For the second event of the series, we will be joined by critically-acclaimed artist David Birkin, in conversation with Max Houghton, who uses his work to examine elements of censorship and spectacle in the so-called War on Terror. He has explored subjects ranging from the covert deployment of drones in Pakistan and Yemen, to the Bush-era ban on photographing flag-draped coffins. We will be hearing from Birkin on his recent work that engages with invisible warfare – including ‘The Shadow of a Doubt’, his public performance involving a plane circling the Statue of Liberty’s torch; and ‘The Evidence of Absence’, in which he launched a replica of a military surveillance blimp currently flying over Kabul above a London residential neighbourhood.
This event will be moderated by Max Houghton, senior lecturer in photography at London College of Communication, University of the Arts London. She previously ran the documentary photography MA at the University of Westminster, and edited the photography biannual 8 magazine for six years. She writes regularly on the arts for publications including FOAM, Photoworks, 1000 Words and The Daily Telegraph.
David Birkin is a British-born artist based in New York. He studied anthropology at Oxford University and fine art at the Slade, and was a fellow on the Independent Study Program at the Whitney Museum of American Art. His past projects have included a collaboration with the courtroom sketch artist at Guantanamo, a visual rendering of identification numbers from the Iraqi civilian casualty database, and skywriting an extract of CIA legalese above Manhattan. He has exhibited internationally, most recently at The Mosaic Rooms in London, FotoFest in Houston, and the Whitney ISP in New York, and has written for publications including Creative Time Reports, Cabinet Magazine, Ibraaz and the Harvard Advocate.
Heenali Patel sat down with artist and journalist Molly Crabapple to discuss ‘Scenes from the Syrian War’, her collection of illustrations made in collaboration with Syrian writer Marwan Hisham. Using photos sent via cell phone, Molly recreated rare glimpses of daily life in ISIS-occupied areas of Syria.
Filmed by Adam Barr.
]]>The craft of drawing has an important role to play in shining a spotlight on the people and places left unseen.
Artist and journalist Molly Crabapple joined an audience at the Frontline Club on Wednesday 6 April to discuss the unique purpose of her art in uncovering injustice and activism around the world. She also held a book signing session for her recently released memoir Drawing Blood, a colourful mix of autobiographical writing and illustrations.
How to draw censorship, how to draw the unseen? Great talk by @mollycrabapple at @FrontlineClub
— Veronique Mistiaen (@VeroMistiaen) April 6, 2016
Starting out as a model and artist in the sex industry, Crabapple has gone on to draw and report from Guantanamo Bay, Syria, the West Bank, Iraqi Kurdistan, and became a crucial voice during New York’s Occupy Movement in 2011. Long-time friend and journalist Natasha Lennard joined Crabapple to chair the discussion, describing her as “a crucial voice of our time, in a moment when journalism is in flux and open for necessary experimentation.” Lennard began by asking her motivations for using art for journalistic purposes.
“Photojournalists, they went into the world and captured everything, captured a story, they captured all these people and all these places,” Crabapple replied. “And I thought, my god, we artists used to do that before the camera came. The camera stole the image-making power from us. And I wanted to do that too.”
Her first assignment as a journalist was in 2013, when she visited Guantanamo Bay to document the detention centre and its inmates. Later that year, she was shortlisted for a Frontline Award for her stark portrayal of the prison, and the anonymous figures locked within its walls.
By Molly Crabapple
“Guantanamo is the most visually censored place on earth,” she explained. “Guantanamo is a place that if you were a photographer, your camera would be rifled through by a soldier at the end of every single session. But… I was able to draw Guantanamo Bay in a way that a photographer cannot photograph it. Not only that, but to draw the censorship itself. To make it explicit.”
Continuing on the theme of censorship, the duo turned to Crabapple‘s work with a Syrian journalist in Raqqa in 2015. She created a series of illustrations from photographs sent from Syria for Vanity Fair showing daily life under ISIS rule, areas too dangerous for most photojournalists to access.
“One of the projects that I’m proudest of was this project I did with a young Syrian writer named Marwan Hisham,” Crabapple elaborated. “I wanted to take images of daily life from ISIS-held territory and not the usual gory images of severed heads that we see on the news. Images of children going through the trash trying to find something to sell, or images of families on breadlines. Images of just daily prosaic life there. I wanted to, with my own skills as an artist, imbue them with craft and all the attention and time that a photojournalist would normally view something with.”
By Molly Crabapple
One audience member asked, given the traumatic and sometimes horrifying nature of the material she was dealing with, how drawing Syria had affected her.
Crabapple replied: “I am completely in awe of courage, of Syrian journalists working in the field, and the intense risks that they take… No one even cares if they die. It’s staggering and I feel a sense of shame. That’s how it transforms me, it gives me a sense of shame because in many ways my collaborators are better than me.”
Throughout the evening, many people in the audience expressed gratitude to Crabapple for her work, adding that it encouraged them to explore politics, human vulnerability and activism through art. After thanking her, one audience member asked Crabapple how she would imagine an ideal world.
“I think we are facing a fundamental challenge to the idea of borders,” Crabapple responded. “I think with the internet and the way people interact globally, that the way people are chained if they have ‘poor-world passports’, despite these global interactions that they have… I think that cannot stand. The ‘First World’ is going to have a choice– to either be part of the rest of the world, which they’ve often been exploiting… or they can engage in massive violence to keep the rest of the world out. I fear very desperately that they’re going to choose the second. But a small step toward making the world better might be them choosing the first.”
]]>Acclaimed journalist and artist Molly Crabapple has drawn and reported on stories from Guantanamo Bay, Syria, the West Bank, Iraqi Kurdistan and across the United States. With her powerful illustrations she has pushed the boundaries of visual reportage – and established an important place for art in hard news.
On the release of her memoir Drawing Blood, which intersperses testimony of her own artistic and journalistic engagement with full-colour illustrations, we welcome Molly Crabapple to the Frontline Club to reflect on recent projects and to share her personal insight into the use of art as a tool for better understanding and documenting current events. With US presidential primaries now firmly underway, she will discuss her ongoing work on topical home turf issues including policing and the justice system, as well as her experiences covering the effects of conflict across the Middle East.
Molly Crabapple is an artist, journalist, and author of the memoir, Drawing Blood. Called “an emblem of the way art can break out of the gilded gallery” by the New Republic, she has drawn in and reported from Guantanamo Bay, Abu Dhabi’s migrant labor camps, and in Syria, Lebanon, Gaza, the West Bank, and Iraqi Kurdistan. Crabapple is a contributing editor for VICE, and has written for publications including The New York Times, Paris Review, and Vanity Fair. She is the winner of a 2015 Front Page Award for her drawings of Aleppo for Vanity Fair, and was shortlisted for a Frontline Award in 2013. Her work is in the permanent collection of the Museum of Modern Art.
This event will be chaired by Natasha Lennard, a British-born, New York-based writer of news and political analysis, focusing on justice, power, biopolitics and dissent. She writes regularly for the Intercept, Fusion and Al Jazeera America, and has written for VICE News, The New York Times, Salon, The Nation and Politico, among others. She is editor-at-large at The New Inquiry journal.
Illustration: Molly Crabapple for VICE: ‘What Life is Like Inside the Besieged, War-Torn Syrian City of Aleppo’
]]>Music is the beating heart of Malian culture. But when Islamic extremists took control of northern Mali in 2012, they enforced one of the harshest interpretations of sharia law in history and, crucially for Mali, they banned all forms of music. Radio stations were destroyed, instruments burned and Mali’s musicians faced torture, even death.
Overnight, Mali’s revered musicians were forced into hiding or exile – where most remain even now. But rather than lay down their instruments, the musicians are fighting back, standing up for their cultural heritage and identity. Through everything, they have used music as their weapon against the ongoing violence that has left Mali ravaged.
‘Disco’ is a renowned singer, UN-recognised humanitarian and outspoken activist. She organises gigs from her refugee camp base in Burkina Faso and is a constant support for musicians in exile, who look to her to eventually lead them home.
Known as the “Nightingale of the North” and speaking all seven languages of the country, Khaira’s home was raided by jihadists and her materials, records and instruments destroyed. Yet she remains firm in her criticism of their actions despite threats to her life. She campaigns tirelessly for elections and is organising the first public concert in Timbuktu since the conflict to prove that musicians will not be silenced. But the rise of ISIS has given Mali’s extremists new life, and realising Khaira’s dream is risky for everyone.
With a specially commissioned soundtrack from Mali’s most exciting artists and a score written by the Yeah Yeah Yeah’s Nick Zinner, They Will Have To Kill Us First leaps headfirst into a tale of courage in the face of conflict.
Directed by: Johanna Schwartz
Country: United Kingdom
Year: 2015
Runtime: 105′
These short documentaries masterfully capture artistic works on screen while celebrating the imaginative minds behind them.
From a Scottish shipyard welder turned poet to Japanese interactive artist On Megumi Akiyoshi, these short documentaries will introduce you to convention-breaking creatives, their fascinating work spaces, and their sources of inspiration.
Full lineup to be announced soon.
MINING POEMS OR ODES
Director: Callum Rice
2015 / 11 min / United Kingdom
www.scottishdocinstitute.com/films/mining-poems-or-odes/
Robert, an ex-shipyard welder from Govan in Scotland, reflects on how his life experiences have influenced his new found compulsion to write.
YO: LET’S MAKE A BOOK OF THIS
Director: Kristina Budelis and Myles Kane
2013 / 7 min / United States
A few years ago, Yolanda Cuomo, a New York-based artist and graphic designer, learned that she had to vacate her Chelsea studio of twenty-five years. The studio, in an old carriage house in Manhattan, has been the site of artistic collaborations for decades, with artists and photographers from Richard Avedon to Laurie Simmons and Sylvia Plachy, and a team of designers, including Bonnie Briant and Kristi Norgaard.
THE 100 YEARS SHOW
Director: Alison Klayman
2015 / 29 min / United States
www.alisonklayman.com
Carmen Herrera is one of the oldest working artists today. She was a pioneering abstract painter in the ’40s and ’50s, but only recently found the recognition that eluded her for most of her career as she approaches her 100th birthday.
ON BLOOMING ART
Director: Cathryne Czubek
2014 / 6 min / United States
Multi-media artist ON Megumi Akiyoshi transforms the mundane of everyday life. Born in Japan and based in New York City, ON frequently brings her eclectic, and wearable, ON Gallery to the street to interact with the average passerby.
THE REINVENTION OF NORMAL
Director: Liam Saint-Pierre
2015 / 8 min / United Kingdom
http://www.liamsaintpierre.com/
The film follows Dominic Wilcox, an artist / inventor / designer, on his quest for new ideas….Taking the normal and turning it into something unique.
On Friday 20 November, the Frontline Club hosted a premiere screening of the documentary I Am Sun Mu, a remarkable insight into the life and work of North Korean defector and political pop artist Sun Mu. The film follows Sun Mu as he prepares for his first solo exhibition in Beijing in 2014 while trying to remain hidden from the Chinese authorities – a feat that proves more challenging than he, or the filmmaker, had anticipated. The screening was followed by a Q&A session with director Adam Sjöberg.
The documentary is peppered with Sun Mu’s work, from rosy-cheeked North and South Korean children running through a pastel-lit field to a grotesque portrait of Kim Jong Il posing in a bubblegum pink tracksuit. The artist recalls life under the regime, and the subsequent paranoia of living in hiding, over bold animation sequences that become an essential part of the storytelling process.
#I AM SUN MU by #AdamSjöberg screened @frontlineclub! Powerful Documentary abt North Korean defector turned artist. pic.twitter.com/546OhzIxmf
— Mica Shibata (@Micabubby) November 21, 2015
Sjöberg began the discussion by answering a question on how he originally approached Sun Mu, particularly given the artist’s objection to revealing his true identity in fear that it would endanger the family that he left behind in North Korea over a decade ago.
Sjöberg explained that he met Sun Mu through the organisation Liberty in North Korea. “Over a relatively short amount of time, he grew to trust me… That was in 2013, and it was about a year later that I found the hook to pin the story to, which was the exhibit in Beijing.”
“As far as I know, no other North Korean has had a solo exhibit in Beijing that was not sanctioned by the North Korean government. So going into this exhibit, we already knew that it was going to be a relatively historic moment for North Koreans.”
Sjöberg later commented on the Korean conflict, saying that working with Sun Mu “helped solidify for me that change is going to happen on the peninsula… There’s a lot to overcome, but change is going to happen by people thinking differently about this issue and not toeing the party line because clearly that hasn’t been working for 60 years.”He said: “I was really interested in Sun Mu as a person because he talks about his divided heart. He creates images that are offensive to South Koreans as well. He’s creating images both of hope, but also images that are supposed to make you feel conflicted.”
When asked about how the animated sequences in the film were incorporated into the film, Sjöberg said: “Very early on, I had the idea of using animation to bring his paintings to life. My animator actually flew to Seoul and worked with Sun Mu to create the plates. The sketches were all inspired by actual sketches that we had him recreate for us, frame by frame.”
One audience member asked Sjöberg if he had been worried about footage from the exhibition being confiscated by Chinese authorities.
He responded saying that the curator from Yuan Art Museum, where the exhibition was being held, had actually expected it to be shut down by the authorities within 48 hours. “It was always known that this was not going to be an exhibit that lasted very long.”
Sjöberg also added that, “when the police started showing up, it became clear that things were a lot more serious than we thought. We had to scramble to make do, and be as safe as we could.”
Within hours of the exhibit being shut down by Chinese authorities, Sun Mu left the country. However, his work is yet to be returned to his studio in South Korea.
Sjöberg explained: “The concern is, will they make it out of China. That was his livelihood for the next year and a half. Luckily Liberty in North Korea has been great in supporting him, but that was an enormous body of work that is stuck in limbo.”
Information about I Am Sun Mu and upcoming screenings can be found on the film’s website and Twitter page.
]]>On Monday 16 November, the Frontline Club hosted a screening of the documentary Yallah! Underground, a vibrant look at a diverse groups of Arab artists and musicians using culture to challenge the status quo. The film is set in the years prior to and during the Arab spring, and focuses on artists from Palestine, Israel, Jordan, Egypt and Lebanon. The film was followed by a Q&A with director Farid Eslam, via Skype.
The film puts its soundtrack at the forefront, and uses music to weave its way through different Arab cities, swiftly moving its focus between the individual artists’ discussions over the struggle between individuality and tradition. Freedom of expression and thought are common themes that are mentioned regularly, particularly in relation to the events of Tahrir Square in Egypt.
Eslam had spent a lot of time in the Middle East, mostly filming on commercial projects, and explained that his motivation for this project came from the desire to provide a different presentation of Arabs. He commented that Western perspective often sees Arabs being “closely connected to violence, frustration, aggression, which is only a fraction of the reality.”
“Most people want the same thing all over the world: to live in peace, freedom and to raise their families. It’s important to remind people and ourselves from time to time that we’re talking about just normal people, and it’s sad that we live in a time where we actually have to be reminded of this simple fact and simple truth.”
One audience member was curious about the absence of Syria from the film, considering its presence of underground artists. Eslam explained that he was keen to include Syria, and had tried to feature artists in Damascus and Jeddah. However, due to the escalation of the situation, “it became impossible.” Eslam did manage to film some Syrian artists in the Golan Heights, but this was not included in the film.
Eslam explained that he was able to film such a diverse group of people partly due to limited and sporadic funding, but also due to a large network of artists to draw from. Most of the artists filmed did not make it into the film; the total footage for the project was extensive, and probably enough to “make five more films.”
Will be discovering Egyptian hip hop today after watching Farid Eslam's 'Yallah! Underground' @frontlineclub last night. What a great film!
— Josephine Casserly (@JoCasserly) November 17, 2015
He found it very easy to meet artists: “Basically, you meet one artist and he points you to ten new ones.”
While a lot of his research was carried out on social media, he was also able to spend a lot of time talking directly to artists and people connected with the alternative scene.
Information about Yallah! Underground can be found on the film’s website and Facebook page. Yallah! Underground will have its first screening in an Arab country next month in Dubai.
]]>This screening will be followed by a Q&A with director Adam Sjöberg.
I Am Sun Mu documents the life and work of North Korean defector and pop artist ‘Sun Mu.’ In North Korea, Sun Mu was a prolific propaganda artist for Kim Jong-un’s regime. After swimming to safety and beginning a new life in South Korea, Sun Mu turned his skills against the North Korean regime, satirising those who he once worshipped.
Sun Mu means ‘no lines’ or ‘no boundaries’ in Korean and became the political pop artist’s pseudonym as he rose to visibility. With the Chinese government keeping a close eye on him and the threat of execution looming over his head, Sun Mu is forced to conceal his face and name out of fear for the safety of those he left behind.
His artwork is brightly coloured and bold, but the price for creating political paintings could be fatal. During an exhibition in Beijing, Sun Mu’s friends and family find themselves in danger. Meanwhile, Chinese and North Korean authorities surround the exhibition, banning anybody from entering the space. Artists are interrogated and Sun Mu is forced to once again flee for safety in South Korea.
Gaining remarkable access to a notorious figure who must carefully guard his identity, director Adam Sjöberg brings us into a private world, revealing the stakes involved in countering the North Korean regime.
I Am Sun Mu had its UK Premiere at the 2015 Raindance Film Festival.
Directed by: Adam Sjöberg
Runtime: 86’
Country: South Korea/United States/China
From the early days of the Arab Spring that sparked hopes for change to the years of instability and political tension that followed, this enthralling documentary follows the stories of young prominent underground artists from across the Middle East during the period of 2009 to 2013.
In a region fraught with political tension, these progressive musicians and artists have struggled for years to express themselves freely and to promote more liberal attitudes within their societies.
From young female artists in Egypt overturning the norms by living alone, to the persecution of a famous Lebanese musician for singing against the political leader, director Farid Eslam paints a picture of a new generation challenging both old and new realities with passion and admirable perseverance.
Directed by: Farid Eslam
Runtime: 84′
Year: 2015
Country: Czech Republic, Germany, UK, Egypt, Canada, US
Languages: English, Arabic