Hagai Palevsky Reports on the COMICS Scene

Comics Unbound: The Unorthodox Journey Through Time at Pompidou

Upon stepping into the Comics 1964–2024 exhibition at Paris’s Centre Pompidou, visitors confronted a startling tableau. The curators had chosen to launch with an expansive view of alternative comic scenes worldwide. This bold move included Japanese Garo, alongside pages from Abe Shin’ichi, Katsumata Susumu, and Tsurita Kuniko. French publications like Hara-Kiri and the iconic R. Crumb also featured prominently.

This strategic choice to highlight the alternative raised eyebrows. It challenged the notion of a cohesive mainstream. Although curators play it relatively safe, this approach questions the transformation of disruptors into the establishment. Names like Garo, Zap, and Hara-Kiri once pushed boundaries but now find themselves absorbed into the mainstream. This exhibition cleverly attempts to balance transgression with acceptance.

Exploring Themes and Narratives

The exhibition unfolds through broad thematic clusters. One section, Literature, delves into comic adaptations of prose. Here, Alberto Breccia dazzles with his collage of Grimm-inspired narratives. Another section, Laughter, delivers a humorous punch with contributions from Franco-Belgian masters like Franquin and Morris. American greats like Watterson and Schulz also hold well-deserved spots.

These organizational choices assert the exhibition’s thesis: comics as a decentralized network of discourse. By starting in 1964, the exhibition cuts through comic history’s clutter, presenting a mature art form. It dismisses national traditions, favoring patterns over isolated instances. Only Spiegelman’s Maus finds a dedicated space, else the focus is on larger narratives.

Navigating Complex Critiques

Certain sections, however, fall short of the curatorial statement. The Cities section highlights Seth’s Dominion diorama, an urban fantasy piece. Its nostalgic charm contrasts sharply with real-world issues like gentrification or homelessness, both noticeably absent here. This raises questions about the political depth of the exhibition’s vision.

There are also quirks in what the exhibition chose to include and leave out. While just a single page from Watchmen stands in for British comics, many beloved titles are missing. Superheroes linger in a brief corridor, with predictable choices like Miller and Kirby. Yet, Marie Severin finally gains due recognition.

Balancing Time and Relevance

A surprising observation concerns the overwhelming presence of creators over fifty. Most exhibited artists have passed away, missing vibrant voices of today’s comics world. While understandable from a branding viewpoint, one wonders about the future. Where are new talents like Kevin Huizenga or Eleanor Davis? Their absence invokes a yearning for fresh perspectives.

Despite its shortcomings, the exhibition remains a spectacle. Personal reflections on museum visits run parallel to this complexity. Comics exhibit not just as artworks but as pathways to immersive storytelling. Originals like those by Druillet overwhelm physically, challenging viewers beyond their pages.

The Culmination of Abstract Excellence

Comics 1964–2024 employed corridor structures with no fixed paths. Visitors could meander through Futurism, History and Memory, and Fright sections at their will. The closing act, Geometry, departed from narrative traditions to celebrate pure form. Jochen Gerner’s RG provided a broad dissection of Tintin. In contrast, Yokoyama Yūichi’s works leaned into mechanical efficiency, minimizing human focus.

Geometry stood as a fitting conclusion, eschewing storytelling in favor of formal experimentation. It blurred lines between ingrained comic legacies and stand-alone masterpieces. The exhibition ended with a statement: comics hold myriad possibilities—boundaries forever shifting.

In the end, it’s challenging to encapsulate Comics 1964–2024. Its aesthetic scope was among its strengths, just as its constraints brought it down. Nonetheless, its earnest grappling with the sprawling nature of comics left a mark. Whether in triumph or failure, this exhibition sparked conversations, paving the way for the next daring curator to explore.