Juan José con un poquito sobre #GRAFBCN2017; Bas Backer on Chicks on Cómics; Inés Estrada’s Booklyn 2012; Mireia Pérez; Núria Pompeia; Berliac; Salva Rubio on Jiro Taniguchi; 100 Años de TBO; CW Daily Comics.
Cómics y noticias que me han llamado la atención esta semana:
ESTE FIN DE SEMANA: #GRAFBCN2017. Esta a la vuelta de la esquina. GRAF is coming to Barcelona. Here’s all the info you need for #GRAFBCN2017‘s programming. March 3-5 at the wacky warehouse space, Fabra i Coats. It’s the ninth edition of the Festival so it should get pretty wild. – If you’re following from home, check out twitter and tumblr for the #GRAFBCN2017 to get some insights on. Want to know who’s going to be there? Here ya go.
Need more info? Here’s Mireia Pérez with the scoop you need on #GRAFBCN2017 over on RTVE’s La Hora del Bocadillo, Spain’s weekly national comics radio hour. (Fast forward to minute 48).
Descubre a Núria Pompeia en la exposición ‘Núria Pompeia, sola ante el peligro’. Fundación Gin‘s digital editorial cartooning museum, Humoristan, has got a great online exhibition of Pompeia’s work with highlights from Maternasis and Las Metamorfosis.
- Berliac‘s got some new comics on Vice – Asian Food Store Junkies – S01-E03 This week will horrify your taste buds.
Inés Estrada’s dropped a zine she made, quick and dirty after her time at Comic Arts Brooklyn in 2012. “I was going to make a zine of my comics diary of Brooklyn 2012 (cus I never did) but fck it… who cares about 2012″ Now you can read it online. Inspiring, fast, six panel autobio.
Salva Rubio offers a great reflection on the work of the late Jiro Taniguchi. Especially of interest given it’s a Spanish perspective on the manga titan. The theme here is the eternal return.
This March, it will be the 100th anniversary of the first issue of “TBO”, the popular illustrated magazine that gave name to Spanish comics, tebeos. To commemorate this the newly published, Antoni Guiral‘s 100 Años de TBO, tells the history of a publication which passed the great names of twentieth century Catalan comic. Take a tour of a century “TBO”. (In Catalan!)
Bas Backer ha hecho un relato hermoso de su paso por Buenos Aires, el encuentro con amigos y actividades de Chicks On Comics. A nice report, filled with photos and drawings of time passing through the amazing Chicks on Comics show and Buenos Aires. A nice long distance relationship travelogue, haha!
Berliac offers some fresh cuts over at Fumettologica, the central axis of the conversation being his work editing and contributing to Kuš! #25’s Gaijiin Manga. Short and sweet but goes in deep with his thoughts on gekiga, the western gaze and his own evolution as an author.
How do you explain the current popularity of Gekiga in the western comics scene?
Now they’re getting published and before they were not, simple as that. If you want to dig deeper, I guess the publishers finally realized that since the late seventies, Western adults grew up with manga and anime, and we just needed a cultural approval from well-respected publishers, to re-unite with our childhood love without feeling embarassed about it. Put that together with the concept that publishers from liberal countries have of what a Graphic-Novel is supposed to be (basically realistic stories about the suffering of people from far away countries, to be enjoyed from the comfort of our sofas), and there you go: Gekiga provides us with both. Here lies another reason why I like to call my own work Gaijin-Gekiga: if Gekiga was the Japanese expression, in a dramatic comics form, of their own collective anxieties in times of hypercapitalism, then I can undoubtedly say that the main focus of my work is the very same one, only about my own place and time, of course. I have the impression that not many well-known cartoonists are really talking about what’s going on right here and now, on this side of the world, on a collective scale. In Graphic-Novels, all I see is either boring lectures about foreign or past war conflicts from an “objective”, Western point of view, or feel-good stories about individual self-improvement, and in the most successful cases, a combination of the two. These stories are just two different ways of patting our backs and telling ourselves how great we Westerners are. Gekiga was a beautiful, dignifying way to accept the crushing reality of post-war defeat. Western narratives of today, on the contrary, insist on that we’re on the winning side, even when our reality clearly points to the opposite (see Donald Trump). I’m not saying there’s dignity in being a loser, but in seeing reality for what it is. Drama without exaggeration. That is the essence of Gekiga.
Now that a few months has passed from the release of the Kus, can you say that the anthology also served as a bond between the artists of this possible new western manga scene?
Bonds among artists always exist, but maybe not explicitely. to the point not even we are aware of it. Many of the artists involved discovered each other’s work in that issue of š! As I said in another interview, it is not the artists’ task or responsablity to make that bond intelligible for the public, but the publishers’, gallerists’, and journalists’. As an author, I’m not too concerned about it. As a co-editor of š! #25, I certainly hope we provided a grain of sand to this cause.
The semester has a rolling start date, but it will officially kick off on March 7th. We will continue taking applications past that date – Frank is always willing to make it work for your schedule. Just apply!
The course is 8 weeks long – 500 bux – payment plans are available.
Email santoroschoolATgmail to apply
Blinkers – 3-1-2017 – by Jack Brougham
Suzy and Cecil – 3-1-2017 – by Gabriella Tito
Joanie and Jordie – 3-1-2017 – by Caleb Orecchio
Cozytown – 3-1-2017 – by Juan Fernandez