18 October 2016

š! #26 'dAda' is out now

2016 marks the centenary of the Dada movement. To celebrate this fittingly, twenty-one international artists created their very own absurdist comics inspired by Dada. The result, š! #26 'dADa', is out now! Get a copy and achieve eternal bliss!


Cover: Zane Zlemeša (Latvia).
Contributors: A. Burkholder (USA), Brie Moreno (Canada), Cátia Serrão (Portugal), Daniel Lima (Angola), Dāvis Ozols (Latvia), Dunja Janković (Croatia), Dylan Jones (USA), Ernests Kļaviņš (Latvia), Jaakko Pallasvuo (Finland), José Ja Ja Ja (Spain), König Lü.Q. (Switzerland), Līva Kandevica (Latvia), Maija Kurševa (Latvia), Marc Bell (Canada), Mārtiņš Zutis (Latvia), Olaf Ladousse (Spain), Roman Muradov (Russia), Saehan Park (South Korea), Sammy Stein (France), Vincent Fritz (Germany) and Zane Zlemeša (Latvia). With an introduction by: Agathe Mareuge (France) 

Support: Latvian State Culture Capital Foundation

Format: A6, 164 pages, full-color, perfect bound, high quality and environmentally friendly Munken paper.

Get it:  Order it for $13.95 from our webshop, or get a kuš! subscription and receive also the next kuš! titles.

Preview Pages:
  Ernests Kļaviņš

To get the full dada experience and take part in the celebration, better order š! #25 'dADa' here.


14 October 2016

Behind The Comics (23) - Daria Tessler

'Behind The Comics' returns with Daria Tessler. She contributed 'The Hanging Garden' to š! #24 'Urban Jungle' and just two weeks ago we released her mini kuš! 'Music of Changes'.


Daria Tessler // *1979, Finland. Born in Finland, Daria Tessler grew up in California, where she studied printmaking and mathematics. Daria is the creator of Animalsleep, a collection of silkscreened art, illustrations, children's books, and mini comics.

Her artist friend Sean Christensen conducted an interview with her especially for this edition of 'Behind The Comics'. In between there are also pictures from her studio and the process of creating her mini kuš! which she silkscreen printed.



SC: What are the most influential things to your work that are not of the arts?

DT: I'm really into history, math and science, and was reading a book on chaos theory this winter. It tied in well with thinking about John Cage's creative process. It really inspired me a lot. But I also think complex math gets into this beautiful space where it seems a lot like art. It's a form of creative expression, but it's also like a shared language, that given a common foundation of tools and understanding, mathematicians can all build the same mental sculptures and come to a consensus that logically, these thought sculptures must be valid and must exist. Then these structures can be used to build even more abstruse and complex mental structures. The fact that some humans can dedicate themselves to building this vast internal mental playground and play together on it is really wonderful to me.


SC: Knowing you personally, I know that your process is heavily collage based, using cutouts of sketchbook elements, scrap doodles and crazy patterns arranged all over. You also hand hatch all those dense blacks. You are a lot like a musical orchestrator of visuals.
How do you know when a pattern you developed or a figure, appendage or atmospheric element is ripe to be in a composition?


DT: I have a few days every year where everything I draw feels spot-on perfect but most of the time I have to really work at getting things right. I have stacks and stacks of light-boxed iterations of most of my drawings. To my eye some versions of a drawing feel alive and some feel incorrect, awkward or just void of personality. It's one of those hard to pin down things, a feeling that what I drew is finally right, and feels interesting with the other elements in the image.


SC: Your comics works have been mostly silent with a few recent exceptions, Music of Changes and the comic about an opera singer, Musical Ether. But Its undeniable that your comics are very loud to the eye in a beautiful way. What do you hear when you are crafting a page?

DT: It's funny to think that the process of filling a page with the visual chaos of almost endless detail is actually a somewhat meditative process, and calms my otherwise racing mind. It's more a matter of turning my anxious looping chatter down and hearing blissful silence.


SC: Can you hear your characters thoughts? What are they like?

DT: I'm not a writer in the normal way, where I create characters who feel real to me and take on a life of their own. I come up with random disconnected ideas, (like moments of action, or thought constructs), and then I create characters who can put those ideas into action, so the characters are more like empty puppets mouthing my words and being forced through the motions required to fulfill my ideas. I wish I could create realistic characters with depth and personality but so far I don't feel like any of them have come to life enough for me to feel they have any thoughts of their own! Their thoughts are my thoughts, but maybe with a little more freedom to abandon the constraints of reality.


To read Daria Tessler's marvellous mini kuš!, better get your copy here! Also you should definitely have a look at her wonderful silkscreens here!

5 October 2016

š! #26 coming out soon

Daaaddddddaaaaa! The kuš! fall season continues with a slightly crazy issue. 2016 marks the centenary of the Dadaist movement. To celebrate this fittingly, international artists created their very own absurdist comics inspired by Dada. It’s time to lose your mind and achieve eternal bliss with š! #26 'dADa'.



š! #26 'dADa', will be released on 18 October 2016

Cover: Zane Zlemeša (Latvia). Contributors: A. Burkholder (USA), Brie Moreno (Canada), Cátia Serrão (Portugal), Daniel Lima (Angola), Dāvis Ozols (Latvia), Dunja Janković (Croatia), Dylan Jones (USA), Ernests Kļaviņš (Latvia), Jaakko Pallasvuo (Finland), José Ja Ja Ja (Spain), König Lü.Q. (Switzerland), Līva Kandevica (Latvia), Maija Kurševa (Latvia), Marc Bell (Canada), Mārtiņš Zutis (Latvia), Olaf Ladousse (Spain), Roman Muradov (Russia), Saehan Park (South Korea), Sammy Stein (France), Vincent Fritz (Germany) and Zane Zlemeša (Latvia). With an introduction by: Agathe Mareuge (France)

Support: Latvian State Culture Capital Foundation

Format: A6, 164 pages, full-color, perfect bound, high quality and environmentally friendly Munken paper.

Get it:  Pre-order it for $13.95 from our webshop, or get a kuš! subscription and receive also the next kuš! titles (like the minis we released last week)...

Preview Pages:










To read the whole issue and da da da da da, you can pre-order š! #25 'dADa' here. Let's celebrate!

27 September 2016

kuš! fall season has started

The mushroom and berry picking season has begun! kuš! is very happy to announce it's ripe mini kuš! offerings for the fall. They will be released immediately and you can order them now!  

Excerpt from Daria Tessler's mini kuš!

Michael DeForge, Ville Kallio, Daria Tessler and Anna Sailamaa created very special stories to lighten up your fall or to make it even darker, you choose....

Each book has 28 pages, full color throughout, offset printed  in Latvia on high quality environmentally friendly Munken Pure paper, saddle stitch binding, pocket format (A6). Released on 28 September 2016.

Order the mini kuš! collection for $19 here or get each mini kuš! separately for $6 (worldwide shipping costs already included in the price!). In case you'd also like to get the following kuš! releases, subscribe here.

Preview:


mini kuš! #43 'Meat Locker' by Michael DeForge

Short strips about gyms, trainers and meatheads.

 
 

mini kuš! #44 'P-FE/FRAF' by Ville Kallio

Automation did not free us from work, it merely allowed an ever expanding production of highly advanced weapons technologies and surveillance. The air saturated by nanomachines produces a distinct hum.

 
 


mini kuš! #45 'Music of Changes' by Daria Tessler

Genetically modified plants grow into randomized sculptures. Order and disorder, determinism and unpredictability, protestors and magic tricks all commingle at the John Cage art farm.
 


mini kuš! #46 'Everyone Is Hungry' by Anna Sailamaa

The slow moments before falling into sleep. The sound of sparrow’s wing feathers, a rumpled tablecloth and curtains moving with the wind. The night draws closer and gently darkens the sky.





Pick your favorite berries and mushrooms, place your order here, and soon you'll get the required vitamins for your brain to get through the fall! And watch out, very soon the kuš! book season continues with the š! anthology #26.

Komiksu Konkurss 2016

Izsludināts ikgadējais komiksu konkurss latviešu māksliniekiem! 

Ilustrācija: Līva Kandevica, komiksu konkursa 2015 laureāte

Komiksu žurnāls kuš! sadarbībā ar Beļģijas-Luksemburgas-Latvijas tirdzniecības kameru izsludina komiksu konkursu 2016, kurā piedalīties aicināti profesionāli autori, komiksu zīmēšanas amatieri, mākslas studenti un jauni talanti – visi, kuri ir vismaz 16 gadus veci un kurus interesē un aizrauj vizuālu stāstu stāstīšana. Konkursa finālistu apbalvošana un izstādes atklāšana notiks Beļģijas dienu Rīgā ietvaros.

Uzzini vairāk: http://komikss.lv/konkurss/

English summary: We've just announced the details for the annual Latvian comics competition. It's aim is to foster the Latvian comics scene. All Latvians and everyone permanently living in Latvia is invited to take part.

30 August 2016

Behind The Comics (22) - Aseyn

'Behind The Comics' continues, this time with Aseyn. He contributed 'Deep Shit Honey' to š! #25 'Gaijin Mangaka' and here he tells a bit how he creates his comics.


Aseyn / // *1980, France. Aseyn is a cartoonist living in Paris since forever. He varies techniques according to the story he wants to tell, from the softest to the hardest. Aseyn has published several comic books since 2010 and is currently working on a long sci-fi saga. His favourite manga is a short story by Katsuhiro Otomo called "Speed."

Aseyn: I'm living in Paris and I work at home. I use computer or traditional techniques to draw my comics, it depends on what I want to say, but mainly it depends on what I want to see once the work is finished.


As I work every day for comics and illustration, mostly mainstream, when it comes to my own stuff, I consider different ways to tell a story, leaving aside the usual codes. I'm counting on the reader to fill in the blanks. It's not a lazy statement, I prefer to rely on the cleverness and feelings of people. Anyway, I keep the panels. When we see panels, we think "it's a graphic novel, there's a story". That's a clue.


In my work, I depict things that make me dream, fantasise, or just interest me to draw. But things that can speak to everyone who sees them, just by their nature. A palm tree, a cell phone, a girl walking. So why would I tell the story if you can do it yourself?

Technically I draw a lot of stuff, without thinking or any method. After I've done like 20 of drawings, I look at the whole thing, and I put together the pieces. As you can see in these images, it's not sexy, and most of the time, I erase things that I consider useless.


In the particular case of my story for Gaijin Mangaka: Environment is important ; not only what we can see but what we can hear. That's why I use lyrics, or quotes from songs or book that touch me. That's not original but as an illustrator I must rely on other people’s work and this work is often words that accompanies your illustration. And of course I prefer drawing text than writing it.


The song in the comics is 'I Follow Rivers' by Lykke Li. I do not particularly like this song. It just came from a misunderstanding I had. I remembered "deep shit honey" instead of "deep sea baby". As the songs are often found in love stories, in the beginning as well as in the end (and it's often the same song), I thought it could make a good short story, this story of misinterpreted lyrics. Here, we are at the end of a love story and of course the two characters are in a deep shit.

To see in how deep shit they really are, better read Aseyn's finished comics in š! #25 'Gaijin Mangaka'.




22 August 2016

Behind The Comics (21) - Hetamoé

'Behind The Comics' continues, this time with Hetamoé. She contributed 'Trance Dream Techno' to š! #25 'Gaijin Mangaka' and tells about her process of developing the story.



Hetamoé // *1984, Portugal. Hetamoé is a visual artist from Lisbon and a founding member of the zine label Clube do Inferno. She works in a variety of media and is currently pursuing a PhD in the field of painting. Thomas no Shinzō by Moto Hagio and Yotsuba&! by Kiyohiko Azuma are her top favorite mangas.

Hetamoé: I live and work in Lisbon, where I’m finishing a PhD in Painting. I have, for that reason, two separate work spaces: a desk at home, where I mostly write and draw on the computer with my graphics tablet (a Wacom Intuos Pro‎); and a small studio, where I paint and make everything that’s too messy for the house. Because I follow Parkinson’s Law − “work expands so as to fill the time and space available for its completion” −, I tend to be all over the place no matter what I’m doing. Often there are books, random drawings and stationary everywhere, which can be very annoying for those with whom I share space... I’m also overly sensitive to criticism while working on a piece, so I’ll shut myself at home or my studio and won’t come out until it’s complete! However, despite my best attempts at seclusion, I inevitably come across comments and advice from my loved ones that fill me with self-doubt and force me to rethink my practices. Though I’m reluctant to such destabilization, I know it helps me become a better artist, so in the future I’d like to control my insecurities and actually listen to more feedback at production stages. Below is a photo of my desk at home, where I made “Trance Dream Techno” for š! #25 ‘Gaijin Magaka’. I tidied it up a little so you won’t think too badly of me!