PENTÂNGULO #01

Cover:

Ref: FNZTAVRMC-PT#0689

Title + Issue Number

PENTÂNGULO #01

Publisher:: ASSOCIAÇÃO CHILI COM CARNE / AR.CO.
Author/s:: Rodolfo Mariano / Amanda Baeza / Gonçalo Duarte / Anna Bouza da Costa / Cecília Silveira / Carolina Moreira / Daniel Lima / Dileydi Florez / Francisco Sousa Lobo / Igor Baptista / João Carola / João Silva / Luana Saldanha / Martina Manyà / Mathieu Fleury / Pedro Moura / Rafael Santos / Sara Boiça / Simão Simões / Stephane Galtier / Triciclo e Vasco Ruivo
Month + Year:: -/2018

Country:: Portugal
City:: Lisboa
Language:: PT
Format:: 5 cm / 22 cm / 5x16 cm

Typology:: Fanzine
Access:: Free
Aveiro Library Network:: N/A

Theme:: N/A
Content Type:: Illustration / Comics

Details:: Pentângulo is an annual publication resulting from a partnership between the Ar.Co School of Art and Visual Communication and the Chili Com Carne Association. Its aim is to publish work by artists who have attended Ar.Co's Illustration and Comics course, bringing together current students, former students and teachers.

The cover of the first issue was created by Daniel Lima, editorial coordination was undertaken by Jorge Nesbitt and Marcos Farrajota, and the design was by Joana Pires.

The contributors are Amanda Baeza, Anna Bouza da Costa, Cecília Silveira, Carolina Moreira, Dileydi Florez, Francisco Sousa Lobo, Gonçalo Duarte, Igor Baptista, João Carola, João Silva, Luana Saldanha, Martina Manyà, Mathieu Fleury, Pedro Moura (as a scriptwriter and also with an essay entitled Plágio!), Rafael Santos, Rodolfo Mariano, Sara Boiça, Simão Simões, Stephane Galtier, the Triciclo collective and Vasco Ruivo.

Some of the opening comics explore the work of avant-garde women artists from the early 20th century, particularly those of Russian nationality.

In the newspaper A Batalha, Russo published the following review of the first issue of Pentângulo:

"The people who make comics are clearly the lumpenproletariat of Portuguese literature: they have no class consciousness and contribute little to keeping the economy moving (some are academics, others are civil servants; some receive the regime's official stamp of approval as artists, while others are out searching for sheets of zinc for their post-industrial music projects; some make zines and survive on glasses of beer at Banco, while others gorge themselves shamelessly on Thursdays in Cais do Sodré). They have abandoned their revolutionary potential to transform society (they would rather attend yet another independent publishing fair than turn up for another housing demonstration), they are undisciplined (a comic book about the anarchist uprising of 18 January has been promised for two years, and there is still no sign of it) and, of course, they are despised by Marxists.

Perhaps because it has been ghettoised and marginalised by the publishing industry in Portugal, forced to beg for a little corner in bookshops and mainstream book fairs, comics are the liveliest literary genre in this country.

Some attentive readers might say: 'Comrade Russo, what do you have to say about the illustrations appearing in \_\_\_\_\_\_\_ (insert the title of any mediocre poetry magazine)? Or that comic published in the tedious yet avant-garde Portuguese edition of Le Monde Diplomatique? And aren't you forgetting the contributions to mass-circulation newspapers?'

Comrades, all of these are merely ornaments and accessories intended to embellish the impoverished written word, dragging comics into a subservient position and stripping them of their legitimacy as an independent literary genre. As though the living dead wanted to devour the flesh of the living, dragging them down into their own cadaverous condition.

The publication of this first issue of Pentângulo demonstrates that the vitality of a literary genre depends on its renewal, on making room for younger artists to be published. But this is not about publishing newcomers simply because they are young; it is, above all, because they have a perspective on the world that belongs to the present.

This is immediately apparent in João Carola's comics, which explore the aesthetic deconstruction of Russian Suprematism and Constructivism, or those by Simão Simões and Amanda Baeza, which investigate the imagery of the formless.

This anthology also includes Mathieu Fleury's fold-out 'Make Your Own Dictator' (...) Oh, and you even get a bonus comic by Francisco Sousa Lobo!

Who would have thought that the déclassés would be the ones to shake up the provincial little establishment of the literary world?"

Texts by Erradiador on the blog "My Nation Underground".

Comments:: Pentângulo #1, February 2018, 118 pages, printed in two colours; full-colour cover, 16.3 × 22.7 cm. Publisher: Ar.Co and Chili Com Carne.

Cataloguing Status:

FNZTAVRMC
RBCIRA
RBMA
BESJE

Caption

:Aveiro Fanzineteca Cataloguing - Collection by Miguel Alexandre Simões Correia
:Cataloguing of the Aveiro Region Libraries Network
:Cataloguing of the Aveiro Municipal Library Network
:Cataloguing of Escola Secundária José Estêvão

Details:: Pentângulo is an annual publication resulting from a partnership between the Ar.Co School of Art and Visual Communication and the Chili Com Carne Association. Its aim is to publish work by artists who have attended Ar.Co's Illustration and Comics course, bringing together current students, former students and teachers.

The cover of the first issue was created by Daniel Lima, editorial coordination was undertaken by Jorge Nesbitt and Marcos Farrajota, and the design was by Joana Pires.

The contributors are Amanda Baeza, Anna Bouza da Costa, Cecília Silveira, Carolina Moreira, Dileydi Florez, Francisco Sousa Lobo, Gonçalo Duarte, Igor Baptista, João Carola, João Silva, Luana Saldanha, Martina Manyà, Mathieu Fleury, Pedro Moura (as a scriptwriter and also with an essay entitled Plágio!), Rafael Santos, Rodolfo Mariano, Sara Boiça, Simão Simões, Stephane Galtier, the Triciclo collective and Vasco Ruivo.

Some of the opening comics explore the work of avant-garde women artists from the early 20th century, particularly those of Russian nationality.

In the newspaper A Batalha, Russo published the following review of the first issue of Pentângulo:

"The people who make comics are clearly the lumpenproletariat of Portuguese literature: they have no class consciousness and contribute little to keeping the economy moving (some are academics, others are civil servants; some receive the regime's official stamp of approval as artists, while others are out searching for sheets of zinc for their post-industrial music projects; some make zines and survive on glasses of beer at Banco, while others gorge themselves shamelessly on Thursdays in Cais do Sodré). They have abandoned their revolutionary potential to transform society (they would rather attend yet another independent publishing fair than turn up for another housing demonstration), they are undisciplined (a comic book about the anarchist uprising of 18 January has been promised for two years, and there is still no sign of it) and, of course, they are despised by Marxists.

Perhaps because it has been ghettoised and marginalised by the publishing industry in Portugal, forced to beg for a little corner in bookshops and mainstream book fairs, comics are the liveliest literary genre in this country.

Some attentive readers might say: 'Comrade Russo, what do you have to say about the illustrations appearing in \_\_\_\_\_\_\_ (insert the title of any mediocre poetry magazine)? Or that comic published in the tedious yet avant-garde Portuguese edition of Le Monde Diplomatique? And aren't you forgetting the contributions to mass-circulation newspapers?'

Comrades, all of these are merely ornaments and accessories intended to embellish the impoverished written word, dragging comics into a subservient position and stripping them of their legitimacy as an independent literary genre. As though the living dead wanted to devour the flesh of the living, dragging them down into their own cadaverous condition.

The publication of this first issue of Pentângulo demonstrates that the vitality of a literary genre depends on its renewal, on making room for younger artists to be published. But this is not about publishing newcomers simply because they are young; it is, above all, because they have a perspective on the world that belongs to the present.

This is immediately apparent in João Carola's comics, which explore the aesthetic deconstruction of Russian Suprematism and Constructivism, or those by Simão Simões and Amanda Baeza, which investigate the imagery of the formless.

This anthology also includes Mathieu Fleury's fold-out 'Make Your Own Dictator' (...) Oh, and you even get a bonus comic by Francisco Sousa Lobo!

Who would have thought that the déclassés would be the ones to shake up the provincial little establishment of the literary world?"

Texts by Erradiador on the blog "My Nation Underground".

Theme:: N/A
Content Type:: Illustration / Comics

Cataloguing Status:

FNZTAVRMC
RBCIRA
RBMA
BESJE

Comments:: Pentângulo #1, February 2018, 118 pages, printed in two colours; full-colour cover, 16.3 × 22.7 cm. Publisher: Ar.Co and Chili Com Carne.