CBA vol 40 – Call for submissions: Comics & Texts

CBA vol 40 – Worst Case Scenario
(Guidelines for text pieces and comics for this issue at the bottom of this description)

What’s the worst that could happen? And if that happens, what’s the worst that could happen? And if that happens, what’s the worst that could happen? And so on…

There’s a psychiatric method in cognitive behavioral therapy called “The Downward Arrow Technique” where you begin by writing down the answers to this repeated question and we thought it’d be the perfect theme for our upcoming CBA vol 40. Especially since this is an election year in Sweden. Especially since war and famine and climate change and personal disasters are on the horizon. So how bad can it get?

Deadline: APRIL 15
Main editor: Kinga Dukaj
Color scheme: Black and white

Editors note: The goal in the Downward Arrow Technique is to explore your core beliefs and work through them, and is often used for anxiety, phobias and other disruptive thought patterns. This method is very practical, simple and effective in helping the person get to the root of their negative thoughts and unhealthy beliefs about themselves. However, this is not the goal in CBA vol 40. We just want to know the worst.

Please read and follow these guidelines:
Number of pages: We prefer comics that are about 5-30 pages, but any number is welcome.
Format: 20x26cm
Color: Black and white
Language: English
Format: .TIF
Resolution: 1200 dpi line art or 300 dpi grayscale
Bleed: 5mm. Think you know how to handle bleed? Read this to make sure you know what we mean:
Within this space, there are no limits.

Please send us high-resolution files from the start.
Also include a short presentation text about yourself, with one URL (if you have a website).
Please ask us if you are unsure about formats, resolution, bleed, etc. We prefer stupid questions to bad files. And there are no stupid questions!

Unfortunately we cannot offer you any payment for participating. If we publish your submission you will receive 10 free copies of the issue. That’s all we can offer at this date. Hopefully you will find being in CBA an enjoyable experience. Naturally, copyright for your material will stay in your hands.

We’re looking for texts that touch upon this subject, preferably articles, essays and exploratory texts. We’re not looking for short stories in this issue.

Think of a scenario where you imagine the absolute worst thing that could happen.
When you have that in mind, ask: if that happens, whats the worst that could happen?
When you have that answer continue asking it about 3 more times until you’ve got a clear story.
Use this as a script for your comic.

We’ look forward to seeing your submissions!

You can also attend the Facebook event here!

Coming soon: CBA vol 38|39

It’s a bit late, but it’s now being printed; the last volume of 2017!

Like the one before, this is also a double issue, and this one is extra thick, with extra comics and an extra color on the cover (GOLD!).

CBA vol 38|39: Fragments features comics by:
Marie Jacotey-Voyatzis [UK]
Victor Expolio [ES]
Mattias Elftorp [SE]
Martin López Lam [ES]
Anna Krztoń [PL]
Diego Shim [ES]
Stefan Petrini [SE]
Hanna Lundin Tistelö [SE]
Insulina Kid [ES]
Rakel Stammer [SE]
Henrik Rogowski [SE]
Gonzalo de las Heras [SE]
Texts by:
Claudiu Revnic [RO]
Saskia Gullstrand [SE]
Johanna Rojola [FI]
Illustrations by:
Gonzalo de las Heras [SE]
Kinga Dukaj [SE]
Mattias Elftorp [SE]
Johanna Rojola [FI]
Cover artist & main editor:
Christina Cromnow [SE]

The past can be found in the form of small parts inside your body. Some parts are impossible to get rid of. Maybe they’re important, maybe they’re not. But they do exist for a reason. What is your reason?

Even though your past time is out of reach, there is always the possibility of deciding how it will look in front of other people. What would your fragments look like if you showed them in public?

The release event/exhibition is planned for February 9 @ Hybriden.
Look for more info soon!

Crowdfunding for CBAvol38|39

We are currently looking for donations to cover the costs of printing and distribution of our upcoming anthology, CBA vol 38|39: FRAGMENTS.

In this double issue, various artists present their own fractal visions under the common concept of FRAGMENTS.
Also, for the first time in years, we include texts in this volume. But we need your help to make all this possible!


CBA vol 38|39 features comics by Marie Jacotey-Voyatzis, Martin López Lam, Stefan Petrini, Rakel Stammer, Diego Shim, Henrik Rogowski, Victor Expolio, Insulina Kid, Mattias Elftorp and Gonzalo de las Heras, and texts by Mattias Elftorp and Saskia Gullstrand with Johanna Rojola and possibly some additional material in this more-than-a-hundred colorful pages issue. Both the cover and the issue is compiled by Christina Cromnow of the CBK editorial crew, who is currently working on her debut graphic novel.

All the comics in the volume are already finished. We only need to put the whole volume together and do some final editing before sending it to print.

You can support this project via our campaign at Indiegogo where you can also see some sample comic pages from the book.
Please note that the campaign ends on December 16!

Cover mod

Cover modification of CBA vol 36|37, by the Serbian crew (Professor Opacić, Mileta Mijatović, maybe someone else, it was dark and drunk and hot) at CRACK! 2017.

Why CBA is anti-racist

This is a personal text, a kind of reflection about CBA, written by Mattias Elftorp, one of the founders of CBK:

To me, CBA is about anti-racism. It’s also about anti-narrowmindedness in general. This may not be apparent for everyone, so let me explain:

When I grew up, in the 1980s and 90s in a small town (about 30 000 inhabitants) on the west coast of Sweden, things were different. And also the same. But I think that my experience of growing up there informs my view of Sweden a lot. Here are some details: You didn’t read comics openly. Comics were for kids or maybe nerds (not sure we had that word yet but if we did it certainly wasn’t positive). Especially superheroes. You know, those that are basically household names now, that everyone are watching in the movies with no shame whatsoever. That was something you bought and read when no one was looking.

Now, I listen to a lot of music all the time. Whenever my computer is running (=almost always) there is something playing. But back then I didn’t listen to music for many years. Because in my circle of friends it wasn’t socially acceptable to listen to anything but the most mainstream stuff that was on the radio (we’re not even talking hiphop here, it was just really boring pop). And I wasn’t interested in that. Then, after the first 9 years of school, I started a new class and found a new friend who introduced me to techno (rave/IDM/ambient/trance/gabber etc) and I found something that I liked. What we were listening to was still frowned upon, but it was ok since I wasn’t alone. I would probably have liked extreme metal as well (and hiphop), but that was still out of reach for me.

It was basically the same with everything. Some subcultures were more ok because there were bigger groups of kids doing it, but I was never any good at skateboarding and I never got into grunge. But mostly, if you weren’t part of the mainstream culture you were regarded as weird. Like: “you’re just enjoying this probably because you want to be special and underneath that surface you actually know that what you do is weird and when you grow up you will probably stop doing that and go back the the natural state of being normal”. That’s how I experienced the general sentiment.

Parallel to this, my parents were helping a family that came from Kosovo. They were Albanians and were not accepted in Kosovo so they had to leave. I don’t know about the details of their situation, I just know that they had a hard time in Kosovo because of their ethnicity, and they also had a hard time getting to stay in Sweden. It was a process that took years before they could relax and really settle down when they got their permit of residence. While another family we also helped were denied and sent away. So I guess I always made that connection, that anything that is out of the ordinary, that doesn’t fit into the Swedish norm, is unwelcome. Be it music, comics or people.

I don’t know how big open racism was in my town. I know there was talk but I hardly ever saw any straight-up neonazis in real life though I guess they were there, I was just too white to really have to notice. But there were these bullshit comments and slurs from “normal people” going around. And of course I saw the institutionalized racism through that family we were helping. And this was in the late 80s, before the migration rules started getting increasingly harsh, which began in 1990. Since then the rules have gotten much worse, quite the opposite of the view that is perpetuated by the far right and often adopted by mainstream media and society. All that talk about “mass immigration” that wasn’t true back then and is even less true now.

So anyway, it wasn’t considered a good thing to have parents from another country and it wasn’t good to take an interest in weird culture (comics, non-pop music, foreign movies). Female wasn’t really good either, now that I think about it, but there were so many of them that they had to at least be tolerated as a group as long as they didn’t try to fart or shit or any other privilege reserved for men. The worst thing you could be, however, was probably homosexual. That was disgusting and probably contagious and dangerous and let’s not even talk about it. Luckily I wasn’t gay. It wasn’t until much later that I tried it out a little bit and found that I could enjoy a cock almost as much as a pussy. But that’s a different story.

Anarchism was something that only existed as one paragraph in the history book that I stumbled upon by mistake because it wasn’t required reading. We learned a lot about national socialism, but nothing about the other end of the political spectrum, except communism of course which was just as bad as nazism. Politically, center/right socialdemocracy with a splash of economic liberalism was the norm. Much like now, except there’s much more privatisation and racism now. And the same rules applied. Don’t be weird. It wasn’t until later when I found out that there was a movement of people who actually believed in anarchism that a new world opened up to me. Another world that actually seemed possible.

Things I always felt but never knew.

Anyway, I think you get the point by now. Anything outside of mainstream Swedish culture (except mainstream US culture, of course) is weird and you should stay away from it or you’re asking for being treated as an outsider. Choosing to be an outsider. “We” don’t understand why, but that’s what you do.

Now I live in Malmö, which is a haven of cultural diversity and acceptance, at least in comparison. The City still does its best to get rid of the Roma beggars, but at least any music is more or less acceptable. Cops ride their horses over people in order to protect nazi manifestations, but at least the anti-nazi demonstrations are much bigger.

So anyway. I always made these connections. Weird cultural expressions aren’t accepted (and what is considered normal is a narrow field), non-Swedish people aren’t accepted, non-hetero sexualities aren’t accepted and to me it’s all part of the same thing. Sure, some things have gotten better. We have access to much more cultural diversity now, but I don’t trust that it’s the same outside of Malmö and my part of the internets. I don’t trust the place where I grew up to have evolved in the same direction.

Publishing what we do in CBA, to me, is anti-racist. Not necessarily by dealing with racism as a topic, but by publishing non-mainstream comics from many different countries, with different perspectives on things. Weird, experimental comics that break all kinds of conventions even in the form itself. Not that it takes that much to break Swedish conventions. The problem is that what we’re doing can easily be considered art and is therefore easily dismissed. Because art is regarded as something that never tried to be normal in the first place and why take any such thing seriously? Also, art is just art and, like opinions, it has nothing to do with reality.

Once, a bunch of years ago, I was with a large group of people outside the refugee detention centre in Malmö. We were there to stop a deportation of a man from… I don’t even remember from where. The police came to get him. We stood in the way, blocking all entrances. After a while, the cops said: “All right, now you’ve made your statement. You’ve expressed your opinion. Now stand aside and let us do our job”. That hit me on a deep level. We were there to save someone’s life, and they thought we just wanted to express out opinion and then things could go back to repressive normality. Of course we didn’t move. We stayed there all day, hungry, getting burned by the sun, until the guy managed to break a window from the outside and get out. Within minutes he was in a car being driven away from there, to a life in hiding. Maybe eight months later, he got his permit of residency, proving us right.

People here seem to think that opinions is something everyone can have, as long as they don’t interfere with reality. Conversely, they also see them as something harmless, which is why we’re supposed to be so lenient towards racism. Because it’s just an opinion, which anyone is entitled to, and it has nothing to do with real life (and, incidentally, they won’t hurt you as long as you belong to the white mainstream (but who worth considering isn’t white mainstream?)). Except it does. Anything that today is ‘just an opinion’, may tomorrow be the new mainstream, with real-life consequences.

We used to have a slogan in CBK: WE WILL BE THE NEW MAINSTREAM. That never happened and it seems even less likely now. I like the boldness of that statement, but I don’t know if I would have liked to be the mainstream, because anything that is the mainstream runs the risk of being prejudiced towards everything else, and also of being blind to its own position. Like white mainstream people feeling threatened by such modest claims as “Black lives matter”. Which really isn’t an attack on anything except racism (and, specifically, racist police brutality) and if you’re a white mainstream person the only threat you’re under is that you may need to start seeing black people as your equals. And frankly, it’d be about time.

Maybe I’m wrong. Maybe times have changed even outside the bigger cities. Maybe people are more open-minded now, in general? I hope so. But it wasn’t many years ago I heard in the news about people in some smaller town in Sweden throwing rocks at a woman in hijab, presumably to force her to be less oppressed, or at least less weird and more normal. And that kind of rhetoric also seems to be gaining ground, alongside the political correctness saying that everyone should be treated with respect, no matter what identity they fit into (or don’t fit into), at least on the internet.

But there’s still need for anti-racism and things that can validate non-mainstream culture. Such as an anthology of art comics. Not as a solution to any of these problems, but as one voice among many, one facet out of a multitude.

/Mattias Elftorp, co-founder and long-time editor of CBA
Malmö, May 2017

Me & my Daddy & Zlatan (Tusen Serier & Wormgod, 2014)

We want texts for the new CBA!

Call for submissions: TEXTS FOR CBA vol 38|39!

From vol 38|39 (December 2017) of CBA, we are going to add a selection of text pieces to the international art comics anthology, and we want YOU to contribute material.

You heard right. From being a full-blooded comics anthology, we are turning CBA into more of a magazine and we need your help!

What we want: We’re basically looking for text pieces that match the comics by relating to the theme (interpreted freely), or to the international experimental comics scene, or just avant-garde stuff in general that you think might fit into what we’re doing in CBA. It can be an article, interview, statement about comics or just some artistic, experimental, poetic text about pretty much anything!

Length: between 1500 – 8000 characters
Language: English
Deadline: August 15

Main editor for this volume: Christina Cromnow
Description: The past can be found in the form of small parts inside your body. Some parts are impossible to get rid of. Maybe they’re important, maybe they’re not. But they do exist for a reason. What is your reason?
Even though your past time is out of reach, there is always the possibility of deciding how it will look in front of other people. What would your fragments look like if you showed them in public?

Unfortunately we cannot offer you any payment for participating. If we publish your submission you will receive 10 free copies of the issue (this is the same deal as for the comics we publish and we also don’t get paid for the editorial work. We wish it was different, but it’s the situation). Naturally, copyright for your material will stay in your hands and we do accept material that has already been published elsewhere. That’s all we can offer at this date. We hope that you will find being in CBA an enjoyable experience. You would be in the company of some great comic creators.

(And don’t worry, CBA is still going to be mostly comics, we haven’t gone completely crazy…)

Facebook event

I don’t want to dream – R’lyehsfest for CBA vol 36|37

I don’t want to dream: art exhibition by Spyros Verykios
& release party for CBA vol 36|37 by CBK

Opening: May 5, 17-22 @ Hybriden (Bangatan 5 / Claesgatan 8, Malmö)
The exhibition will remain until May 25 (Tue-Thu 14-18)

Facebook event

I don’t want to dream is a comic of 43 pages, entirely painted in oil, by Greek artist Spyros Verykios. It is a metaphysical horror story about how an experiment with mind-expanding drugs has unexpected consequences – or is it something else entirely? The borders between what is dream, reality and bedtime story are blurred sometimes.

In this very special exhibition, we will show a selection of the original paintings from this comic. There will also be some unrelated bonus material included, such as the originals from another of Verykios’ stories, published back in CBA vol 7.

cbavol36cvrLet’s plunge together into the pits of madness. Let’s watch the dissolution of reality, let’s dance with clear heads and see where it takes us. Let’s travel the river hiding in the desert sands until the wind rises and we reach the final collapse. Let’s look deep into the eye of the tiger. And see afterwards if we dare to dream.

The exhibition opening is also the release party (or as we like to say, R’lyehsfest) for the new CBA vol 36|37 (pre-order it here) where I don’t want to dream is included, along with three other stories, by Akab [IT], Elena Guidolin [IT] and Serena Schinaia [IT]. Cover by Radovan Popović [RS]. The theme for this volume is In the pits of madness.

Here are some samples from the exhibition (and you can find more from the book at our Instagram):

spyros01 spyros02 spyros03 spyros04 spyros05 spyros06 spyros07 spyros08

Also check out Spyros Verykios at Instagram and Behance.

The exhibition is organized with the support of Malmö Kulturstöd, in cooperation with ABF Malmö. CBA vol 36|37 was made possible with the help of our crowdfunders at Indiegogo.

Crowdfunding successful!

We are happy to announce that even though we didn’t reach the goal we had set on Indiegogo, we still managed to cover almost the entire printing cost for CBA vol 36|37. It helped a lot that we found a new, cheaper printing house and that we got some big donations in the last days of the campaign. There are still some issues such as rent and distribution costs, but those are later concerns.

We are therefore extremely grateful and happy to announce the release exhibition for the book.


This volume of CBA was made possible by our lovely crowdfunders:
Ola Hellsten | Nicolas Krizan | Natalia Batista | [anonymous] | Segal Hassan Mohamed | Eileen Laurie | Anna Ehrlemark | Rakel Stammer | [anonymous] | Ajon Kibreab | Morgan Löfstedt | Emma Elftorp | nicolau giglio neves da silva | David Lasky | Daniel Novakovic | Claudiu Revnic | pogono | [anonymous] | Klas Eliasson | Åsa Palmborg | [anonymous] | [anonymous] | Paul van Dijken | Patrik Schylström

The story behind the crowdfunding decision

We’ve had some questions as to the story behind our decision to try crowdfunding for the new volume (by the way, please help fund us!). Why we lost the magazine support (“Kulturtidskriftstöd”) from the Arts Council. So here’s the story:

The previous CBK crew (ca 2012-2014) had this idea of publishing every other volume of CBA as a stand-alone graphic novel with one creator doing the entire book. The first one was CBA vol 23: All Saints by Marcel Ruiters, published in 2013.

In November of 2014, that crew didn’t work anymore for various reasons, and more or less decided to shut down CBK. One of the crew members who didn’t want it to die went to the comics school to invite anyone from there who would be interested in taking over to come to a meeting. They also made a general invitation/call for help. So a bunch of people from the school and some others (like one of the original founders who had left a few years previously) came to this crisis meeting.

Because of the abrupt end to the former crew, they left some loose ends for the new one to tidy up. One of those were the publication of the last few graphic novel volumes (vol 29, 31 and 33, the last one of which came out in 2016).

The thing is that CBA had had this “kulturtidskriftstöd” since 2005(?), and when we applied again for 2016, we got rejected. The explanation was that CBA had turned into something that was less of a magazine, and they thought we should apply for litterature support instead, for the separate issues as separate books.

So we tried that, but with no success. Another problem is that the litterature support is applied after the fact, so you still need to have the money for printing etc before hand. So we really wanted to get the “kulturtidskriftstöd” back. After a meeting with a representative for the Arts Council, we thought we had understood what to do to get it back; we stopped with the graphic novel volumes and returned to a pure anthology like it was before, with 4 issues/year.

We thought that it’d be a one year step back, but that now we had made amends and solved the problem. But no. Another rejection. This time because we were “too much of an anthology and not enough of a magazine”. Which was kind of a shock since the difference between now and all those years when we got the support was negligible.

We will make another try in the application for 2018, to add more text material that’s relevant to the subjects we’re working with, and to the comics scene that we’re a part of. It’s an ongoing process and a balance between what we want to do and what our readers want and what might give us money, and we may end up in some other direction along the way.  We’ll stay true to our ideals while trying to adapt and then we’ll see what works out.

And in the meantime we still need to finance this year’s publications (and rent, somehow), so now we’re trying out crowdfunding as an alternative.

So now you know a bit more about the current situation, along with some hints of where we might be going in the futurte. If you want to be part of the crowdfunding, go to the Indiegogo campaign page.

Seriefestfest + more crowdfunding stuff…

Follow @cbkcomics on Instagram. During the current crowdfunding campaign, we’ll be posting images from the comics of the upcoming volume, so it’s a good way to see some really nice art!


If you want to support us but can’t afford it yourself, maybe you know someone who could/would want to? So it would still be a great help if you just share it

Here are some links:
Youtube promo video
Facebook event

And if you want to help but don’t like the Indiegogo platform, you can also give us money via PayPal instead: info [@] cbkcomics [.] com
or meet us live, for example this weekend at Seriefest (or the official party Seriefestfesten at Hybriden on Saturday).