European comic strip treasures: 100 years of masterpieces
Good news for those passionate about comic strips and Europe, who also enjoy killing two birds with one stone: the “European Comic Strip Treasures” exhibition of the Belgian Comic Strip Centre in Brussels will run until 6 March. Fifty authors will be representing Europe with their illustrations.
There is no denying that the world of comics still has to combat perceptions that are old fashioned, to say the least. Just think about how Japanese Manga is usually regarded: many outsiders believe see no more than an excuse to display slim, young lasses with eccentric hairdos; upgraded porno mags even, made for perverse middle-aged men. Let’s describe the American comics using similar preconceptions: pages filled with superheroes that combat grotesque baddies, assisted by whatever they can get a hold on, whether it is a pining young lady or a loyal accomplice.
Europe without a box
No matter how insulting these preconceptions are, they draw attention on the odd situation the European world of comics finds itself in: there is no incorrect perception here, no box to break out of. We couldn’t help but wonder how the Belgian Comic Strip Centre would take on its “European Comic Strip Treasures” exhibition.
The answer is simple: those expecting a detailed study should take heed: as such a task is beyond difficult, the exhibition does not use a coordinating narrative. Do not expect a multitude of information that clearly situates the European comic landscape, but an exhibition that clarifies individual work. This suffices, as the Belgian Comic Strip Centre keeps its promise: we truly are presented with treasures of the European comic strip.
Fifty authors
The works are created by fifty authors, ranging from Alain de Saint-Ogan and Hergé to Peter Madsen, Joann Sfar and Posy Simmonds. The founding countries of the European Union are better represented, as they have a longer tradition. This does not mean that the share of the other countries is non-existent: there is also work from Spain, Italy, Romania, Denmark, etc.
After a visit to the exhibition, it will be clear that the European world of comics is more than Belgium alone. According to Willem Degraeve, one of the organiser, this was the intention: “Even though comics are much more alive in Belgium and France than in other countries, it was our aim to involve as many European countries in this exhibition as possible. This does not alter the fact that it was sometimes easier to work with Belgian than foreign loaners because they are more familiar with the Centre and foreign loaners lay down stricter conditions when lending out their top items.”
Diverse range
The first original plate on the wall was made in 1926. The last in 2009. This exhibition thus consists of about 100 years of items, in various stages of development. The original plates and illustrations on display are gems of the European production over the past century. With the help of ‘just’ 50 authors, it soon becomes clear how diverse the European range is. Not only are the art styles very different, there are also differences in setting, characters and tone.
No closed entity
Although the emphasis lies on style, visitors get an –albeit brief- explanation with each work. Most striking here is how wrong we’d be to call the European world of comics a closed entity. For instance, Czechoslovak Jaromir admits that he is influenced by Americans Frank Miller and Mike Mignola, Englishman David Lloyd moved to the American DC Comics and Croat Igor Kordey briefly drew for Marvel Comics’ X-Men.
The Belgian Comic Strip Centre thus offers a realistic exhibition. No great answers, but enough stimuli to remain interesting. This time, a fragment is enough and complete context is unnecessary. Those wanting more need not look far: a visit to the comic strip shop or the attic can appease one’s appetite, so make sure you do not finish this treasure hunt prematurely.
The “European Comic Strip Treasures” exhibition runs until 6 March 2011.