-rant, sat it down,
Swaying and twisting in foolish disrespect.
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So within this image we’ve found
The brazen bully bent and heaving,
Contempt emblazoned, red cheeked
Where blossomed his pain relieving
And thrust the truth back upon him.
.
O! His cavernous vile soul is slanted,
Slipping toward the aural hole of anguish;
A beastly grotto as evil and as violated
As the servitude to an empire’s dominion.
And from this abyss, with swaying havoc mad,
As if his words and shifting were child’s play,
He rages that a potent pill untaken what caused
Such feigned extension; an act, an actor, a fake!
Amid a swift and swaying disease a script is penned;
Progressed shaking and incurable neurological cues
Slowness, rigidity, tremors beneath a hopeless flail.
.
You Goddamned cretin! You bile crammed carcass
Wrenching your addiction across the air and ear,
Years now, tormenting even those who’ve died for you!
Your fans are desolation’s addicts, you, their conduit!
This loudness now reached measureless despicability
And sunk into tumult upon your self-seeking airwave,
And we’ve heard, been witness of your disgrace,
Now a crippling tremor setting fire within our stillness;
Inexorable Goddamned torrent of swaying hell shaking us all!
So within this image we’ve found
The brazen bully bent and heaving,
Contempt emblazoned, red cheeked
Where blossomed his pain relieving
And Thrust the truth back upon him...
Copyright © 2006 mrp / thepoetryman
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