Global competition of satirical animations, available to 160 artists from 44 distinct states, is trying to remind us of the attractiveness of the artwork and the threat people who make it are confronting.
The associated exhibition, set up in Conversano, near Bari in Italy, will exhibit the very best works selected by a jury of specialists.
“The COVID-19 crisis, together with exceptional laws accepted or determined without consulting parliaments in certain nations, has worsened the situation as regards freedom of the media, freedom of expression and political satire, using a nearly general indifference on the part of public view,” that the organizer of this initiative, Thierry Vissol, Director of this Librexpression Centre-Giuseppe Di Vagno Foundation, informed Euronews.
“Because of this, we’ve selected this particular theme, the basis of each democratic life”.
Back in January 2020, at the start of the pandemic, Niels Bo Bojesen, a Danish cartoonist, was targeted by the Chinese authorities for having printed a cartoon in the Jyllands Posten newspaper where the celebrities of the flag were replaced by the new coronavirus. The paper-faced demands for an official apology by the Chinese embassy in Denmark.
Since the end of April 2020, the cartoonist Gàbor Pàpai and his paper have been under threat of denunciation from Viktor Orbán’s ruling party, Fidesz, for its publication of a cartoon depicting Jesus Christ on the cross, that had been considered blasphemous.
In a letter printed in June, the European Federation of Journalists listed further such cases.
Back in December 2019, animations by Allied Mohammad Saba’aneh that were being exhibited in the International Criminal Court (ICC) at The Hague disappeared with no excuse for a couple of hours, only to reappear under police escort.
Some cartoonists, for example, Russian satirist Denis Lopatin, were forced into exile to prevent jail.
Back in Sweden, a Palestinian-born cartoonist, Mahmoud Abbas, was the topic of threats after the publication of a cartoon about the fall of oil prices in April because of the pandemic. The animation went viral in Saudi Arabia since the protagonist at the animation was approached by Crown Prince Mohammed Bin Salman. Abbas has been known as a”terrorist” and private info regarding his loved ones and whereabouts was circulated online.
Back in April 2019, after publishing a cartoon criticizing President Trump’s coverage in Israel, the New York Times paper chose to quit publishing satirical animations whatsoever in order”not violate some of its subscribers.” It had been described as”preventative self-censorship” by Patrick Chappatte, among those two cartoonists shown the door.
He isn’t alone. In the united states, there were over 2,000 editorial cartoonists a century past; now there are only 25 left.
In Italy, aside from the Tuscan Vernacoliere, satirical magazines and newspapers have virtually vanished. Efforts to animate them, such as Pino Zac’s”Il Male” in the 1970s, haven’t been successful.
Some online satirical magazines exist, but unable to powerful sufficient to remunerate the cartoonists who produce art for them. France is the exception to this principle, boasting a steady of these books, such as Le Canard Enchaîné, Charlie Hebdo, Siné Mensuel and Siné Madame, or papers for example”Courrier International.”
“Very often we overlook that all editorial cartoonists are journalists in their own right,” concludes Vol.
“Satire is a whiplash which should help open discussion […] asks questions for which taxpayers have the right to get true answers rather than anesthetized.”
The functions of the 55 semifinalists and finalists of this global competition will be displayed. These are merely a number of these.