Dialogue in Comics: Medium-­Specific Features and Basic Narrative Functions — by Kai Mikkonen

Dialogue in Comics: Medium-­Specific Features and Basic Narrative Functions — by Kai Mikkonen

From The Narratology of Comic Art (Routledge, 2017) by Kai Mikkonen. Abstract by author: Conversation is a basic element in the medium of comics, where much of the narrative appeal is derived from the interplay between dialogue and action. The speech balloon, a favoured visual symbol for voice and utterance in the medium since the mid-twentieth century, has become a symbol for comics. In Italian, famously, the word fumetto—the word for a speech or thought balloon—also refers to the art form itself, whether in the form of a comic strip or a comic book. In fact, dialogue is such a central feature in the medium that it may sometimes be difficult to think of it as a distinct element. A character who speaks his thoughts aloud when apparently nobody is listening is a much-used convention, and many comics, for instance, ‘talking heads’ or humoristic comic strips that deliver a verbal gag, focus on speaking. Perhaps paradoxically, dialogue scenes may be more distinguishable when their use is more restricted, for instance, in comics when action is predominant and only occasionally interrupted by a scene of talk or when first-person verbal narration is predominant, as in autobiographical comics that occasionally lapse into dialogue. Republished via CC BY-NC-ND.

Using Public Art to Narrow the Gaps

Using Public Art to Narrow the Gaps

After his father was killed in a 1976 terrorist attack by agents of Chilean dictator Augusto Pinochet in Washington, D.C., Francisco Letelier turned to murals as a tool for building solidarity and reducing economic, political, and cultural divides. This piece was...

Event: VATAPI By Vishal K. Dar & Poppy Seed Lab at Black Box Okhla

Event: VATAPI By Vishal K. Dar & Poppy Seed Lab at Black Box Okhla

VATAPI By Vishal K. Dar & Poppy Seed Lab JAN 30 TO FEB 04, 2020​ Get your passes here! PASSES  - Pass Admits ONE- Passes are non-transferable across dates or time slots- There is no late entry-  For audiences aged 8+ If he has no travellerTo offer mystical...

Event: Gender in Southeast Asian Art Histories and Visual Cultures — Chulalongkorn University and University of Sydney

Event: Gender in Southeast Asian Art Histories and Visual Cultures — Chulalongkorn University and University of Sydney

“Gender in Southeast Asian Art Histories and Visual Cultures
Art, Design and Canon-making?
A gathering of international researchers and creative practitioners

This two-day symposium comprising of a series of workshops, film screening, public lecture and panel discussions, jointly supported by Chulalongkorn University and University of Sydney, will respond to the notion of ‘canonisation’ in the disciplines of art and design histories of the region, and the ways in which this has been informed by understandings of gender and sexual difference.

Speakers will include:
May Adadol Ingawanij
Patrick D. Flores, Phaptawan Suwannakudt, Varsha Nair, Nitaya Ue-areeworakul, Clare Veal, Roger Nelson, Juthamas Tangsantikul, Rachaporn Choochuey, Thida Plitpholkarnpim, Saran Yen Panya

The workshop’s focus on questions of ‘canonisation’ brings us to a foundational principle of the academic practices of writing about and researching visual materials. To this end, the event will probe the ways in which certain assumptions have shaped the disciplines of art and design history in ways that obscure the contributions of practitioners as a consequence of their gender. Further, the workshop will develop methodologies for addressing gender imbalances in future research.”

Paintings like Postcards in Solidarity from Across the LOC — by Iram Razzaq

Paintings like Postcards in Solidarity from Across the LOC — by Iram Razzaq

UK-based artist Iram Razzaq, who was born and raised in Pakistan Administered Kashmir (Azad Kashmir), presents eleven of her paintings inspired by the 2010 uprising in Kashmir valley where more than 112 civilians, most of them school children, teens and youngsters, were killed in the protests of that gruesome year. Razzaq was motivated by a need to build solidarity and express the anguish that she felt in becoming aware of the horrors perpetrated on Kashmiris by the Indian Armed Forces during the protests that shook the entire valley and resulted in almost daily killings, injuries and damage to property, apart from the months long curfew that brought Kashmir to a halt.

Exhuming the Ideological Corpse of Soviet Socialism: Marat Raiymkulov — by Maya Kóvskaya

Exhuming the Ideological Corpse of Soviet Socialism: Marat Raiymkulov — by Maya Kóvskaya

Art critic, curator and theorist Maya Kóvskaya presents the Pol Pot series of drawings by Kyrgyz contemporary artist Marat Raiymkulov, providing a broad perspective into understanding the artist’s work in its post-Soviet Central Asian context. The article discusses the relevance of the Pol Pot set of drawings and “hand-drawn animations” (displayed here in video form) to reflect on the multiple ways in which Marxism and Leninism embedded itself in everyday Central Asian life and continued to exert its influence on the region and on its peoples during the post-Soviet era. Kóvskaya explains how Raiymkulov effectively employs his unique visual language to explore the ways that “people live within an ideological field” brought about by a Marxist-Leninist cultural legacy in contemporary Kyrgyzstan. In contextualizing Raiymkulov’s work, Kóvskaya brings our attention to the great details embedded within the artist’s oeuvre that further uncover the greater complexities of his place of origin along with reflections on questions of ideology, state, nationhood, community, discourse, the “social power of Capital,” among others. The article is accompanied here by captioned images from the artist’s work along with five animations in video format that integrate the Pol Pot series.

Massacres and Home: An Art Installation at the Kochi-Muziris Biennale — by Ahmed Muzamil

Massacres and Home: An Art Installation at the Kochi-Muziris Biennale — by Ahmed Muzamil

Ahmed Muzamil presents an introduction to his work exhibited at the Kochi-Muziris Biennale (2018). The young artist prepared an installation to commemorate the anniversary of the Gawkadal Massacre where more than 50 people were shot by Indian soldiers during a peaceful protest. The installation involves a series of photographs in light boxes, recorded testimonies from survivors and witnesses played back in a loop and a 100kg bag of ash placed in a specific manner to create a space where death, mourning and remembrance are contemplated in what can be considered a “funerary chamber,” considering the manner in which the installation has been set up. An artist statement for the work along with a video of the installation, some visuals and sound recordings are provided here courtesy of the artist.

Black on Black — by Eugene Thacker

Black on Black — by Eugene Thacker

Should we consider black a colour, the absence of colour, or a suspension of vision produced by a deprivation of light? Beginning with Robert Fludd’s attempt to picture nothingness, Eugene Thacker reflects* on some of the ways in which blackness has been used and thought about through the history of art and philosophical thought.

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