Belgian comic out of his bubble

Belgian comic out of his bubble

belge francophone image prog

Dominique Goblet

27.01.2011 | 3:08 p.m.

By Rejane Ereau (here and elsewhere)

If I say “Belgian comic strip”, you answer me “Tintin, Gaston, the Smurfs, Lucky Luke, Achille Talon” … Review your classics: from 27 to 30 January 2011, the International Festival of the BD sets light a new Belgian wave sweeping formats.

1929, the global success of Tintin in the Land of the Soviets signed Hergé, the Belgian comic strip launches. The momentum continues with Spirou (1938), Blake and Mortimer (1946), Lucky Luke (1947), Felix (1949), Gaston (1957), The Smurfs (1958), as well Boule et Bill, Achille Talon, Tif and Tondu, Bob Morane, Ric Rattle, Alix, Ulna, Natasha, The Blue Tunics …

Now where are we? From classic albums in graphic novels, more than 700 cartoonists were identified in Belgium, where “the comic is part of the reality of people’s imagination,” said the Belgian Centre of comics.

From his side, his thirty-eighth edition, the International Comics Festival in Angoulême – Comics Fan event the largest in the world, welcoming 6,000 professionals and 200 000 visitors – an exhibition dedicated to the new Belgian comics this year.

“It arose twenty years ago, when it was thought that there was room in Belgium for children Franquin or Hergé” officials explain the event. Exit but also modern classics to Jean Van Hamme (XIII, Thorgal, Largo Winch) or Geluck (Le Chat): The festival involved in the discovery of different talents, “in the tradition of Hermann Comès, Dany, or Schuiten Yslaire, committed, elusive and open to all experiments. ”

Drawing released, open-plan speech


Questioning the box, the hero of the pen, the brush: the aesthetic is innovative approach to storytelling too. The traditional comic readers may not be there! The contemporary art lovers, themselves, will appreciate these works already exhibit in the gallery, on dance scenes or city walls …

What unites them, beyond their nationality? Not their styles, multifaceted, but a composite and often radical spirit that saw the BD “almost as a political act, often linked to formal questions of literature and contemporary art, all moorings broken with art schools that have shaped the classic “Franco-Belgian comics.

Two main approaches

Go to Space Franquin. Halfway between exposure and installation of 250 square meters, proposed by the Angoulême Festival course has two main types of work.

On the one hand, the “brain” authors focused on questioning, experimentation, diversion and self-fiction, published by Belgian structures as the Fifth layer, the Employee Self or Benjamin Monti, Ilan Manouach Sacha Goerg, Aurélie Levaux, William Henne, Renaud Heyn …

On the other hand, practitioners of a comic more poetic and plastic followers of “graphic literature” published including Frémok Thierry Van Hasselt, Vincent Fortemps Dominique Goblet, Olivier Deprez, Eric Lambé …

In addition, the festival pays tribute to the deans of the independent Belgian comics (Joe Pinelli G, Louis Joos and other Alain Corbel), as well as a few free electrons Denis Deprez, Céd or David Vandermeulen.

These names mean nothing to you? More reason to take a look at their work!


Treasures of the European Comic Strip

Trésors de la BD européenne-1

To improve your knowledge of European comics, towards Brussels, where Belgian Strip Center has until 6 March 2011 a selection of original drawings, taken from major works of the last hundred years.

Fifty authors from all over Europe are honored by Alain Saint-Ogan Hergé, through Peter Madsen, Uderzo, Hugo Pratt, David Lloyd, Vittorio Giardino, Ruben Pellejero Grzegorz Rosinski, Christophe Blain, Jijé Denis Deprez …

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