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UPCOMING

It was a fortunate coincidence that Bodyworld (Apa-Apa/Sinsentido, 2011), Dash Shaw, was published in Spain at the same time that can be seen at the Reina Sofía Atlas exposure. How to take the world on his back? , curated by Georges Didi-Huberman and accompanied by a thorough volume French art historian who serves as a catalog of the same. Clearly Bodyworld focuses on geography as a keynote address (which have already show other reviews, such as Álvaro Pons ), and reread in the light of Atlas Didi-Huberman suggests that it is totally appropriate.

The exhibition is based on Mnemosyne Atlas Aby Warburg (1866-1929), one of the richest intellectual artifacts and mysterious given the history of art as an intellectual discipline. Warburg, which today is the center of fierce debates among theorists who try to invoke the authority right to be submitted, at least it was a singular character, and I hope to one day include the comic series on art Javier Olivares and I are doing little by little. The scion of a banking family in Hamburg, resigned his position in exchange for having the means to indulge in the study of images throughout his life. His passion for relapsing forms of different historical cultures (and ahistorical, one might say) led him to inquire into the ceremonies of the Hopi Indians (like the ritual of the snake) and decipher the meanings literary network that supports 's consecration Botticelli's Primavera (in perhaps his best-known text).

Warburg went crazy and did a stint in an asylum, very concerned, among other things, the psychological trauma which led to World War I Europe. On leaving the clinic in 1924, undertook to organize their unfinished Mnemosyne Atlas, a set of panels arranged in a circle in his library, which relate images (art and not art) from different periods, following criteria sometimes so subtle that even today are widely discussed. Who wants to get a true idea of \u200b\u200bwhat the project was Mnemosyne 're in luck, because in 2010 in Spain Akal published a book version of it, based on the edition of Martin Warnke Claudia Brink.

The fact is that the Mnemosyne Atlas has always seemed an idea that was flying over the horizon of comics, not in vain because much of its meaning should be sought in the investigation of how images create meaning to be side by side other, and how that meaning is changed by varying the relationships established only by its contiguity ", but in the case of Bodyworld , as I said, the adjacencies are numerous and I think nothing casual .

From the beginning, Didi-Huberman establishes the relationship of the atlas with table and the table , and indeed, the curious landscape format but vertical chosen by Dash Shaw and Chip Kidd for the printed version of this graphic novel was originally published online appear to be read calls on a table. Spread over it, consulted as through the design suggests that we consult the maps of the scene where the action is, Bodyworld atlas regains its status. A condition that is implicit in his own way, and not merely a literary excuse, as in the comic "Dark Cities" of Schuiten and Peeters, that may be more decisive raids on the geographical question we've seen so Now in the tradition of bullets. But while the authors of theory molehill mapping have been used as a literary theme in the wake of Borges and Calvino, Shaw what he has done has been to confuse the map with pictographs , thus calling into question the how, in fact, work associations in the cartoon images. A map, in fact, does not function as a linear story in sequence, but as a network of connections that the interest (practical) of the same reader-user. As Didi-Huberman says: "So, first, the atlas does skip frames. Breaks the self-proclaimed certainties of science secure their truth and art insurance their criteria. Invented, among all these, interstitial areas of exploration, heuristic intervals. Deliberately ignores the final axioms. " And those axioms -final in comics for years have been being might be called axioms mccloudianos or eisnerianos - are those that call into question this conception of Bodyworld atlas that is not far from singular and characteristic of this work, but a late drive that already in many contemporary comics. We can go to Chris Ware Lint, or we can come to this page in Nofuentes Álvaro Buendolor 2 :

Or we can view this page Toxic Charles Burns not as a "sequence incoherent" but as an "image map" whose path must be rebuilt the reader:

As these, and like many others, Shaw flees the linear law with Bodyworld to draw a true chorography: a map of a city civic artificial an experiment in managing the human race, the end of the day. No wonder that the protagonist is botanical: botanical catalogs also have their place in the exhibition Atlas, where the scientific images in their drive positivist ordering the world, scratched the orbit of the aesthetic, that is, finally, the unique value and objective leave us.

The microcosm of Boney Borough of Bodyworld is not so different from the landscape that gave birth to the Mnemosyne Warburg. As I said, Warburg lived a traumatic World War I, as a "psychomachy" that ended up altering their own mental health. Your Atlas was a way to regain sanity. Didi-Huberman writes that "an era of modern atlas opens up the practice of sampling painful chaos of history" and in the same way, the rational mapping Boney Borough tries to impose order on a painful history. The school children are the first generation born without knowing the horrors of war. Is that different-generational experience of those who come with the war behind them and those who are born in innocence-that must be reconciled in the atlas of Bodyworld , as all maps, aims to organize the heterogeneous, put regarding the particular and universal, fundamental issue Didi-Huberman swinging on some verses of Goethe:

"What is universal?

singular case.

What particular?

million cases. "

Bodyworld In the pop appeal of drugs as a binding element facilitates the final encounter between the particular and universal, individual consciousness and the "superorganism." But of course, the solution is ironic that the truth is paranoid.

Dash Shaw is the living example of the shift that has taken the comic in the last ten years. Author "born free", has spent his brief career yet away from the demands and traditional industry formats. It still has many more pages ahead than behind, and not easy to know where that road takes you. With all his greatness, his courage and sparkle, this Bodyworld otherwise probably not, as Didi-Huberman suggests closing your text with a reference to Unamuno, a slit through which a glimpse of the "fire to come" . To conclude with the same words with which the French writer concludes that seem so appropriate to close a text about comics on modern comic: 'This is really difficult-and-practice dialectic anyone trying see time . "

who want more, here's the review I wrote on the American edition of Bodyworld ten months ago: Body and world .

More than that, another review of Bodyworld in entrecomics .

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FIRE BEST OF LIABILITY


This unusual lineup belongs to a campaign for organ donations I've seen on the streets of Seville. Serve

pass this minimal update to remember that Mandorla not dead. Only is taking a nap.

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2010 (FOR READERS RockdeLux)


Today I have received the Rockdelux 293 (March), which includes lists of "Best of 2010" according to the votes of readers in multiple categories, including comics. Without further ado, we say that the music magazine readers have chosen the following as the most outstanding comics from last year's production:

1) past Rice, Juanjo Sáez

2) Wilson, Daniel Clowes

3) cartoonist Winter, Paco Roca

4) 1-Boil a bear , Jonathan Miller and Miguel Noguera

5) Footnotes Strip, Joe Sacco

6) I , Juanjo Sáez

7) Polyp Asterios , David Mazzucchelli

8) Free Damage , Paco Alcázar

9) God Himself , Marc-Antoine Mathieu

10) Kafka, Robert Crumb (and David Zane Mairowitz, I would add that in the magazine have forgotten the co-author)

The list is as diverse and debatable as any other, obviously, but it strikes me that agrees with at least half of the titles. Something strange happens to me when my tastes match more with the readers of a magazine of rock with the votes of the English comic professionals for the awards Hall of Barcelona. It also strikes me that, although the list does not distinguish between English and foreign works, English is just one that wins, and there are five English titles (published in Spain and produced in Spain) among those ten. Like other English writers who can compete for recognition on equal terms with foreigners. Hey, who knows, eh? It is a concept to ponder ...

In any case, it is not there to draw too many conclusions from these votes, because the same Juanjo Sáez who is elected as the author of the best comics of the year with Rice last and is able to put another piece in the list ( I , No. 6) has the dubious distinction of appearing on the list " The worst appeared in Rockdelux "with its series" Hit emotional "(No. 5). Series which, interestingly, also appears in the list of "Best appeared in Rockdelux" (no. 10).

Therefore, impressions and opinions, all. Conclusions: fair.

addition, this Rockdelux reinstates the comic book review section that coordinates Pepo Perez . This time, you can read about the horror Practitioners, Pierre La Police, by Pablo Rios ; Theodore Poussin. The integral 1 , Frank Le Gall, by Octavio Beares ; tail with clams. 1 incomplete works of Alvarez Rabo, by Paul Rivers (again); The small Christian of Blutch for Valentine Vañó ; Psychiatry. 1-The mental hospital, Lisa Mandel, by Fernando Sagaz ; The Eternauta , Germain Hector Oesterheld and Francisco Solano Lopez, Absent Lord ; Frank , Jim Woodring, by Alberto Garcia and Bakuman 1-3, Tsugumi Ohba and Takeshi Obata, by myself. That is, despite the rampant gafapastismo, almost anything that fits clearly with the common graphic novel. Another concept to ponder, eh?

Just today I am writing the review of Bodyworld Dash Shaw for the next issue. And in the near future I hope to find a place to speak of some of those comics that is spoken in this Rockdelux , especially the fantastic Frank and The small Christian.

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GOOD HURT SOCIAL NETWORK

(Álvaro Nofuentes)

seems that this is the week of Buendolor . As if we had put all agree, lacarceldepapel , entrecomics and here realize the appearance of 2 of the fanzine which organizes Nofuentes Álvaro. Well, I'm glad because he deserves it. I've never been much of fanzines, but if you send me one I read it, of course, and in this case I enjoyed it. In Buendolor 2 is known names (Esteban Hernández or Mark Prior, without going any further, and this makes certain formalistic tests mood significant enough) and there names lesser known (at least for me), but I must say that comic books have interested me most have been precisely those Nofuentes. Still evolving graphic Nofuentes cartoonist is shown as a reflective and guts. Not for nothing is too theoretical comic ( here , for example, you can read an academic work he has done under the direction of Thierry Groensteen no more, no less) and his comic is noted concern about both the limited formal and narrative of the medium. Also, in terms of content, is perceived existential vein delve into the life narrative ellipses and makes us feel as miserable as a contemporary novel type Corrections by Jonathan Franzen (I mention it because his reading has coincided with that of Buendolor , and a certain harmony of spirit has seemed to perceive me, probably has nothing to do, but they are connections that chance everyday .) I have wanted to see Nofuentes embark on a draft envegardura, I think we can give some joy.

(Mark Prior)

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The hyperreality in which we live is achieving increasingly advanced degrees. Now that the network has become a digital simulation of our real relations, displacement begins to change direction and are our real relationships that begin to imitate a network. That is, in essence, which is involved in the experience with friends Trash, which I enjoyed for the first time Saturday night at the movies Palafox of Madrid. There Lardín Ruben, Raúl Minchinela , Absence and Nacho Vigalondo -commented-ridiculed in public screening of the film vs. Dinocrocs. Supergator, on which the best I can say is nothing.

On the performance of the four mentioned, however, say that I find myself. It is not easy to improvise jokes about a mess for an hour and a half, even in the privacy of your own room, and certainly not all instances you may have are brilliant. But the amount of postpartum that inspired released Saturday night I found truly amazing, and the ability to speak articulately in public without a script before the four friends is admirable in an age in which we increasingly stammering monosyllable resigned in the face of common assumptions. Do you think I'm exaggerating? Have you heard politicians, sports reporters, college professors?

Bottom line: let me carried by the atmosphere, I laughed heartily and enjoyed the session. I appreciate this gift good vibes free.

reproduced whole concept, as I say, the schemes of a social network, but developed live. The title ahead of two key concepts: trash, rubbish, which refers to the subdivision in which fall the films chosen for this activity, but also refers, in the second instance, the type of communication and information that normally is generated in Web 2.0, and "friends", which is increasingly nebulous term that describe those who become part of our cybersphere social. Ie assume that your Facebook contacts are "friends", right? In TEA, quartet (true) friends protagonists branches in a indeterminate mass (virtual) friends who attended the call, with varying degrees of friendship respect to the jurors. In my case, for example, and not think it was the only one, very thin in terms of what we would consider personal relationship, but as the nearest internet friendship. There "we are all friends," although we do not know, and that level of friendship promoted by the network is the prerequisite to sit around and enjoy nuclear Friends of their performance.

Although

Trash with friends is proposed as an open and collective activity, first and unequivocally, by its proponents, in fact works much like Twitter tends to work: there are some leaders, to take the lead, and others are the followers . Thank laugh, the comment with whom we sat next to (our immediate contact), and occasionally an anonymous voice, devoid of both microphone and almost lost, stuck in the wake of the leading voices, speaks with a comment to make chorus or reply to the keynote address. If we get, it is often a RT: bounced from elsewhere.

In the darkness of the room, it is easier to feel that we are participating in a simulation theater twitter: we do not see faces, do not distinguish people who are with us, we only know they are there for physical presence which imposes its number, by bandwidth of oxygen-consuming, just know that we all follow the same theme, we are all seated and attentive to the screen, we only need to have a keyboard under your fingers. But if we did, then it would not have left home, right? Then we would not be doing a simulation of a simulation, we would be alone in the previous stage and primitive (as year 2000) of the simple model.

Social Applications marked with the model are social networks, and now social networks that are shaping our social practices. We are entering a new era where we feel more comfortable acting as avatars in the flesh of our digital avatars, which are the true personalities. We as modern ...

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De Alcoy I brought a rough trip in the circumstances, the way snow, rain and cold at the destination, "happy discovery a spectacular new art center, as is usual in these institutions, located in the historical center in an old building, unique, and joyful for the pleasure of sharing some time with two of the loveliest people we have in the English comic now same: Paco Roca Borja Crespo. He was also a pleasure to meet with the audience, once again took me to confirm the crack between the "debates" repetitive occur in the scene about the graphic novel and the concerns and interests general public: What are these comics, which seem to comics? Where do and where they go? Where I can get more? There is hunger comic-graphic novel-in many adults who do not read comics (or rather, who do not read so far), and am only concerned that the comic scene is able to satisfy it.

When I went to take the train at Atocha, I spent some time by the Central library of the Museo Reina Sofía. They have a whole section full of comics, graphic novels, almost exclusively among test sections, photography and architecture. Then I went to the kiosk where I got the number 1 The Savage Sword of Conan , almost thirty years ago, on the sidewalk that separates Delicias Santa Maria de la Cabeza. There was a single comic for sale: a volume of Batman.

And then, as I said, I took the train and went to talk to Alcoy graphic novel.

March 3

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ALCOY RETURN THE GRAPHIC NOVEL ALCOY

Tomorrow will participate in a talk on graphic novels in the CADA, the Centre d'Art d'Alcoy, from eight o'clock in the afternoon. I'll be next to Paco Roca Borja Crespo, two brand new award nominees for this year's Barcelona Comic Fair. Getting from one to the other, I'm sure it's going to be animadita and we will go very well. I'll tell you.

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CHESTER


A photo of Chester Gould appears in Volume 11 of The Complete Dick Tracy (IDW), I just arrived. Woodstock, Illinois, 1946.

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SAVE THE PRIZES! OTHER AWARDS

swear that this closes the issue and not come back to him, I do not like to be tiring and also gives the matter is not so bad. But hey, since today we will not save any whales, Concerned at least something that touches us closely, something from home that concerns us all. Because there is interest to discuss this thing, which, though Ficomic is a private entity, in a way we all feel represented by it-and that is something that promotes Ficomic own-and therefore awards are our awards, prizes throughout the world of the English comic. Or that is intended, although it seems that for some years there are some doubts about its legitimacy, and this year have been reissued with the announcement of nominations. But not enough to say that the awards should be changed or upgraded or updated, or give them to me all to me, you have to be constructive and to propose any specific reform. Well, although not a topic that I would have taken many turns, with everything that has been commented on Twitter, among other sites, some ideas have been left of how we might make some appropriate prizes today. Here I leave some proposals to begin planting:

1) Who voted? This idea has placed particular emphasis Entrialgo Mauro (@ Tyrexito) and no doubt it is the first step to take. Ficomic should make public the list of everyone who has participated in the voting and the number of votes received by each work, and those elected have been left out. It is the only way to dispel the doubts that always surround these awards and to begin to provide them with prestige.

2) Who votes? And not just mean access to a reliable list of eligible work-exists but is not divided into categories, such as English and foreign works, works that can be eligible for award disclosure, reissues, etc. .- but the lack of clarity regarding certain concepts. How many threads and lapses have occurred in recent years in the category of "New Author"? How many fanzines and which have in the history of candidates for this category? Even more, why choose a category English works produced for the French or American market and later translated into English, buying the rights to the foreign publisher that has been funded? Why authors are English? By the same logic, Jorge González Darío Adanti or more that would not be eligible for best foreign labor, and yet the works produced here are much more representative of current English comics that are made from our country for Dargaud, Casterman or Marvel. And before anyone thinks I pose this question because I am an author who publishes directly to Spain and, of course, a coward who wants to be out of the way the competence of their best, those who themselves are capable of working for major international publishers I would say that as far as I'm concerned, I feel very good that we all continue choosing the same category, I have no problem. I just do not quite understand the logic behind this award, I'm not sure what we want to reward. And I'm not going to discuss it more reasonable, because, after all, if my reform proposal become reality, this issue national disappear completely. See next point:

3) What categories? This is, I think, one of the most urgent and necessary reforms. The categories are rewarding now are obsolete, belong to another world of comics is no longer current. For starters (and now refers to point 2), we should not make a distinction between national and foreign works works. This division always reminded me of the classification of ACB League scorers: one foreign and one English. It is as if we assume that the English never be able to be top scorers in general, so you create a special category where they are by themselves so they can stand out from the mediocrity to which they naturally aspire. No, gentlemen, comics are comics, and makes no sense to assess their quality by nationality. What good is good, whether here or in France, Japan and Mozambique. And the bad thing is not going to be less bad because it is a domestic industry that stands out about other things even worse. If we take seriously, we will measure ourselves against each other with the same yardstick, period. But more serious are the artificial Awards for "Best Screenplay" and "Best Picture", which are a legacy of the production chain model American (especially) and the great traditional industry (in general), but not under the dominant model of production between cartoonists working in our country, are the authors of On Thursday or graphic novel. I think the awards are to recognize primarily the uses and models of the country where they are granted, and that makes no sense to a poor translation of Eisner or Harvey to our comics. Much closer to our reality, especially today, is the model of Angouleme where you choose a series of works by different criteria, works that walk to the media as the outstanding from the annual supply. I have not raised exactly what names should be given to those comic highlights of the year, but I think that some awards such as 'Heritage' (a reissue unique) "Youth" (a comic book for kids), "Revelation" (a authors below a certain age, without other conditions doubtful), 'Document' (reality-based comic, etc.)., etc. (Again, he would issue to discuss how to realize them) could give an overview of fifteen or twenty titles that deserve recognition by the media and the public as the selection of best of the year. And, secondly, under what criteria objective quality can judge whether to have a reissue as The 12 Labors of Hercules Calatayud, a national graphic novel Winter Rock cartoonist or a large number Blacksad international and Diaz Canales and Guarnido? Each occupies its own space and defines its own characteristics. At the end of the day is with the intention of promotion and prestige with which prizes are awarded, and perhaps the promotion and prestige that are most useful if spread among a variety of works that do not compete, but cooperate in drawing a map full of comics today. Although, of course, always have to choose a work of the year, because we need that close strong and because the media need, but the work of the year, English or foreign, again, would the same thing, would be accompanied by an extensive suite of works highly recommended. From here and abroad, again, it matters. All that matters is that in the given year have been published in Spain.

4) secondary categories. Although the main thing is to choose the best comics of the year, a number of awards around the central court which also must be careful. And urgent to create an award for best webcomic, or, by now, almost be more appropriate for the best digital comic. The reason I do not consider the digital comic as a competitor for the overall prize is that I believe strongly in the value of comic material, and therefore consider that the digital comic is a comic book than through traditional and digital photography is something different conventional photography. A medium directly related, but different, neither better nor worse, and that it is time to recognize. Similarly, the category that I'm running this year, disclosure "would benefit from greater precision: competing authors of theoretical works with journalists and cultural figures? How you can compare the work with each other? The cultural dimension is increasingly comic aspects: exposure, testing, research, media, festivals, cataloging. They are all together, but should not be scrambled.

Term: do not go crazy with the awards. Have the value of, and authors like the same Entrialgo Mauro (as I've mentioned before) have been able to make a very long and brilliant career, with sales of the most enviable and prestigious, be without any of those awards. But why can not dismiss its value. May have little media coverage, but so far, the awards of Barcelona are determining who wins the National Comic Award, and that's another thing: it gives prestige, fame and awards grants sales. We could say that every major award carries a great responsibility.

And I repeat, I have come here. The issue is not given to me more and I will not extend it until exhaustion. Today was the day of the awards and that's it, that's it. We'll meet again on April 15, we congratulate the winners and we'll drink a drink to celebrate or to console. Tomorrow, for now, have to continue with the same: making comics, reading comics, writing about comics. As each day. Like every fucking day, thank God.

Disclaimer: I Entrialgo Mauro corrects itself, warning that it does actually won one of these prizes, just the New Author award in 1994.

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Just a few words of relief, and without much thought behind it, but with the testimonial of the urgency, on the other nominations in the Barcelona Comic Convention (that we care and are the subject of discussion because they are our awards ). First, the other nominees in the category that I choose I seem overwhelming: Yexus spent years writing about comics not only in their local area, but in virtually all journals that have existed in Spain for a long time Borja Crespo is the great promoter of national roost with its halls and countless activities, in addition to his journalistic work, and Pedro Porcel has a book out this year , swallowed by the abyss that was sorely needed in our country and that it is reference in our literature on comics. There are others who could be selected with the same merit as Tebeosfera components or Pepo Pérez, for example, but you can not stick to these three that have finally been chosen.

And once it has been clear, we go with another couple of things: my opinion on the candidates 'national' it can imagine anyone who has read what he had to write about it in an east entrance Blog yesterday. It is clear that what I think and think comic professionals in Spain are things going their separate ways. Which, incidentally, it seems perfect and healthy.

Now, what of the nomination for the awards for best foreign work seems to me scandalous. It so happens that 2010 was a year in our country graced with the publication of a handful of exceptional works. No good or arrogance, but exceptional of which is not an every year. Footnotes Strip, Joe Sacco, who can not be the best comic book of the year, it probably is one of the best comics of the past 25 years worldwide. And not even nominated. Shigeru Mizuki has been the great discovery of recent times, with two monumental books: NonNonba and Operation Death . And not even nominated. And Eddie Campbell has finally come Alec , which is one of the most daunting things that have been published in contemporary comics. And not even nominated.

Of course this is just my opinion, that's why I say. But hey, we're talking about work so extraordinary that one would think that their value is hardly controversial, and these awards are chosen by professionals, not the public. So, I am left wondering: what they read comics professionals in Spain? Sure, it is clear that mandorla, no.

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theoretical work

Thanks from here to all who have allowed their votes this year be invited to Barcelona as one of the nominated awards Comic. Opt, like Pedro Porcel, Borja Crespo Yexus and the prize to the disclosure, or what is the same, to an award for my work as a theorist and suppose that (implicitly) by graphic novel. Last year I was nominated as author Neighbor 3, the work I do with Pepo Pérez. Although not very common, is not the first time the same person receives nominations as creator and as a theorist. That is the case of own Pepo, which accumulated both awards in the same issue, the previous (and equally deserved to be a candidate this year.) I just want to take this occasion to say one thing: I do not distinguish between a job and another. For me, writing is writing, and therefore has the creative work of theoretical as creative theorist. Not conceive of thought without practice or practice without reflection. The one feeds the other, if we think that can be separated. So if wrote last year that he was elated when I found out I was nominated for 3 Neighbor, this year I am equally excited. Ends as it began: thank you very much for all your support.