Budapest Comics Festival

11th Budapest International Comics Festival reviews and photos

2015. május 18. - Bayer Antal

Several reports have been published about the May 10th festival:

- Euronews: Le Mag, broadcast in 13 languages
- Népszabadság, the dailyy paper with the largerst circulation
- Ekultura.hu, an internet portal dedicated to general culture
- Cink.hu, a popular internet portal

A selection pf photos, most of them taken by László Lénárd:

Stage A:

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Official opening and introduction of international guests: Lucie Lomová (Czech Republic), Typex (Netherlands), Pierre Wazem (Switzerland), Ptiluc (France), Fabio Celoni (Italy), Antal Bayer (host)

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Interview with Pierre Wazem (Switzerland)

wazem.jpgAntal Bayer: Comics were born in Geneva with Rodolphe Toepffer, but for quite some time, the French-Belgian school played the dominant role. You’re a member of that generation of young artists who has drawn attention to the French-language Swiss comics. Is there anything that is specific to Geneva, to „Suisse romande” in the work done by artists like Zep, Frederik Peeters, Tom Tirabosco or yourself?

Pierre Wazem: No, we do very different things, in very different graphic styles. You could never tell that Tirabosco, Peeters and me are neighbours. But we have often worked together, I’ve written scripts for both of them, for example.

AB: You were first published in Switzerland, then in France by Humanoïdes Associés. Was that an important change? Does a Swiss author become „more important” in the eyes of the Swiss readers if he’s published in France?

PW: My first work came out in Swiss fanzines, but my first professional publication was at Humanoïdes, in France. While still being published in France, I’ve remained faithful to Switzerland by proposing stories to Atrabile, for example. This is what I still do today. Currently, I’m published in France by Futoropolis and in Switzerland by Atrabile. Being published in France gives you an usurped aura of professionalism, as the quality of the Swiss publications is much better than that of many French publishers. This a kind of inferiority complex of small countries at work…

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Interview with Typex (Netherlands)

typex.jpgAntal Bayer: You were last here in November. What’s happened since? Are there any more versions of Rembrandt published?

Typex: So far Rembrandt has been translated from the Dutch into English, Spanish and of course Hungarian. As I hear from my publisher, there are plans for Turkish, Greek and Korean versions, but I don't know when they will come out. This month the French translation will be published by Casterman which is very exciting for me. France is the comic centre of Europe, I think, and the French edition is the most beautiful yet with a hardcover and a dustjacket, a sketchbook insert and an additional short story of Rembrandt and Saskia I did for a Dutch newspaper. So surprise your French friends with this one.

AB: Do you have to travel a lot when marketing Rembrandt? If yes, do you like it, doesn’t it take away too much of your time from work?

T: I'm really surprised by the amount of invitations I get, I'm not used to that at all! Ten journeys abroad in less then a year… It does take a lot of time from my work. I earn my living mostly as an illustrator, and because I worked so long on Rembrandt, I was as poor as him by the end of the book. But I enjoy traveling so much that I don't grumble, I think it's the most fun part of my work.

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Interview with Lucie Lomová (Czech Republic)

lucie-lomova-foto-robert-sednik.jpgAntal Bayer: You studied dramaturgy and even worked in this field for a year. Why did you leave this area, and why did you choose to return to the theatre in your comics?

Lucie Lomová: It was in August 1989 that I started working in theatre. Actually I wasn’t sure how long I would stay there, but three months later the revolution came and everything turned upside down. I spent one very nice season in the North Moravian Theatre in Šumperk, but then I decided to return home to Prague and become a freelancer, which wasn’t so easy then. I worked as a journalist for some time, but soon started doing comics as a main job. I still like the theatre very much and feel close to it, not only as an art form, but I love also the world behind the scene, where people have very close relations and are completely dependent on mutual cooperation and trust. Working together on a performance has its ups and downs but it is obviously completely different from working alone at home as a comic author. I have some personal experience both as a theatrical creator and critic, so when I was asked to make comics for one theatre magazine, naturally I decided to choose this milieu. For the first time I made a comics called Tyl’s guard, and when they asked me again, I decided to try a detective story linked to the theatre environment.

AB: By the way, how did you start out in comics? Were your influences mainly Czech or foreign? Who were your favourite characters or artists, and who do you like now?

LL: I have been drawing and writing since childhood. I loved the Punťa comics from the 1930-s inherited from my mom, and also a milestone of Czech comics, the Rychlé šípy series (Speed Arrows, a group of five boys experiencing different adventures) by Jaroslav Foglar (script) and Jan Fischer or Marko Čermák (drawings), which are still very popular. When I was five, our family moved to Chicago because my father, who is a parasitologist, got a job at the university there. I discovered colour TV with long Sunday morning cartoon shows and American comics magazines for children and I fell under their spell. After a year in the US, we returned to Czechoslovakia in 1970. This felt like a cold shower and I started having dreams about going back. I think this American year had a big impact on me, but I was influenced by everything I saw and read and experienced, I can’t pick out just a few things. I’ve always loved Art Nouveau illustrations like those by Artuš Scheiner, but also Czech illustrators Radek Pilař, Helena Zmatlíková and of course Josef Lada, who is probably the most famous Czech illustrator. You may know his drawings for Good soldier Švejk by Jaroslav Hašek.

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International guests of the 11th festival

This is a short presentation of the international guests of the 11th Budapest International Comics Festival, May 10th 2015.

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Pitluc (France)

Ptiluc on Lambiek Comicopedia
Ptiluc on Wikipedia (French)
Official website

Volume 1 of his La Foire aux cochons (Disznóól) was publishen in Hungarian a few years ago. At the festival, a special edition of his works will be available.

Ptiluc's participation at the festival is supported by the French Institute of Budapest, the Latitudes French language bookshop and the Titkos Fiók publishing house.

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Pierre Wazem (Switzerland)

Wazem on Lambiek Comicopedia
Wazem on Wikipedia (French)

Promenades (Barangolások), his first Hungarian book will be published for the festival.

Wazem's participation at the festival is supported by the Pro Helvetia cultural foundation.

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Fabio Celoni (Italy)

Celoni on Lambiek Comicopedia
Celoni on Wikipedia (Italian)

Dylan Dog artist Celoni's short story (Uno, nessuno e centomila) will be included in volume 3 of the Hungarian Dylan Dog series that comes out for the festival.

Celoni's participation at the festival is supported by the Italian Cultural Institute of Budapest and his Hungarian publishers.

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Lucie Lomová (Czech Republic)

Lomová on Lambiek Comiclopedia
Lomová on the Czech literature portal

Her graphic novel, originally published in French as Sortie des artistes, will be published for the festival under the title Lőttek az előadásnak. Her first Hungarian publication was Tyl's watch in the Papírmozi 7 anthology.

Lomová's participation at the festival is supported by the Czech Center of Budapest.

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Typex (Netherlands)

Typex on Lambiek Comicopedia
Typex on the Letterenfonds website

His Rembrandt graphic novel was published in Hungarian in October 2014, when he visited Budapest for a signing tour. A returning visitor of the festival, he was part of the Dutch delegation in 2011.

Typex' participation at the festival is supported by Nederlands Letterenfonds and the Libri publishing house.