The frame is divided into three sections, with the top heading – ‘United States of America In’. All three section has a United States Airforce aircraft, visually moving from one section to another. In the first frame, on the left, the US Airforce aircraft is coming in dropping weapons like assault rifles and stringer missile launchers, each attached to a parachute. They are being dropped to the ground where a sign board pointing ahead appears on which Afghanistan is written. On the top of this first frame, 1979 is written, to indicate the US support to the Mujaheddin in Afghanistan, who later formed the Taliban.
In the second section, in the middle, the US aircraft is dropping bombs on Afghanistan (a sign board is visible on ground) and on the top 2001 is written marking the US invasion of Afghanistan. The third and last section, with the text 2021 written at the top shows the US aircraft flying away with two people falling off the plane to the ground with a sign board ‘Afghanistan’ pointing back, representing the actual incident of Afghans, trying to leave the country after US withdrawal and Taliban takeover, falling off a US air force aircraft during take off from Kabul International Airport.
In the foreground, an Israeli military bulldozer is broken in half due to impact of a map of Palestine. Pieces of the Israeli bulldozer lay scattered around. The Palestinian map is overlaid with Palestinian flag. The military bulldozer represents Israeli annexation of Palestinian land and the Palestinian map represents Palestinian resistance. In the background text reads: ‘Resist Israel’s Annexation Plan’ and ‘Freedom For Palestine’.
Description: A raised fist in the foreground is chained in a wrist shackle with the image of Israeli flag superimposed over the shackle bracelet. Two raised fist holding Palestinian resistance scarf (with black-and-white keffiyeh pattern and Palestine flag on white fabric) on either side of the chained wrist are breaking the chains of shackles. In the background, two more raised fists are breaking the chains attached to the shackled fist in foreground. The bracelet of the wrist shackle begin to break. Release all Palestinian Political Prisoners text is written on top part of the image. The word, Palestine, has image of the Palestinian flag superimposed over it.
I recently moved to Forest Hill, and amongst the shops, pubs and restaurants, I found a pop-up gallery displaying the work of local artist Maria Luisa Azzini. Normally found in Greenwich Market, Azzini is originally from Florence, Italy, though she has been based in London for nearly twenty years now.
In the present times, the visual arts is just one of the many industries that needs support, with arguably very few industries not heavily impacted by the COVID-19 pandemic. It’s possible to buy Azzini’s work from as little as £45 for a print (£55 framed), to a few hundred pounds for an original painting. Each print is unique as Azzini touches them up with small strokes of silver and gold.
If you have read my work here at The Norwich Radical and elsewhere (shameless self-promotion, I know) it should be apparent that I enjoy satire. And as reality subtly blends in a dystopian crap-scape, one of the very few plus sides is that the satire game is booming. In addition to the plethora of late night hosts to match personal preference (Colbert does it for me) keeping us informed and helping us to laugh instead of cry, the humble illustration has been holding a mirror up to the corrupt, the cruel, and the incompetent and making them look ridiculous, and they know it.Continue Reading
Since graduating from UEA, things kind of went downhill for me. I graduated with the grade I wanted, but I was stuck as to what to do next. I had no job, no sense of personal accomplishment, deteriorating relationships, and to top it all off I moved back in with my parents and felt ashamed because as the eldest child, I had this expectation that I had to be this success story which my siblings could look up to.
My old habits started returning. I tried to get back into an old hobby of mine, running – but quickly dismissed it. I hid myself away.Continue Reading
Often, we start out with an initial opinion of a topic, event or article, and end up completely changing sides once we have engaged in an in-depth exploration, and this is exactly what has happened with an article I recently read.
In early May 2016, a particularly scathing opinion piece was written by Guardian journalist Jonathan Jones regarding the presence of magazine covers in gallery spaces. The article, titled ‘Kate’s Vogue shots shouldn’t be in a gallery. They’re not art.’ discusses Jones’ opinions on whether or not photographs of Kate Middleton have the right to be hanged in The National Portrait Gallery. Regardless of how we feel about the photographs, or indeed the monarchy, it does raise an important question. Namely, what constitutes high or low art, and what is deserving of exhibition space.Continue Reading
The series of coordinated sexual assaults and robberies across Cologne on New Year’s Eve, prompted an outcry from the media when it came to light that a majority of the perpetrators were refugees from the Middle East and North Africa. A steady stream of articles surfaced examining and criticising Angela Merkel’s mantra of “refugees welcome”, all of them reeking with an infuriatingly smug “I told you so”. The tabloids dealt with the news with as little finesse as you’d expect—publishing quotes from questionable sources about how some refugee was overheard to be describing western women as sex objects (as if this was somehow representative of the opinions of all refugees). Others have taken a more sympathetic approach, pointing out that these refugees probably didn’t understand our esteemed cultural practice of not robbing and sexually assaulting people.
Amidst all of this was a cartoon published by Charlie Hebdo depicting Alan Kurdi, the drowned toddler whose body was photographed washed up on a beach in Turkey. This haunting image has come to represent the plight of refugees. In this particular cartoon he was portrayed to be all grown up and groping a woman in Germany. Rightfully, this elicited a furious media backlash.
The majority of us will have seen articles featuring ‘Disney princesses redesigned as’. They’ve been tattooed, hungover and turned into pin ups. This time, however, writer and illustrator combo Danielle Sepulveres and Maritza Lugo have teamed up to produce a cartoon featuring Disney princesses visiting the gynaecologist, to promote sexual health awareness and cervical cancer. I have previously discussed why I disagree with cartoons being used to highlight sensitive issues, and this example is no exception.Continue Reading
The Norwich Radical is non-profit and run by volunteers. You can help us continue our work by becoming a supporter. All funds raised help cover the maintenance costs of our website, as well as contributing towards future projects and events.