From creating sexually explicit drawings for, among others, Gif and Loslyf, to starting a publication that offers a striking critique of the conservative Afrikaner cultural mainstream, to being “de-platformed” by his former friends ‒ “the liberals” ‒ Anton Kannemeyer has had an incredibly unique journey as the man who introduced comics as an ‘art’ medium in South Africa.
Anton Kannemeyer, a South African comic artist and co-founder of Bitterkomix, a local underground comics journal, had some of his works removed from the Superbalist and Artists’ Press websites. “I have sent him back all the prints he ever did with us, and no longer wish to work with him,” says Mark Attwood, owner of the Artists’ Press.
He also faced backlash for his Bitterkomix work, which was included as part of the History of Arts curriculum at the University of Cape Town’s (UCT) Michaelis School of Fine Art, with students allegedly threatening to boycott the class, according to Kannemeyer.
Andrew Lamprecht, a former lecturer at UCT, denies these claims, saying, “No one threatened to boycott the class or walk out as far as I remember.” Kannemeyer, however, maintains that this statement is “outright false”, and that Lamprecht remembered the controversies very well when he informed Kannemeyer and his Bitterkomix-partner, Conrad Botes, about them during a public discussion at FanCon on 27 April 2019.
In the world of arts, especially the visual arts, artists are at the forefront of the battle of censorship ‒ surrounded by the ideas of “wokeism”, according to Anton Kannemeyer. “If you do not agree, you are immediately branded as far-right or super-conservative.” PHOTO: Sourced/Galerie Huberty & Breyne
Kannemeyer describes this behaviour as “de-platforming”. “It is out-and-out censorship. What really amazes me is that the so-called liberals, who remove my work from websites and modules, insist that they are not engaged in censorship,” he says. He describes their efforts as curating and editing, and serving the interests of the “sensitive mob”. He stresses that the point of art is to question and to upset, adding that this kind of art attracts millions to art museums around the world, not the art created by those who listen to contemporary sermons. “I would say that any art that supports the moral dogma of our time is not really art. It is propaganda, it supports an ideology, and therefore rather belongs in a church or at a political rally.”
In the case of Kannemeyer’s work being removed from Superbalist and the Artist’s Press websites, Delene Human, a researcher at the University of Pretoria who specialises in the censorship of visual art, suggests that the term “proscription” would be more applicable than “censorship”.
“Proscription […] is a much more fluid term than censorship, and generally refers more to the unofficial banning or prohibition of a work. This can be enforced by an institution, such as a university or an art gallery, or by individuals,” says Delene in email correspondence with MatieMedia.
As a Stellenbosch University alumnus, three of Anton Kannemeyer’s works are currently being exhibited SU’s new Alumni Clubhouse. PHOTO: Alexander Brand
The tables have turned
Kannemeyer defines conservatives as people who are intolerant, unwilling to engage in debate or to consider an alternative point of view, scared and upset by challenging ideas and clinging to a narrow set of rules which define their worldview. Each of these attributes can now be attributed to the contemporary “liberal” or “leftist”, according to Kannemeyer. He views those who join this group, and are aware of the aforementioned but say nothing, as a group of cowards, which he adds includes most lecturers he knows. “Logic and reason have nothing to do with being ‘woke’. It is about feelings and an absurd moral high ground which, unfortunately, is often incredibly opportunistic.”
According to Kannemeyer, this is the biggest irony of his career. “The conservatives have tried unsuccessfully for years to remove my work, however, my former friends the liberals got it right very quickly when they decided that my work is unacceptable,” he says.
Ina van Zyl, a friend and colleague of Kannemeyer, says she knows him as a fighter against racism, capitalism and petty bourgeoisie. “That is why it is extremely sad and unjustified for me that he is being made out to be a racist these days,” says Van Zyl.
Delene states that cancel culture reminds her of the apartheid system’s Publication Control Board that would censor or ban seemingly “undesirable” or offensive work. “In the case of the Publications Control Board, these individuals were appointed by the state. However, in our contemporary society, these people could be anyone, especially those promoting their views on social media,” says Delene.
A similar sentiment to Van Zyl is held by Gerhard Human, a South African painter, printmaker, and Bitterkomix contributor, who says there is a “massive intellectual hole” opening up in South Africa. He adds that people find it hard to distinguish between criticism and racism, especially if you are white and making critical art, because then the default is to swing to racism. “I find it very sad. Especially looking at the work Anton has done through the years,” says Gerhard, adding that he knows where Kannemyer comes from and understands what he is trying to say. “The ‘racist’ label is being used as a weapon to silence any critique now. Once you’re labelled as a racist, it’s incredibly hard to bounce back,” he says.
Even though Kannemeyer is experiencing backlash in his motherland, he is well-received overseas. On 24 September, Kannemeyer had his first solo exhibition at a Parisian gallery. Gathering Evidence was exhibited at the Huberty & Breyne gallery in Paris. “Firstly, Anton’s pieces are really strong, meaningful, hilarious and provocative at the same time. Secondly, the fact that he was facing a backlash in his own country made it all the more important. [T]hirdly, I think it mattered to Anton himself that his work is put up on our walls,” says Ronan Lancelot, director at the gallery.
According to Ronan Lancelot, director at the Huberty & Breyne gallery in Paris, galleries play an important role in combatting censorship. “Our work, as a gallery, is to defend the artists we represent and explain their work to the public. Any kind of censorship is a danger to democracy,” he says. VIDEO: Sourced/Galerie Huberty & Breyne
Inspiration from Tintin
A lot of Kannemeyer’s work bears a close resemblance to the work of Hergé, the late Belgian cartoonist and the creator of The Adventures of Tintin. The Tintin series was reshelved in numerous countries roughly ten years ago, for its “perceived colonial and racist tint”, according to The Guardian. “As a child, Tintin was the biggest escape from a nasty reality,” says Kannemeyer. He is still amazed by Hergé’s artistry and describes his aesthetics as “unsurpassed”. “It’s like an infection I can not recover from.” Kannemeyer is inspired by his perfectionism and says Hergé’s humour became part of his outlook on life. “[Tintin in the Congo] is a bit like an awkward Bible to me,” he says.
As a young person, Hergé used stereotypes but later abandoned them, according to Anton Kannemeyer. “Remember, Tintin is not satire, it’s mainly adventure stories, the dominant genre,” he says. Hergé’s use of stereotypes in Tintin in the Congo opened up all possibilities for Kannemeyer to address the issues surrounding race and racism. PHOTO: Alexander Brand
Currently, Kannnemeyer does not have a solution to the radical cancel culture he has experienced. “I’m not a politician. I do not know. It seems to me that we will soon be censored by the state all over again.” He fears that soon many of these “nonsensical ideas” will be written down by governments in law books. “Huxley’s Brave New World lies ahead of us,” he says.
(From left) Anton Kannemeyer and his Bitterkomix partner, Conrad Botes. Although most people tell him that things are going to change again, Kannemeyer says he is more pessimistic. “If I had confidence in the wisdom of mankind, I would have agreed. I have lost my trust in democracy – but do not ask me what the alternative is,” he adds. PHOTO: Sourced/Mail & Guardian
Anton explains that he has a long narrative in him that still needs to come out. “I will either have to draw a comic about it or write it, not sure which,” he says. He loves the art world and making art because there is an incredible freedom to it. “You stand outside of society, almost like the angel Cassiel, just watching events unfold. And I do not feel that I need to prove anything to anyone anymore.”
Published on 10 December 2020, at 120-pages strong, Bitterkomix 18 by Conrad Botes and Anton Kannemeyer is the biggest Bitterkomix ever published and was dedicated to Ryk Hattingh, a late Afrikaans writer, according to SoutiePress’ website. PHOTO: Sourced/SoutiePress