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No próximo sábado, dia 25 de Janeiro, pelas 16H30, faremos a apresentação do livro Floema Dorsal, de Diniz Conefrey, na livraria Tinta nos Nervos – Rua da Esperança 39, em Santos.

Um convite a todos para participarem numa conversa em redor de um livro que ensaia diversas abordagens de justaposição entre banda desenhada abstracta e figurativa. A sequencialidade pode não estar dependente de uma intriga, ou mesmo da presença humana, como já havia sido proposto no livro Meteorologias em 2016. Ao contrário deste último, a tónica, neste novo livro, assenta na abordagem rítmica de fluxos temporais representados, maioritariamente, por formas volumétricas. Recordaremos as origens que levaram ao desenvolvimento destas narrativas, que se desenvolvem como temas musicais, na sua relação formal e intuitiva, realçando o “sentir” como condição cognitiva através de uma expressão não planeada de acontecimentos visuais em progressão, modelando uma escala de tempo. O que poderá emergir se, de manhã, abrirmos a janela e um outro olhar convocar aquilo que habitualmente não estamos atentos a ver?

A conversa contará com a presença do autor, de Maria João Worm, co-editora da Quarto de Jade e artista colaboradora em Floema Dorsal, além de Mariana Pinto dos Santos, historiadora de arte e editora.

 

 

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No final de um ciclo, histórias para o bom presente, celebrando o novo ano que se aproxima. Da prateleira um fiozinho sai de um livro, lembra-nos uma planta verde que vimos crescer de uma fechadura, na porta de uma casa desabitada. Desta imagem que parecia um cadeado sem intenção, sustem-se outra, que vem do gesto. Breve passagem, uma marca entre as folhas que aguarda o reencontro com a frase em aberto.

 

 

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A decorrer desde o dia 24 de Outubro, o Festival Internacional de Banda Desenhada da Amadora continua a marcar presença no Fórum Luís de Camões. Deixamos aqui o link para o programa das exposições deste ano: http://amadorabd.com/amabd2019/index.php/programa/exposicoes.

Como já vem acontecendo durante este evento, vários títulos das edições Quarto de Jade estão disponíveis no espaço da livraria Dr Kartoon. Editados durante este ano podem encontrar os livros Planície Pintada, Cardos Maduros ou Floema Dorsal. Além de edições anteriores como L’Orso Borotalco e la Bambola Nuda Italiana, de Maria João Worm ou Nagual, Meteorologias, O livro dos Dias e Os Labirintos da Água de Diniz Conefrey.

Os autores estarão presentes, no fim-de-semana de encerramento do Festival, nos dias 1, 2 e 3 de Novembro, das 15h00 ás 18h00, durante a sessão de autógrafos, para assim contactarem directamente com os leitores interessados nas narrativas gráficas que temos vindo a publicar. Citando Thierry Groensteen, tudo o que dura contém música – da mesma forma que tudo o que é visível contém desenho e tudo o que se move contém dança. Ritmos, sejam eles breves ou extensos, definem a “música” que os nossos livros propõem ao converter o espaço em tempo, com ou sem palavras.

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Uma vez mais as edições Quarto de Jade vão estar presentes na Feira Gráfica em Lisboa. Este ano o evento realiza-se no fim-de-semana de 26 e 27 de Outubro, novamente no Mercado de Santa Clara, entre as 11h00 e as 19h30.

Com produção da Câmara Municípal de Lisboa e curadoria de Emanuel Cameira, Filipa Valladares, Gonçalo Duarte e Xavier Almeida, assume-se como um importante evento na capital virado para a promoção da cultura escrita e artística difundida no contexto de uma diversidade de iniciativas micro-editoriais, de diferentes pontos do país, ora ligadas ao universo do livro (de artista, fotografia, literatura, ilustração), ora a outros que também compõem a tão vibrante intervenção criativa contemporânea (revistas e jornais culturais, fanzines, impressões serigráficas, etc.).

Além da venda de publicações, e da participação, pela primeira vez, de editoras estrangeiras, a Feira Gráfica contará, em paralelo, com um programa de lançamentos e workshops: https://www.facebook.com/feiragraficalisboa/?epa=SEARCH_BOX

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Em Abril de 2011 as edições Quarto de Jade publicaram o seu primeiro título, Os Animais Domésticos da autoria de Maria João Worm. Oito anos volvidos apresentamos um novo livro, Floema Dorsal de Diniz Conefrey, um ensaio de 236 páginas que conjuga banda desenhada abstracta e figurativa, no qual se incluem três narrativas a preto e branco e duas a cores: Nas rajadas de um sono, Impermanência, Onde estão as borboletas, Cigarra, O lugar sem espera. As três primeiras sequências são inteiramente visuais, terminando com duas histórias complementadas por narração escrita. O tema Cigarra foi escrito e desenhado conjuntamente com Maria João Worm. Esta edição encontra-se disponível para venda no nosso site: http://www.quartodejade.com/shop_books.php

Na rajadas de um sono

O autor deste livro é um lisboeta que tem na Cidade do México uma morada sentimental. Adicionou à formação autodidacta o curso de desenho, na Sociedade Nacional de Belas Artes. Durante vários anos participa, como ilustrador e autor de narrativas gráficas, em jornais, revistas e editoras a par de ter efectuado alguns cursos de formação.  Além das exposições que incluíram os seus originais, tanto em Portugal como na Bélgica, França e Brasil, foi bolseiro do Estado mexicano em 2005, 2007 e 2015. Criou, com Maria João Worm, a chancela Quarto de Jade onde publica alguns livros da sua autoria, assim como na Pianola Editores, Douda Correria e revista Cão Celeste.

Impermanência

Onde estão as borboletas

Cigarra

O lugar sem espera

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Well, we didn’t received, yet, a copy of this colossal compilation edited by Aarnoud Rommens and with the collaboration of Benoît Crucifix, Björn-Olav Dozo, Erwin Dejasse & Pablo Turnes. But we share the photo and the text that Paul Gravett mention in is facebook page, just for general information. From our little corner, this book have the participation of Cátia Serrão, Pedro Moura and myself, with the abstract sequence O arco da noite branca donne in Mexico City some years ago.

«From Alberto Breccia’s Lovecraftian nightmares and Jack Kirby’s cosmic ‘Krackle’ to Yokoyama Yuichi’s geometric intensities, this madly interesting, thought-provoking and challenging collection arrived today. ABSTRACTION AND COMICS comes in a slipcase containing two volumes of over 440-pages each, 888 in all, brimming with essays and artworks by 52 contributors, including aetens, Erwin Dejasse, Hugo Frey, SimJan Bon Grennan, Gene Kannenberg Jr, Pascal Lefèvre, Ilan Manouach, Gert Meesters, Pedro Moura and Barbara Postema, all enquiring into what abstraction can offer to comics. Writings and images are published in their original languages, the majority in English (nine of the essays are in French). It’s just been published by Belgian mavericks La 5e Couche (5c) and Presses Universitaires de Liège, co-ordinated by ACME Comics Research Group in Liège. The cunning Op-Art, eye-test covers are by Martin Vitaliti (the sources look to me like John Buscema 1970s romance comic books?). The 9th Art in all its forms always hides surprises in its past and still offers so many more to come…»

O arco da noite branca

This is not a book about abstract comics. Instead, it combines original, new comics and multiple texts to explore what abstraction can offer to comics, and what comics can do for abstraction. By doing so, Comics and Abstraction occasions a critical engagement with issues such as ‘high’ versus ‘low’ art; art history and comics studies; literature, poetry, drawing and writing; highbrow, lowbrow, nobrow, and so on. “Comics and Abstraction” generates a space of contradiction where the essays and images stand in a relation of tension. Some of the included texts are more historically-oriented, some take a decidedly semiotic approach, while others are more concerned with formal features. This multiplicity is echoed by the markedly different aesthetics of the comics, which do not necessarily ‘illustrate’ the theoretical frames of the essays. It is ultimately up to the reader to create the meaningful paths that connect abstraction and comics.’ 36 euros, available from https://5c.be/5c_catalogue.html and http://www.presses.uliege.be/jcms/c_21487/acme-4

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This is the second, and last part, of Arnoud Rommens esay ‘Deep’ Time in Times of Precarity: Experimental Comics as ‘Dark Matter’. In this edition wee only publish the section regarding the book Meteorologies.

What this poeticization of informational imagery means is unclear: All we can do is offer reading hypotheses. Perhaps Conefrey’s comic is a post-apocalyptic polyphony, confronting us with abstract, speculative landscapes handed down to us from a barren future in which all decoders have become extinct. Perhaps the panels are snapshots of future storms raging for centuries, like those on a lifeless planet like Jupiter, showing the precarity of our current ‘home.’

Whatever we think we understand, what cannot be ignored are the fluctuations in energy of the drawing hand—the ductus, the marks of the graphiator. Not starting from sketches or pencil drawings, the lines are the ‘score’ of improvisations—a ‘jam session’—set directly to ink. Changes in pressure applied to the surface—alternating ‘high’ and ‘low pressure areas’—reveal different moods. The volatility of drawing is further underscored by the fact that they are housed in digitally-drawn panels. The precise, digital lines of the panels contrast with the gesturality that speaks from the ‘wind-choreographies.’

Moreover, the comic is not just the appropriation of a vast databank of scientific imagery. The more angular “Small Worlds” chapter is an appropriation of Vasily Kandinsky’s portfolio Kleine Welten (1922) to the medium of drawing and comics. Although not intended as such by the artist, I see this as a tactical move. As the ‘graphic novelisation’ of a series of artworks by one of the main figures in the history of abstraction, it makes us conscious of the cultural hierarchies that organise cultural institutions. Rather than relegate Kandinsky to the safety of the museum, Conefrey revives his work by taking it as the basis for his visual research. In doing so, Meteorologies emblematises what artist and critic Gregory Sholette has dubbed “dark matter.” Given the comic’s suggestions of a ‘deep,’ cosmic timescale, it seems an apt heuristic metaphor.

As Sholette explains, Astrophysicists describe dark matter (and dark energy) as forming an invisible mass predicted by the big bang theory, yet so far only perceived indirectly by observing the motions of visible, astronomical objects such as stars and galaxies. (…) The gravitational presence of this unseen force presumably keeps the universe from flying apart. (…) Like its astronomical cousin, creative dark matter also makes up the bulk of the artistic activity produced in our post-industrial society. However, this type of dark matter is invisible primarily to those who lay claim to the management and interpretation of culture—the critics, art historians, collectors, dealers, museums, curators, and arts administrators. It includes makeshift, amateur, informal, unofficial, autonomous, activist, non-institutional, self-organized practices—all work made and circulated in the shadows of the formal art world, some of which might be said to emulate cultural dark matter by rejecting art world demands of visibility, and much of which has no choice but to be invisible. While astrophysicists are eager to know what dark matter is, the denizens of the art world largely ignore the unseen accretion of creativity they nevertheless remain dependent upon.

Reading Meteorologies, one could ask the question how much official art owes to comics. Conefrey’s adaptation reveals that Kandinsky’s status is secure within official cultural, as he is a model to be emulated. At the same time, when read as ‘dark matter,’ the comic shows how valuation is arbitrary, how the selection of the few geniuses depends on a multitude of ‘failed’ artists, ‘Sunday painters,’ or artists who deliberately choose circuits of distribution and production outside the institutional frame. At the same time, Meteorologies makes Kandinsky part of the commons, taking him out of a museal context and the hands of the custodians of culture to offer us a counter-Kandinsky, as it were: it offers us a non-academic, more prosaic Kandinsky occasioning playful visual research. As such, the dominant narrative in art history as well as the concept of the Anthropocene and its growing academic discursive output are refashioned into ‘low theory,’ in a semi-autonomous practice. The format of the book is already indicative: originally drawn in a small, 14×9 cm Moleskine sketchbook, the pages were subsequently scanned into a slightly larger format while post-production work was done with widely available image processing software. Meteorologies is a visual theory of the cosmos in small press.

Additionally, as ‘dark matter,’ Conefrey’s comic questions the hierarchy and institutionalisation of comics as a legitimate, sometimes even prestigious cultural expression and the canon-formation that accompanies its entry into academia. Referring to the Anglophone context, Pedro Moura makes the following observation: Art Spiegelman famously complained that comics were ‘below the critical radar,’ but this has changed over the past twenty to thirty years. However, it is my contention that the ‘radar’ has excluded works that could be called ‘experimental.’ It is telling that Hillary Chute, in her article on ‘Graphic Narrative’ in The Routledge Companion to Experimental Literature, discusses many of the usual suspects—Spiegelman, Ware, Bechdel, Barry—without paying attention to more ground-breaking, category-defying work.

It is perhaps only now that we can speak of ‘dark matter’ in the world of comics. Indeed, to what degree do contemporary comics ‘masterpieces’ depend on the exclusion of ‘lesser’works, on more radical experiments sidelined precisely because they do not fit with the emerging model of what worthwhile comics are supposed to look like?

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