Monthly Archive for February, 2012


Tonight is the night of the grand PING gala at Lille Vega in Copenhagen. The resurrected Danish comics award will be handed out in six categories for the first time!

Who rocked the comics internet in Denmark? Who arrived on the scene with the biggest bang? Who spoke most convincingly to the youth? What’s going on abroad and how with it are we in Denmark? Who will enter the Danish Hall of Fame? And who blew up the spot on these shores?

These questions and many more will be answered in Lille Vega tonight. Hosted by media personality Anders Lund Madsen and featuring guest appearances from several of his colleagues, the night will also feature a live drawing event, music, and free beer for the early birds! Doors at seven, show starts at eight.

Get your tickets here.

Comics on the Mount!

Gitte Broeng and Mikkel Damsbo at the Charlottenborg Spring Show opening. Their comic “Relocating Mother” shines next to a full-size plush shark. Bringing comics to the mount.

Read “Relocating Mother” in KOLOR KLIMAX. Available now.

KOLOR KLIMAX Shipping Today!

Kolor Klimax cover illo by Aapo Rapi

Today the Nordic anthology KOLOR KLIMAX, published by Fantagraphics Books, ships from Diamond and thus becomes available in the US direct market. Chock full of the best and brightest in Nordic comics, one of the comics hotspots of the world right now.

Look for it in your nearest comics store or wait for its bookstore release coming up!

Here’s a preview:

Open publication

Read more about the book here.

Broeng og Damsbo på Charlottenborg

På torsdag åbner Charlottenborgs forårsudstilling, i år med 70 kunstnere fra hele verden, deriblandt danske Gitte Broeng og Mikkel Damsbo, der udstiller originalsiderne til “Relocating Mother,” deres bidrag til den store nordiske antologi KOLOR KLIMAX, redigeret af undertegnede.

King ind forbi til ferniseringen og hils på kl. 19-22!

The Week

Detail of the Prado Mona Lisa copy

The week in review

Running late as usual, it’s a new week, but what? This weekend the great Leonardo show at the National Gallery in London closed and I regret not having had time to post something more detailed than my Weekendavisen review from back in November while it was still open, but that’s how it goes. Suffice it to say that it was a fantastic opportunity to learn about Leonardo and his workshop, as well as the bizarrely skewed presentation the artist’s mega stardom tends to result in.

The curators’ position seemed to be that there was a strong separation between Leonardo himself and his assistants, and as noted in my review that he executed the London Virgin of the Rocks himself, while comparison with its Paris counterpart quite clearly suggested otherwise. The same goes for the recently resurfaced Salvator Mundi. If the show’s attributions were to be believed, Leonardo must have painted in about five different styles in his later Milanese years, with results of quite remarkably varying quality, much of it lesser than his earlier works such as the Cecilia Gallerani (again, see my review). What the show did, however, was to exhibit a lot of works by his assistants and associates — Giovanni Boltraffio, Francesco Napoletano, Marco d’Oggiono, and others — and thus to offer the attentive viewer the opportunity to make up his or her own mind as to whom did what and in what constellations. I’m sure insights gleaned from this rare gathering of masterworks will reverberate strongly in the literature for years to come, even if strong interests will continue to work against the deattribution — or assignment in part to the workshop — of revered works.

Preeminent Leonardo scholar Martin Kemp suggests as much in his pointed critique of the exhibition. Although the piece seems more than a little grouchy and continues to champion the pretty but bizarre “Bella principessadrawing, the autograph nature of which — though he claims to have unearthed incontrovertible evidence — still seems hard fully to accept, it makes a strong point on how much extraneous context matters in the contemporary evaluation of Leonardo.

Also interesting is the discovery at the Prado of what after cleaning has turned out apparently to be a contemporary copy of the Mona Lisa, which in its clarity reveals details that the dirty and much darkened original hide from us today. This announcement comes only a couple months after the publication in the Burlington Magazine of what has turned out to be a major painting, previously thought lost, by Pieter Bruegel the Elder in the same museum.

Other links:

  • “Facebook is using you.” Op-ed written by Lori Andrews for the New York Times on the occasion of Facebook going public. Describes with chilling concision the possible implications for individual privacy of social media and their aggregation of personal data.
  • Andrei Molotiu on Frank Miller’s Holy Terror! Molotiu perceptively locates elements of interest in this highly mannered, mean-spirited comics screed by one of the medium’s ailing masters. I don’t really agree with Molotiu — almost everything he describes, Miller has done better and more compellingly before, but it remains a perceptive piece.
  • 1nce Again: Angoulême

    Signing in the L'Association stand, open again this year!

    I spent last weekend at Angoulême and as usual I covered the festival for The Comics Journal. Here are my post for Friday and Saturday, dealing with the two astonishing shows (co-)curated by festival president Art Spiegelman, and here are my thoughts on the festival as a whole.

    I travelled to Angoulême with representatives of the Danish comics site Nummer9 as well as the Danish Comics Council. We all took photos, and a selection of them are online in the Metabunker photo archive.

    Speaking of archives, here are links to the full Rackham/Metabunker/Comics Journal coverage, carried out by Thomas Thorhauge and myself since 2001.