Articles from and news about the premier and longest-running academic journal devoted to all aspects of cartooning and comics -- the International Journal of Comic Art (ISSN 1531-6793) published and edited by John Lent.

Showing posts with label Belgium. Show all posts
Showing posts with label Belgium. Show all posts

Sunday, December 1, 2024

Exhibition in Photos: The Inaugural Collective Exhibition of Martel BXL

Exposition Collective Inaugurale. Brussels, Belgium: Martel BXL. November 16 - December 7, 2024.

by Nick Nguyen


If Brussels considers itself as the capital of comics, then a new player has set up shop in town to provide an energizing boost to that claim. Martel BXL is the second comics art gallery founded and directed by Rina Zavagli, whose Galerie Martel in Paris has steadily and rightfully earned itself an influential reputation since opening in 2008. Zavagli's exhibition programming over the years has distinguished itself with an eclectic internationalism in scope and stylistic range that recalls the vision and spirit of RAW, the seminal comics anthology magazine edited by Francoise Mouly and Art Spiegelman. That and the combination of Zavagli's refined artistic eye, her formidable relationship-building skills, her deep respect for the labour of the artist, and a generous approach to hospitality have established Galerie Martel as a must-see stop for the comics cognoscenti on any trip or layover in Paris. In addition, the gallery's vernissages are intensely attended social events that jam pack its humble space to the point of spillover outside into the small street that bears its name.

Not content to simply rest on the lofty laurels that she has earned, Zavagli has extended her operations with this new Brussels location that aims to carve out its own identity while maintaining the brand consistency with the Paris gallery. This dual operation is a growth milestone that is subtly signaled with the understated adoption of a new name and logo to mark this shift. Jettisoning the word "Galerie" and de-emphasizing the emboldened "art" in "Martel" removes the tautological indices to its function and location so that the Martel name now confidently stands on its own.    

To inaugurate Martel BXL, Zavagli wisely chose to present a selling exhibition featuring the work of 40 different artists who have each collaborated with her at one time or another over the years at Galerie Martel. It is a fitting, intelligent and strategic approach to announce her arrival on the Brussels scene as the exhibition pays tribute to the past, present and future of Zavagli's gallery experience. The stable of artists affiliated with the Martel banner represent a mix of established comix veterans and maturing bande dessinée contemporaries who offer access to bodies of work that shape a certain idea of the international history of comics art championed by the gallery. This group exhibition also serves as an amuse bouche for a Brussels comics art community steeped in Franco-Belgian comics tradition to anticipate future collaborations to be presented in Martel BXL  

The lineup of artists for the inaugural exhibition as announced on the poster and invitation cards.

The announcement of an exhibition of such collective scope also includes the consideration that it takes an appropriate amount of space to display the work of all these artists. It is in this spatial respect that Martel BXL immediately distinguishes itself from its Paris predecessor as it offers over twice as much display real estate. Situated in the socially heterogeneous commune of Ixelles, the gallery occupies the main floor of a classic maison de maître (townhouse mansion) whose window facade faces out onto one of the busiest thoroughfares in its neighbourhood.    

 The street view of the gallery offers even the most casual of passersby the chance to clearly see the depth of the space from the entrance right through to the back garden. 

The sheer length of the gallery corridor provides the sufficient space to showcase 43 individual pieces with enough breathing room between them so they can stand alone on their own merits while still dialoguing with their neighbors. Each piece was framed to respect its individual style and physical attributes so that the only aspect that was uniform about them all was their eye-level placement along the walls. Each piece was also presented without any immediate metadata to indicate authorship, materiality, or date and context of creation, allowing visitors to engage with them on purely visual and aesthetic terms before being moved to interact with the very knowledgeable and amiable gallery manager Simone Mattotti to discover further information.   

Looking into the gallery from the street

 

Looking toward the street from inside the gallery at its midway point.


From the midpoint of the gallery looking toward the back of the gallery


Looking toward the street from the back of the gallery, where a staircase leads to the storage area.

At the midpoint of the gallery is a central space that widens the corridor to become a room with larger floor space to include a coffee table where BD albums, catalogues, portfolios and sketchbook collections by the exhibited artists are available for browsing. This room also offers an open passage to the working area of the gallery which is situated next to an enclosed open air garden patio, the first of two that were designed by Dutch graphic artist Rudy Vrooman (the second garden is at the back end of the gallery, near the hospitality area).     

Side garden patio to the left of the staircase

 

Garden patio at the back end of the gallery, behind the hospitality area.

The coffee table at the central room of the gallery.
 

There's no question that Martel BXL has come out of its starting gate with a bang while still being attentive to its integration into the Brussels arts scene.  The gallery's artistic identity is so clearly defined that its arrival contributes a unique major presence to the city's cultural landscape without treading on the toes of other established comics art galleries. In this spirit, Martel BXL's immediate plan to follow up on the inaugural group exhibition is to acknowledge and highlight their Belgian artistic collaborative partners. The final day of the group exhibition on 7 December will welcome Herr Seele of Cowboy Henk fame for a special dédicace/book signing session. A week later, the first monograph exhibition to be held at Martel BXL will showcase the work of Eric Lambé, whose newest book ANTIPODES in collaboration with author David B. has just been announced as part of the official selection for the 52nd edition of the Festival International de la Bande Dessinée at Angoulême.

Following this path, the future augers well for the fortunes of Zavagli and her Martel enterprise as Brussels, and by extension Belgium, offers whole new opportunities and markets for collaboration, partnerships and collecting. There is little doubt that Martel BXL, like Martel Paris, will soon feature as a new must-see stop for comics lovers on any trip or layover in the capital of Europe. 

-Nick Nguyen

All photos taken by Nick Nguyen. 

PS. Below are photos for the curious completist wishing to get an idea of the arrangement and presentation of the 43 pieces that made up the group exhibition.

The full list and description of the works is found here.

Front left wall: Chris Ware, Guido Crepax, Thomas Ott, Charles Burns


Front left wall continued: José Munoz, Nina Bunjevac, Anke Feuchtenberger, Pablo Auladell


Front left wall continued: Enzo Borgini, Dominique Goblet, Maneule Fior, Thierry van Hasselt


Front right wall: Fred, Art Spiegelman, Lorenzo Mattotti, Eric Lambé


Front right wall continued: Simon Hanselmann, Alex Barbier, Miroslav Sekulic-Strava


Front right wall continued: Gabriella Giandelli, Icinori, Brecht Evens 

Right wall column (front): Franco Matticchio


Right wall column (side): Joost Swarte


Front left column (side): Giacomo Nanni


Right wall of central room: Tomi Ungerer (left)


Central wall of central room: Javier Mariscal, Yann Kebbii, Richard McGuire


Open passage wall of central room: Emil Ferris, Florence Cestac


Left wall of central area: Gary Panter, Brecht Vandenbroucke, Zéphir, Miles Hyman


Left wall of central area continued: Herr Seele


Left wall above staircase: Ludovic Debeurme, Hugues Micol


 Back left wall in front of hospitality area: Stefano Ricci, Anna Sommer

Saturday, July 6, 2024

Book Review: Noodles, Rice, and Everything Spice: A Thai Comic Book Cookbook

reviewed by Cord A. Scott, UMGC Okinawa

Christina De Witte and Mallika Kauppinen. Noodles, Rice, and Everything Spice:  A Thai Comic Book Cookbook. New York:  Ten Speed Graphic, 2024. 208 pp. US $22.99. ISBN:  978-1-9848-6160-3. https://www.penguinrandomhouse.com/books/709867/noodles-rice-and-everything-spice-by-christina-de-witte-and-mallika-kauppinen/

For the culinary curious, but challenged, any sort of cookbook can be fraught with anxiety and frustration. What might seem simple on paper may turn nightmarish in the kitchen. However, the origins of food are far more intriguing for readers and culinary practitioners. For Christina De Witte and Mallika Kauppinen, the goal of combining food origins, recipes, and an ease of explanation is in Noodles, Rice, and Everything Spice. As with so many books, it is a labor of love, as well as a long creative process to the final product.

In the first part of the book, the authors describe the manner in which they came to work on this project. For Christina, it was growing up as a mixed-race woman in Belgium. While she spoke Flemish most of her life, she often felt not quite comfortable in either her European life, or that of her Thai origins, of which she knew very little. It was only after she became an adult that she decided to embark on a quest to learn her mother’s language, which led her to an online teacher, Mallika (10).

Mallika’s story was interesting and meandering. She grew up in southern Thailand and started assisting in her family restaurant early on. She moved to Bangkok and worked at an aunt’s restaurant through adulthood. As an adult, she worked as a travel guide, and while in Finland, she met her now husband. After establishing a new life, she started cooking for neighbors, started a restaurant, and then took on virtual students for a Thai language class, which is where the two met.

The first part of the book describes the general areas of Thailand and how the food is a reflection of the local interaction with related cultures. For example, southern Thai food is spicy and heavily influenced by Malay and Indonesian culture, while the northern area has a Chinese influence. The Northwest is influenced by India and Bangkok is metropolitan and almost unto itself (17-21). From this point, the book goes into a variety of dishes made with specific ingredients. These form the chapters and are reflective of the areas in which the recipes originated.

From this point, the book is divided into chapters on ingredients, snacks and starters, noodle dishes, rice dishes, curries and soups, desserts and drinks, and finally, staples of Thai cooking. The first section, which discusses equipment, as well as Asian spices and ingredients, emphasizes the importance of cooking devices such as rice cookers (for ease), woks (for a traditional feel), as well as items, such as a mortar and pestle, for properly blending some of the ingredients. The authors also note what ingredients work best, which can be frozen for later use, and which sauces are authentic. Of particular interest was the “three buddies” spice (34-35), consisting of cilantro, garlic and peppercorn, which is frequently used in Thai cooking. The use of spices is another area of detail, as those not overly familiar with Thai cooking may shy away from chilies. The authors note that it often is left to the cook to decide, but, overall, the chilies bring a balance of flavor to the dish (36-37).

From this point, the descriptions become more precise, and again offer historical context. In the noodles chapter, some noodles originate from China and their texture and style may alter the presentation of the dish. There is also a historical overview of the flooding in Bangkok in 1942, when roadside restaurants were able to make dishes that all could quickly get, and were delicious at the same time.

The chapter on curries even offers some humor. For example, it is recommended to wear either regular work goggles (or even swim goggles!) when preparing curries. The pounding of the chilies causes some to fly out and it runs a risk of getting into the eyes. The cosmopolitan nature of Thai food, especially from Bangkok, is expanded with the brief history of Maria Guyomor di Pinha. She was of mixed heritage and introduced egg yolk desserts from Europe to the Thai community. When combined with other items, such as papayas and pineapples, introduced from Portugal (23), it has given Thai food a unique taste profile and quality that is renown the world over.

This book is a lively read, with effective explanations of the recipes. The preparation may inhibit those who are culinarily challenged (reviewer included), but, at the same time, does have one minor issue:  substitutions for items such as fish sauce or squid sauce when preparing the food. This may frustrate those who have allergies to shellfish. Additionally, there are few truly vegetarian dishes, for those who do not consume meat. The assumption is that one would cook the dish without meat, but this will also alter the original taste. However, this was one of the few issues that was noted.

On the whole, the book was a fast, engaging read that offers a new way to educate people on the history of food from a specific region, while offering visual references to the cooking process. In the end, there is also the additional engagement of not just reading but making the food. And in the end, it’s not only nourishment for the brain, but also the body.

 


Sunday, June 25, 2023

Not All Heroes Need Museums: Brussels’ Marc Sleen Museum Closes

Photos by Mike Rhode, January 2019

by Wim Lockefeer

Somewhere in the 70s, when people all over the world started seeing comics as something more than "just for kids," early cognoscenti of comics in Flanders (the Dutch-speaking part of Belgium) decided that their region's own comics tradition needed recognition on its own (as opposed to the generally more-accepted Franco-Belgian school, which was largely francophone in origin.).

Typically, Flemish comics were newspaper-based, serialized stories in a comedic style, and its founding fathers were Willy Vandersteen, the creator of Suske & Wiske, Marc Sleen, one-time Guinness World Record holder for most prolific cartoonist, and Bob De Moor (even though he predominantly worked for the Studios Hergé). Later, the Pantheon was expanded with people like Jef Nys (Jommeke), Robert Merhottein (Kiekeboe) and Hec Leemans (Bakelandt and De Kampioenen, the current best-selling comic in Flanders).

Of the three, Vandersteen and Sleen were real cultural giants, well-known by even the most casual comics reader, regulars in the mainstream media, and bestowed with all kind of honorary titles. And both wanted to continue their legacy with a museum. Vandersteen's studio was transformed in an experience museum for kids, and in 2009 Sleen's own museum opened in the Rue des Sables in Brussels, across the street from the famous Belgian Comics Centre.

Stallaert dedicace in book in the giftshop

By then, Sleen had already concluded his longest-running series (Nero, in 2002), a decade after he had delegated the artwork for the comic to collaborator Dirk Stallaert, limiting his own contribution to scripting the actual stories. It must be said, by then Nero (and Sleen) already was a bit of a faded glory, cherished by an older, nostalgic audience, but without much of the social and cultural relevance it used to have.

The reason for this was that Sleen's stories were typical newspaper strips, realized without too much of a plan or script, and loaded with topical references. The stories were highly entertaining, often very funny romps with a lot of smashing and running, but also with keen social and political satire and criticism. Published as albums, though, they seldom aged well, as the references often faded with the times.

Additionally, while Vandersteen did create a readership for himself in the French-speaking part of the country, attempts to introduce Nero to his francophone compatriots proved more difficult, and the series was halted in 1987.

It's hardly a surprise that the Marc Sleen Museum never really got off the ground.  Since its opening, it was never able to welcome the expected number of 25,000 visitors, and it was hardly able to break even. Support by the Brussels government (200,000 euros annually) kept the organization afloat for a while (even though much of the money was used for an artist-in-residence program) until it was announced that that would end by 2022, when Sleen's centennial would be celebrated throughout the year. The Museum itself closed to the general public on May 31, 2023.

The old Le Peuple building that used to house the Museum, will remain the property of the Marc Sleen Foundation, and his (recreated) studio will remain open to the public, albeit only upon request. Starting in the summer of 2023, the Comics Museum will rent most of the rooms for specific exhibitions and events, specifically focusing on the introduction of new comics talent. 

 

As is the case with the building, the objects that were part of the Museum's main exhibition remain with the Marc Sleen Foundation.

At the moment of writing, the website for the Museum at https://www.marcsleen.be/ reads as a 2022 time capsule. A virtual tour of the Museum can be seen at https://my.matterport.com/show/?m=e3wMeeHrPpm The still-extant Suske en Wiske Museum’s website is https://www.suskeenwiskemuseum.be/