The present constantly changes and rearranges the past.

William Kentridge, Triumphs, Laments and other Processions, 2016.


In 1982, the Zagreb Vjesnik released the Jubilee 150th comic book, Alan Ford. This Italian satirical comic is very soon accepted in the former of Yugoslavia. Although a certain degree of censorship was not understood as a political comic, it still existed. In this issue named Crime & Comp. the editors of the newspaper have shortened the strip by up to five pages. A whole gag in a comic has been thrown out by the appearance of opposite personalities from history. Censorship begins when city munitions, regular actors of comics and members of the government open the exhibition in one of the city’s galleries, while in the first ranks of visitors are the leading figures of the Second World War Stalin, Hitler Mussolini and others below give their comments on the exhibition, and without hiding talk about political attitudes and beliefs. This example of censorship is used only as a comment; The new narrative is a reflection on a segment of editing history that encourages critical thinking about the relationships between artists, curators, exhibitors, and cultural policy in general. The consistency of Mirzin’s quotation of omitted comics of historical data is a kind of subversive shield, a critique of adaptability and a fearless shadow of artistic alertness.


*An urban legend has been known about the episode of Alan Ford in which the image of the dictator was inspired by Tito and, consequently, this continuation of the comic never came out in the territory of Yugoslavia. However, in an interview with Pavle Cosic with Max Bunker for X Entertainment, Bunker categorically denied this claim by saying,   “Assolutamente no!“