Of the content, it can be mentioned, for example, that Tegnerforbundet's first 100 years are still being celebrated, this time with a special edition. This time a little deeper into the story. Ingun Bøhn has taken the time to collect his own and other people's notes in a personal review. I myself have allowed myself to be guided through the board minutes from 1930-38, and tried to familiarize myself with the battle for the Right of Spirit, perhaps the most important battle of the last century. The Copyright Act of 1930 lays down guidelines for almost all the other rights and is fundamental for the possibility of making a living from one's works.
But other battles are also being fought which concern freedom in several areas. Three Kurdish artists with an artistic practice where the experience of being in the diaspora after fleeing is a sore but also vital point. Being on the run does not end, even if you find a place that provides shelter and becomes a home. Not as long as the reason for the escape still rattles in the memory and ravages the homeland. Kjetil Røed has met the three, Shwan Dler Qaradaki and the siblings Serhed and Galed Waledkhani, and he discusses what this experience does to us, and how art can act as a method for transforming memories and traumas.
Fredrik Rysjedal is an artist who also works with memories, but in his case he is trying to create memories of someone he never got to meet. Cecilie Størkson reads his works in the light of the cartoon format and realizes that her memory can also affect the understanding of the work, especially when it is her fingers that drive it forward in the form of an app. Morten Harper, on the other hand, writes about a cartoonist, Riad Sattouf, who claims to remember everything from childhood. Movement is also a theme here, movement between cultures, countries, smells and colours. Memories, personal and collective, unreliable and stable, are a kind of unifying theme for NUMER 108. It is not entirely unknown that memories shape the present, eventually we also know that memories are reshaped by how they are referred to.
In part 2 of the series about the sketch, composer Øyvind Torvund and sound artist Maia Urstad are invited to share their first thoughts with us.
But there is a lot that doesn't get space, that should have been mentioned but is left out for various reasons. NUMER hereby invites all readers to contribute their own (and perhaps also others') memories from TF's inner life.
- Sissel Lillebostad, editor
