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Artecontexto, Arte, Cultura Y Nuevos Medios Núm. 10, 2006

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Artecontexto, Arte, Cultura Y Nuevos Medios Núm. 10, 2006 AARTE CULTURAR NUEvos MEDIosTECoNTEXARTT CULTURE NEWo MEDIA DOSSIER = MUNDO CÓMIC / COMIC WORLD: CARLES SANTAMARIA • JOHN CARLIN • TRINA ROBBINS PETER FRANK • JORDI COSTA • ÓSCAR SECO • CHÉFER // ENTREVISTA / INTERVIEW: HAL FOSTER + NICOLA DE MARIA IX BIENAL DE LA HABANA / 9th HAVANA BIENNIAL + CIBERCONTEXTO + INFO + LIBROS / BOOKS + CRÍTICAS / REVIEWS Editora y Directora / Director & Editor: Colaboran en este número / Contributors: Alicia Murría Carles Santamaria, John Carlin, Trina Robbins, Jordi Costa, Peter Frank, Juan Sebastián Cárdenas, Joana Neves, Santiago B. Subdirectora / Senior Editor : Olmo, Natalia Maya Santacruz, Antonia Hirsch, David Liss, Ana Carceller Pablo Helguera, Bárbara Perea, Eva Grinstein, Agnaldo Farias, Coordinación en Latinoamérica Filipa Oliveira, Juan Antonio Álvarez Reyes, Mariano Navarro, Latin America Coordinator: Alicia Murría, Alanna Lockward. Uta M. Reindl, Vicente Carretón, Argentina: Eva Grinstein Pedro Medina, Francisco Baena, Mónica Núñez Luis, México: Bárbara Perea Menene Gras Balaguer, Luis Francisco Pérez, Rosa Pera. Equipo de Redacción / Editorial Staff: Especial agradecimiento / Special thanks: Alicia Murría, Natalia Maya Santacruz, Ana Carceller, Santiago B. Olmo. Melissa Goldberg, UCLA Hammer Museum, [email protected] Ediciones B, Chéfer y Horacio Lefèvre. Asistente editorial / Editorial Assistant: Natalia Maya Santacruz Directora de Publicidad / Advertising Director: Marta Sagarmínaga ARTECoNTEXTo ARTE CULTURA NUEvos MEDIos ART CULTURE NEW MEDIA [email protected] ARTECONTEXTO arte cultura nuevos medios Directora de Relaciones Internacionales es una publicación trimestral de ARTEHOY Publicaciones y Gestión, S.L. International Public Relations Manager: Elena Vecino Impreso en España por Eurocolor Producción gráfica: El viajero / Eva Bonilla. Procograf S.L. Administración / Accounting Department: ISSN: 1697-2341. Depósito legal: M-1968–2004 Carmen Villalba [email protected] Todos los derechos reservados. Ninguna parte de esta publicación puede ser reproducida o transmitida por ningún medio sin el permiso escrito del editor. Suscripciones / Subscriptions: Pablo D. Olmos All rights reserved. No part of this publication may be reproduced or [email protected] transmitted by any means without written permission from the publisher. Distribución / Distribution: [email protected] © de la edición, ARTEHOY Publicaciones y gestión, S.L. ACTAR © de las imágenes, sus autores © de los textos, sus autores [email protected] © de las traducciones, sus autores © de las reproducciones, VEGAP. Madrid 2006 Oficinas / Office: Tel. + 34 913 656 596 3 Esta publicación es miembro de la Asociación de Revistas C/ Santa Ana 14, 2º C. 28005 Madrid. ESPAÑA Culturales de España (ARCE) y de la Federación Iberoamericana www.artecontexto.com de Revistas Culturales (FIRC) (Patro) Diseño / Design: Jacinto Martín El viajero www.elviajero.org Hermanas Gilda Traducciones / Translations: ARTECONTEXTO reúne diversos puntos de vista para activar el debate Dwight Porter, Juan Sebastián Cárdenas, y no se identifica forzosamente con todas las opiniones de sus autores. VÁZQUEZ ARTECONTEXTO does not necessarily share Benjamin Johnson. © the opinions expressed by the authors. 5 Primea página / Page One ALICIA MURRÍA SUMARIO DOSSIER: MUNDO CÓMIC / COMIC WORLD CONTENTS 6 Con viento en las viñetas With The Wind in Their Frames CARLES SANTAMARIA 16 Garabatos y diagramas: el encuentro del arte y los comics en la cultura norteamericana del siglo XX Doodles and Diagrams: the collision of art and comics in 20th century American culture JOHN CARLIN 36 Sobre hombres ciegos y mujeres talentosas: Una breve historia de las mujeres en el cómic norteamericano Of Blind Men and Talented Women: A brief history of women in American comics TRINA ROBBINS 34 El arte que cayó del espacio (o emergió del subsuelo), notas a propósito de Óscar Seco The Art that Fell from Space (or Emerged from Underground) Notes on Óscar Seco JORDI COSTA 42 Masters of American Comics. Hammer Museum & Museum of Contemporary Art de Los Ángeles Masters of American Comics. Hammer Museum and The Museum of Contemporary Art, Los Angeles PETER FRANK 48 Intervención especial de Chéfer Special Intervention by Chéfer 54 Nicola De María. La pintura como ciencia, investigación, intensidad, energía Nicola de Maria. Painting as science, investigation, intensity, energy JOANA NEVES 60 El Kitsch de Bush y la alegoría fracturada. Una conversación con Hal Foster Bush Kitsch and Broken Allegories. A Conversation with Hal Foster JUAN SEBASTIÁN CÁRDENAS 66 La IX Bienal de La Habana y la ciudad 9th Havana Biennial and the City SANTIAGO B. OLMO 84 Cibercontexto 70 Info Portada / Cover Tiger Boy & Company en Jack Q. Frost. 88 Libros / Books December nº2, 1966. By Harvey Pictures Magazine, INC. 90 Criticas de exposiciones / Reviews Sparta Illinois Editorial 310© OSCAR SECO I need a new job PAGE ONE ComicWorld: The Comic and its Sphere of Influence To tell stories using a linear series of drawings is not exclusive to the comic, nor is it new by any means. The technique dates back to the cave paintings, and reached a highly elaborate form in ancient Egypt. It has also been found on Mesopotamian monuments, Greek ceramics, funeral vaults and murals, Christian altar-pieces since pre-Romanesque times, and in countless artistic and non-artistic manifes- tations, thanks to its functional character. Even today, the form is often used with didactic aims where illiteracy or semi-literacy is the norm. But this formula reached its pinnacle in the comic pages and their many offshoots. Initially targeted at children, comics would soon invade the world of adults with their infinite variables, and in the course of the 20th century they would be lifted from a sub-genre status to one of full respectability, with formulations that could stand unbowed alongside “serious” paint- ing (via Pop Art) fostering multiple cross-fertilisa- tions in the territory of the visual arts to which, let us not forget, they quite rightly belong. To address the history of the comic is to examine these fruitful relations with painting, and this is necessary in order to understand the culture of our time in which the comic has taken root and produces visual idioms which appear to be –and sometimes actually are– quite novel. Our dossier in this issue devoted to the comic –to which we will return, from other perspec- tives– includes a look at its birth and history, by Carles Santamaria; Trina Robbin’s feminist and criti- cal view, who reminds us some great female cartoonists; the dialogue between the comic and paint- ing, as overheard by John Carlin; an appraisal of the Spanish painter Oscar Seco by Jordi Costa; and a tour with Peter Frank of the great comics exhibition hung on the Hammer Museum. We invited Chéfer, a young Argentine artist, to publish his works in our central pages, and in this issue our CiberContexto section explores the Internet’s vast offerings of comics and documentation Capitán Trueno [“Captain Thunder”, a Spanish comic superhero], that icon of 20th C. Spanish cul- ture, is now a half-century old, and even our legislature has paid tribute by endowing an annual National Award for Cartooning Art, in eloquent recognition of a segment of artistic creation which influ- enced the childhoods of many people on our planet (and allow me here to pay my own respects to Vázquez and the Gilda sisters), not to mention the adults who remain hooked, from the young Manga fans to the older devotees of the superheroes of the classic American school, or any other of the thou- sands of styles and artists that populate this vast genre. Happy Birthday Capitán Trueno! Alicia Murría PRIMERA PÁGINA Mundo Cómic: El cómic y su esfera de contaminaciones Contar historias mediante la sucesión lineal de dibujos que en forma de episodios desarrollan la acción no es algo privativo del cómic ni tiene su origen en épocas recientes; ha sido un recurso presente ya en las pin- turas rupestres y explorado a fondo desde los orígenes del arte egipcio, aparece en las estelas mesopotá- micas, en la cerámica griega, en sarcófagos y pinturas murales, en los retablos desde época prerrománica y en un sin fin de manifestaciones artísticas y extra-artísticas gracias a su carácter funcional; todavía hoy se utiliza en zonas de baja alfabetización con finalidades didácticas. Pero esta fórmula encontró en el cómic, o la tira cómica, su particular paraíso, dirigido primero hacia la población infantil, pronto invadiría el mundo adulto con sus infinitas variables y vendría a convertirse en el pasado siglo, desde su originaria posición de subproducto popular, en género respetable y respetado cuyas formulaciones se insertaban sin complejos en el ámbito de la pintura “seria” (Pop Art mediante) propiciando múltiples contami- naciones y aperturas en un territorio del cual, no se olvide, procede y al que pertenece. Abordar pues la historia del cómic, por un lado, y acercarnos a esas fecundas relaciones con la pintura resulta del todo pertinente si pretendemos entender la cultura de nuestro tiempo y dónde asientan sus raíces manifestaciones de hoy que parecen –y a veces logran ser– nuevas. Hemos reunido en este dossier de ARTECONTEXTO dedicado al cómic –al que volveremos desde otras perspectivas– textos que analizan su nacimiento e historia (Carles Santamaria); una posición feminista y crítica empeñada en rescatar del olvido –también en este ámbito se repite– a importantes creadoras (Trina Robbins); su diálogo con la pintura
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