In the mid-2000s, in Portugal, five creators came together as a multidisciplinary team to try to answer a question few people were asking at the time: how could the editorial cartoon evolve alongside new times, new technologies and new audiences? If print \u2014 and later television \u2014 were gradually ceasing to be the load-bearing media of public communication, how could the cartoon adapt to the reality then coming into view?<\/p>\n\n\n\n
The result was a project with no equivalent anywhere else: over the past two decades it became a laboratory for experimentation, bringing together the distinct talents of Jo\u00e3o Paulo Cotrim, Andr\u00e9 Carrilho, Cristina Sampaio, Jo\u00e3o Fazenda and Jos\u00e9 Condeixa, later joined by Tiago Albuquerque and Philippe Lenzini.<\/p>\n\n\n\n
As a field of journalistic creation, the cartoon has a historic part in the practice of free expression and a free press \u2014 a space for graphic opinion that works through humour and exposure. Until it was suspended in 2025, Spam Cartoon was a response to a world in flux and increasingly polarised, one that preserved the creative independence of its authors within an ever more fragmented media landscape.<\/p>\n\n\n\n
In a reality where outrage has become an instrument for keeping us tethered to the flow of information, humour is the other side of the same coin. It holds our attention too \u2014 but the attacks the cartoon comes under in the media show it has kept its power to unsettle those who hate freedom of thought.<\/p>\n\n\n\n
It is hard to laugh at a world on the verge of collapse. Yet we need, at all costs, to hold on to a lucid gaze. Every Spam Cartoon was drawn in defence of laughter, so that screens full of rage would not leave us blind.<\/p>\n","protected":false},"featured_media":1108,"template":"","location":[7],"class_list":["post-1107","exposicoes","type-exposicoes","status-publish","has-post-thumbnail","hentry","location-galeria-municipal-artur-bual"],"acf":[],"yoast_head":"\n