Simon Gärdenfors, a multifaceted Swedish artist known for his work in comics, stand-up comedy, rap music, and podcasting, adheres to a strict daily routine. This regimen includes consuming chocolate pudding and instant coffee, compiling a to-do list, dedicating at least 30 minutes to his primary project, performing a set of physical exercises, and, significantly, writing at least one joke, meticulously recorded in a dedicated notebook. This disciplined approach is highlighted in his semi-autobiographical film, ”Serietecknaren” (The Cartoonist), where he also reveals his competitive pursuit of a high score in the arcade game Pac-Man. This juxtaposition of rigorous discipline with a penchant for often controversial humor forms the core of Gärdenfors’s persona.
Gärdenfors’s humor often pushes boundaries, delving into topics considered taboo by many, such as sex, drugs, racial stereotypes, disabilities, and pedophilia. This has resulted in both acclaim and controversy throughout his career. The most notable incident revolved around the 2018 song ”Knulla Barn” (Fuck Children), performed with his friend Anton Magnusson (Mr. Cool). The song sparked outrage, leading to accusations of promoting child abuse, cancellations of stand-up gigs, removal of the song from Spotify, and even police investigations. While Gärdenfors and Magnusson maintained the song was intended solely as humor, they issued a statement clarifying their opposition to any form of sexual abuse. This incident underscores the fine line Gärdenfors treads between provocation and genuine comedic expression.
Growing up in an academic household in Hjärup, Sweden, with a philosopher father and a programmer mother, Gärdenfors displayed a comedic inclination from a young age. His early interest in comics, particularly the darker and more transgressive works of Robert Crumb, Joe Matt, and Mats Jonsson, influenced his development as an artist. He was particularly drawn to the autobiographical approach, recognizing both the risk and the potential for deeper, more revealing narratives. An anecdote from his childhood, involving his contrarian stance on a proposed school parking lot, foreshadows his later penchant for provocative humor, suggesting an early enjoyment of challenging societal norms and garnering attention, even if negative.
Gärdenfors’s career began in the early 2000s with the release of his comic book ”Turist.” He followed this with several other semi-autobiographical works, such as ”Simons 120 dagar” and ”Död kompis.” His comics, like his stand-up routines, often explore personal experiences and darker themes, pushing the boundaries of conventional storytelling. Alongside his comic book career, Gärdenfors ventured into other creative avenues, forming the rap duo Las Palmas, co-hosting a radio show, performing stand-up comedy, and creating the rap duo Far & Son with Frej Larsson, which led to the TV show ”Samhällsjudo.” This show involved further controversial stunts, like surveilling the Swedish Security Service and building an unauthorized gay club on Russian-owned land in Åland, highlighting Gärdenfors’s inclination towards satirical and provocative commentary.
”Serietecknaren,” Gärdenfors’s first foray into filmmaking, represents a culmination of his artistic pursuits. Funded through a Kickstarter campaign, the film offers a glimpse into his life, incorporating elements from the ”Knulla Barn” controversy and delving into the world of comic book creation. The film is unapologetically filled with crude and vulgar humor, reflecting Gärdenfors’s comedic sensibilities and his willingness to court controversy. It serves not as an apology for past actions but as a further exploration of the uncomfortable and provocative, cementing his position as a comedian who challenges societal norms and pushes the limits of acceptable humor.
While acknowledging the potential for hurt feelings caused by his jokes, Gärdenfors defends his comedic approach. He argues that humor should be appreciated for its own sake, rather than being instrumentalized for social or political purposes. He draws parallels with other art forms, asserting that provocation, like horror or sadness, is a valid artistic tool. He believes humor doesn’t always need to serve a higher purpose and that the pursuit of pure comedic expression is a worthwhile endeavor. This philosophy, combined with his disciplined approach to creativity and his willingness to tackle controversial subjects, defines Simon Gärdenfors as a complex and often divisive figure in the Swedish cultural landscape. He remains committed to his unique brand of humor, even as it continues to generate both laughter and controversy.
