Prints : Dupuy-Berberian

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THE PUBLIC FACE OF EXPO ´58 FEATURED BY DUPUY&BERBERIAN

Marked in their early work by the influence of “New French Clear Line”, Dupuis&Berberian have long since forged their own unique graphic style. Long-standing enthusiasts of Brussels and the Golden Age of Belgian BD, these recent laureates of the Grand Prix du Festival d’Angoulême were destined to set their creative sights on the city’s Atomium.

The creators of Monsieur Jean first encountered the Atomium in 1984 on their first visit to Brussels : “In the distance, on the horizon. A gripping poetic vision.” Charles Berberian remembers the first time he explored the interior, at a time when the spheres retained their original “1958” feel. “When I visited the Atomium, there was a guy dressed in a mangy Marsupilami outfit, and when I was queuing to buy tickets he came along and posed alongside members of the public. A photographer would then record the scene. I don’t know if it’s because I’m an artist, but I found this Marsupilami absolutely pathetic, and I flatly refused to pose with him.” A very successful renovation has since restored the iconic structure’s allure.

For the co-author of the recent Bienvenue à Boboland, the Atomium represents “a science-fiction architecture drawn from the past and thought to represent the future. That was a time when science was going to save the world, and the Atomium was a kind of beacon.” If the monument itself is inextricably linked to the spirit of the 1958 Expo, it represents more than its own times. “It represents an outdated modernity, but one that remains modern in its ambitions towards graphic purity. One can always aim for purity, but it is unattainable.”

Berberian freely concedes that paying homage to the Atomium is no easy task. “The interpretative aspect is a delicate balance. I’m loath to use a ruler, but in this case it’s unavoidable. And let’s not even mention the compass. It’s a nightmare; it brings back very bad memories. The considerations of symmetry are horrific to contemplate. In short, drawing the Atomium takes enormous discipline.” The artists’ examination of the documentary material proved fruitful: they found that “the photographs of people who attended the Universal Exposition of 1958 were very inspiring.” Their own tribute would thus be dedicated to the very public whose presence enlivened the event. The resulting screenprint’s use of colour is a tonal salute to the neon effects that illuminated the ´fifties. And if they had to select theme music for their Bruxelles – 1958 print? “It would be the soundtrack from Tati’s Playtime.