Prints : Clerc

Bar Arumbaya

Bar Arumbaya

This scene, a homage to Arumbayan statuary, features Phil Perfect, Serge Clerc’s preferred hero. “In order to get around” remembers José-Louis Bocquet, author of the preface to “Nightclubbing Desperados”, “we used my 1961 Karmann-Ghia coupé, which soon became Phil Perfect’s official car. Serge incorporated some of my driving capabilities into his favourite character, having him park his car with the same elegance – ending up in rubbish bins and shop windows. Serge occasionally invited people over for parties. In his studio on the rue Max Dormoy would gather musicians – I remember the Avions, noisier than a squadron of Spitfires – BD artists – I remember Loustal on his return from Morocco – and some heavenly creatures with cleavage that could induce vertigo. I remember their haughty attitude towards me. The television screen showed a continuous loop of clips that Serge had painstakingly recorded on a video recorder with clunky buttons – Bananarama, Siouxie, Squeeze, U2, The Nerve, Culture Club, The Police, Human League, Silicon Teens, Flying Lizards, the B52s. In their respective styles – music and technology – the video clip and the video recorder are actually the symbols of a brazen modernity.”

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