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Hoodoo Voodoo
HOODOO VOODOO es la primera antología de FOSFATINA. 192 páginas a todo color en las que participan 21 autores que guardan relación entre sí por técnica, contenido, idiosincrasia, y referente. Todos ellos hacen de motor para la escena gráfica de vanguardia de este país, donde conviven historias creadas para la ocasión y algunas maravillas que no podían dejar de incluirse en este masivo proyecto. Además el libro goza de un prólogo teórico, dos magníficos ensayos de Octavio Beares y Gerardo Vilches.
«Las autoras y autores aquí presentes representan a una generación que no teme romper las normas, que no siente nostalgia ni necesidad de respetar ningún canon. Alejados de las tradiciones narrativas que han dominado la historia del cómic internacional, se acercan a este medio sin prejuicios, desde la multidisciplinariedad y la experimentación.
En los márgenes de una industria de la que no parece querer participar, la vanguardia del cómic español cuestiona el relato clásico, los modos convencionales de representación y los estándares visuales figurativos para sumergirse en nuevos territorios: el formalismo, lo icónico, lo naíf, la abstracción pura. Profundizando en sus raíces y expandiendo sus límites, demuestran que el cómic es un medio en permanente transformación, cuyas posibilidades exceden el simple entretenimiento y permiten llegar allí donde la imaginación nos lleve.»
Gerardo Vilches
HOODOO VOODOO is FOSFATINA´s first anthology. 192 full color pages where 21 authors meet, bonded by technique, content, idiosyncrasy and reference. Altogether they form Spanish graphic avant-garde, displaying both stories creatd for the ocassion and some wonders wich simply could not had been left aside in this massive project. In adittion, this book also contains a theoretical prologue, two essays by Octavio Beares and Gerardo Vilches.
«The authors here presented showcase a whole generation who´s not afraid of breaking the norm, that feels no nostalghia nor need to respect any canon. Set appart from the narrative traditions that have ruled the international comic-book history, they approach the medium without any prejudice,coming from multidisciplinarity and experimentation.
In the sider notes of an industry they don´t seem to be willing to take part of, the avant-garde of spanish comic-book questions the classic narration, the conventional representation modes and the figurative visual standards to submerge in new territories: formalism, the iconic, the naif, pure abstraction. Going deeper into it´s roots and expanding it´s boundaries, they demonstrate that comic-book is a forever changing medium, and it´s possibilities exceed mere entertainment and allow us to rech there where imagination takes us.»
Gerardo Vilches
«Las autoras y autores aquí presentes representan a una generación que no teme romper las normas, que no siente nostalgia ni necesidad de respetar ningún canon. Alejados de las tradiciones narrativas que han dominado la historia del cómic internacional, se acercan a este medio sin prejuicios, desde la multidisciplinariedad y la experimentación.
En los márgenes de una industria de la que no parece querer participar, la vanguardia del cómic español cuestiona el relato clásico, los modos convencionales de representación y los estándares visuales figurativos para sumergirse en nuevos territorios: el formalismo, lo icónico, lo naíf, la abstracción pura. Profundizando en sus raíces y expandiendo sus límites, demuestran que el cómic es un medio en permanente transformación, cuyas posibilidades exceden el simple entretenimiento y permiten llegar allí donde la imaginación nos lleve.»
Gerardo Vilches
HOODOO VOODOO is FOSFATINA´s first anthology. 192 full color pages where 21 authors meet, bonded by technique, content, idiosyncrasy and reference. Altogether they form Spanish graphic avant-garde, displaying both stories creatd for the ocassion and some wonders wich simply could not had been left aside in this massive project. In adittion, this book also contains a theoretical prologue, two essays by Octavio Beares and Gerardo Vilches.
«The authors here presented showcase a whole generation who´s not afraid of breaking the norm, that feels no nostalghia nor need to respect any canon. Set appart from the narrative traditions that have ruled the international comic-book history, they approach the medium without any prejudice,coming from multidisciplinarity and experimentation.
In the sider notes of an industry they don´t seem to be willing to take part of, the avant-garde of spanish comic-book questions the classic narration, the conventional representation modes and the figurative visual standards to submerge in new territories: formalism, the iconic, the naif, pure abstraction. Going deeper into it´s roots and expanding it´s boundaries, they demonstrate that comic-book is a forever changing medium, and it´s possibilities exceed mere entertainment and allow us to rech there where imagination takes us.»
Gerardo Vilches
- GenresComicsGraphic Novels
192 pages, Paperback
First published November 1, 2016
53 people want to read
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Displaying 1 - 2 of 2 reviews
March 4, 2019
HooDoo VooDoo is an impressive, beautifully curated volume of contemporary Spanish avant garde comics—call it experimental comics and/or art comics—that my friend Maria lent me, which in spite of my limited Spanish skills I could read because the essays and the dialogue are all translated into English in an appendix. That helped, but it’s not a volume primarily about written language or some kind of notion of a coherent story. The visuals are front and center as the way to open vistas.
I highly recommend it to art lovers and art comics lovers who can view the conversation these Spanish artists are having with each other and the wider comics/art world. This is a collection, so it features a wide range of art, some with no or few words. Most of it, as I say, resists narrative. The two framing essays by Octavio Beares and Gerardo Vilches help us understand the kind of purposes with which the artists engage, and I found them helpful in their emphasis on fracture and disruption.
*Robert Ramos seems to be in dialogue with Yuichi Yokoyama’s Travel, all race cars and angles and color, formally interesting.
*Maria Ramos has a woman eat Tiger Chocolate to turn into a “party tiger;” light and fun.
*Andres Magan writes a very elliptical vignette of a nurse telling a man on the phone about an update on someone’s medical condition. We only see the nurse in a single panel against the backdrop of the man she is talking with on the street. Moody, coolly distancing effect.
*Nacho Garcia’s work here clearly is in (artistic) conversation with Michael DeForge and others, with odd little cartoony characters
*Begona Garcia-Alen begins by telling a small anecdote about taking a walk, but expands to include elements of art--color, images--and begins to take shape out of those elements into something else.
So often in these pieces there is a disconnect between the visual and the written, or at least an interesting juxtaposition between the two.
*Alex Nolla’s “Adventures of an Only Son” are not adventures at all.
These are not adventure comics, in the way we are used to thnkijng of comics as a kind of popular entertainment; they are slice of life, closely observed, which is not to say they are not fascinating in their observances or fun.
* Julia Huete focuses on primary colors and shapes and formal experimentation while someone is instructing some unseen child in following the rules of school.
*Cynthia Alfonso’s “Layout” features a woman putting on make-up, with delicate, ethereal lines and pastels. How can something so mundane be also lovely?
*In “Los Bravo” there’s surrealism, there’s play, there’s beauty, fun.
*I think Anna Galvin’s wordless story about two women suddenly attacked by a large cat might be in dialogue with Brecht Evens’s Panther, echoing that sense of menace amidst flight (yes, the women seem to be flying sometimes).
And so much more, so much fun and stretching your imagination with possibilities!
I highly recommend it to art lovers and art comics lovers who can view the conversation these Spanish artists are having with each other and the wider comics/art world. This is a collection, so it features a wide range of art, some with no or few words. Most of it, as I say, resists narrative. The two framing essays by Octavio Beares and Gerardo Vilches help us understand the kind of purposes with which the artists engage, and I found them helpful in their emphasis on fracture and disruption.
*Robert Ramos seems to be in dialogue with Yuichi Yokoyama’s Travel, all race cars and angles and color, formally interesting.
*Maria Ramos has a woman eat Tiger Chocolate to turn into a “party tiger;” light and fun.
*Andres Magan writes a very elliptical vignette of a nurse telling a man on the phone about an update on someone’s medical condition. We only see the nurse in a single panel against the backdrop of the man she is talking with on the street. Moody, coolly distancing effect.
*Nacho Garcia’s work here clearly is in (artistic) conversation with Michael DeForge and others, with odd little cartoony characters
*Begona Garcia-Alen begins by telling a small anecdote about taking a walk, but expands to include elements of art--color, images--and begins to take shape out of those elements into something else.
So often in these pieces there is a disconnect between the visual and the written, or at least an interesting juxtaposition between the two.
*Alex Nolla’s “Adventures of an Only Son” are not adventures at all.
These are not adventure comics, in the way we are used to thnkijng of comics as a kind of popular entertainment; they are slice of life, closely observed, which is not to say they are not fascinating in their observances or fun.
* Julia Huete focuses on primary colors and shapes and formal experimentation while someone is instructing some unseen child in following the rules of school.
*Cynthia Alfonso’s “Layout” features a woman putting on make-up, with delicate, ethereal lines and pastels. How can something so mundane be also lovely?
*In “Los Bravo” there’s surrealism, there’s play, there’s beauty, fun.
*I think Anna Galvin’s wordless story about two women suddenly attacked by a large cat might be in dialogue with Brecht Evens’s Panther, echoing that sense of menace amidst flight (yes, the women seem to be flying sometimes).
And so much more, so much fun and stretching your imagination with possibilities!
October 22, 2019
A strikingly good collection of avant-garde comics from Spain. There is not a single dud in the bunch, and a few are truly spectacular (comics by Roberto Massó, Martín López Lam, and Cristina Daura are mind-blowing).
The volume itself is beautifully printed and designed, includes two essays about avant-garde comics in Spain, and has an appendix with complete English translations of all of the comics and essays.
The volume itself is beautifully printed and designed, includes two essays about avant-garde comics in Spain, and has an appendix with complete English translations of all of the comics and essays.
Displaying 1 - 2 of 2 reviews