CRITICAL - the Defender of animals, anti-militarist, jostling the hierarchy… The Centre Pompidou dedicates, until April 10, an exposure to the character in Franquin, the incarnation of the spirit of bold and subtle protest of its creator.
The fantasy and the poetry have elected domicile at the centre Pompidou, precisely, the Public Information Library (BPI) of the Centre Pompidou, Paris. Until 10 April, an exhibition is devoted to Gaston Lagaffe. Appeared stealthily in the pages of the journal Spirou, to plug the hole of a column on February 28, 1957, the character facetious of Franquin has continued to grow and will celebrate in 2017, the 60-year-old.
The “hero without a job” very quickly became one of the major figures of the journal, under the brush of Franquin and Jidéhem. Fag in his mouth, lanky, and tricked out with its legendary green sweater, Gaston Lagaffe is needed by his spirit, leisurely and whimsical and, of course, by his natural propensity to set foot in the flat.
Franquin. Gaston – beyond Lagaffe (catalogue of the exhibition at the BPI) by Franquin Greg, Jidéhem © Dupuis 2016.
But if the exhibition Gaston, beyond the gaffe celebrates this awkward beautiful, she also has the ambition to show him a facet is the most subversive. A subversion fine and delicate, distilled watermark, but also a humorous poetic without great wickedness. “The strength of Gaston is that they have not been too squeaky. Have managed to keep the tone light. Unlike a speech, more of an activist,” explains Jérôme Bessières, co-curator of the exhibition.
Tower to tower green, a fervent defender of animals, anti-militarist, and hellion hurting its hierarchy, Gaston became the herald of the light of Franquin on his time, his alter-ego of paper: “Gaston is not only by its comic force, he is the big brother of the 1960s that ad may 68.”
“It is the incarnation of the spirit of Franquin, the bearer of the gaze of the one who has understood his time. It is built more than any other with the changes of the 1950s, 1960s, and 1970s: the pacifism, the advent of advertising, the evolution of the world of work…”, continues Jérôme Bessières.
original Drawings, facsimile plates in colours, restored photographs, audiovisual documents: not less than 300 pieces are presented to re-read this masterpiece of comic book comic. “The exhibition explores the place of the character in modernity: one of the topics discussed, but also the artwork of André Franquin, the gaze of an artist who wants to develop its own sensibility and its subtle gravity.” Cleverly thought out, the design distills widely the word of Franquin that punctuates the journey back in time through cartels spread between the boards.
Available in four thematic sections, it presents the birth of our hero going at a time when Lucky Luke, the cowboy, Buck Danny aviator or Gil Jourdan detective were the glory of Spirou. All had a function. In February 1957, Gaston is a simple mouth-hole chart. It will become a full-fledged character in December of the same year. His gags and his imagination will prevail soon for the accession of the readers.
Because in Franquin, the secondary characters are far from being harmless, the exhibition gives a large space. And splint to show how the editors-in-chief Fantasio and Prunelle, ‘moiselle Jeanne’, Abacus, Aime de Mesmaeker, friends Jules and Bertrand Labévue and especially the agent Longtarin to which Gaston is going to be stubborn, has to defy his authority, have become the archetypes of a society in the midst of a revolution.
Behind the fantasy of Gaston will profile the look of Franquin the company of his time. Jacques Collet / AFP. photo Credits : JACQUES COLLET/AFP
Franquin is a man who observes, and is aware of the profound changes of his time. The comic in particular is known for in the 1970′s, a frenzy of creative revolutionary. The shackles explode. Our designer change of tone. Gaston is fabric and slides to a speech be more of an activist, a public more adult: “The series of direct descendants of Gaston, Ideas blacks born in 1977 in the supplement of Spirou, Le Trombone illustré.”
A comparison of boards of Gaston and thoughts illustrates this (r)evolution. Le Trombone illustré welcomes then Bilal, Brétécher, or Gotlib. The tone necessarily hardens and The journal de Spirou will stop the adventure at the end of a few months. Franquin is then published his thoughts, , which he defines as his “Gaston dipped in the soot – “ in Fluide glacial… The naivety and absurdity have disappeared. But Gaston is eternal.
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