07.04.2018 – 24.03.2019 Exhibition, Lyon · 4 | Hugo Pratt, Horizon lines With this exhibition devoted to Hugo Pratt (1927 – 1995), the Musée des Confluences pays tribute to

horizon linesHugo Pratt

press kitMarch 2018

07.04.2018 – 24.03.2019 Exhibition, Lyon

2 | Hugo Pratt, Horizon lines

Press contacts

Musée des Confluences Mathilde Virat [email protected] Tel. +33 (0)4 28 38 12 23

Agence AlambretCommunication Perrine [email protected] Tel. +33 (0)1 48 87 70 77

Kathy [email protected]. +33 (0)6 11 43 50 69

Press releases, kitsand images (login detailsavailable upon request fromthe press department)www.museedesconfluences.fr/fr/press_space

Hugo Pratt, Horizon lines | 3

The exhibition

trailHugo Pratt, creator

and explorer— 9

Horizons— 12

Imaginary worlds— 26

Library— 27

Further

information

Contributors to the

exhibition— 30

Publications: continue

the adventure— 32

Hugo Pratt: reality distilled

in an imaginary story— 36

Corto Maltese, birth

of a hero— 38

Other ways to visit

the museum— 40

Lyon, city of comics— 41

Opposite—

Shield bearing “The Phantom” (Second

half of the 20th century, Oceania, Papua New

Guinea, Western Highlands, village of Banz,

Wahgi people). Musée des Confluences, Lyon.

Acquired thanks to the patronage of the

company River Side

Photo: Olivier Garcin – Musée des

Confluences

Cover—

graphic design KIBLIND Agence


With this exhibition devoted to Hugo Pratt (1927 – 1995), the Musée des Confluences pays tribute to one of the greatest comic book creators, by creating a resonance between his works and the cultures and civilisations that inspired him. Displaying his creations alongside almost a hundred museum objects (including weapons, jewellery, clothing, finery and statues) is also a way to extend his imaginary world, explore the sources of his inspiration and illustrate his taste for the unusual and improbable.

The exhibition opens with a biographical account of this artist who lived in Europe, Africa and the Americas. He was influenced by American comics, adventure fiction and Hollywood cinema, and had a taste for poetry, the forgotten people of history and romantic destinies.

This immersive exhibition aims to take visitors on an exploration of territories that were dear to Pratt: the Great Ocean (Oceania), the Jungle Amazons, the People of the Sun (pre-Columbian America, Easter Island), the Africa of masks and warriors, the time of the Indians (of America), and the Great North (of Canada).

For each of these regions of the world, original plates from his works are presented. Some of his drawings are reproduced on a very large scale: giant comic strip panels from which ethnographic objects emerge.

Hugo Pratt, Horizon Lines Based on an original concept developed by Cong and the Musée des

ConfluencesFrom the 7th of April 2018 to the 24th of March 2019

Room 11 – 750 m2

Pressrelease

"I am fascinated by the desert and sea: I never stop wondering what is beyond the horizon line" — Hugo Pratt

Exhibition

designThe exhibition was designed

by the Musée des Confluences'

in-house teams. Their work was

enriched by the perspective of

graphic artist Tiphaine Massari (of

c-album). The decision to work

with a graphic artist was guided

by the desire to make drawing the

cornerstone. The display windows

are designed in the form of panels,

The ideaThe research work conducted

by the Musée des Confluences

illustrates that Hugo Pratt often

found inspiration in objects from

major Western museums and their

printed catalogues. For the first

time, this exhibition is bringing

together Hugo Pratt's drawings

and other objects, mostly drawn

from the museum's collections, as

well as several loans from other

major institutions.


Key exhibition

figures94 objects are presented

in the exhibition

130 original plates and watercolours

by Hugo Pratt are exhibited

more than 50 reproductions

of comic strip panels measuring 3 to

7 metres in height

390 portraits form the gallery of

characters created by Hugo Pratt,

which are all presented in the

exhibition

Painted beaten bark, maro smo

Agus Ongge (Second half of the 20th century,

Indonesia, Western New Guinea, Papua province,

Lake Sentani). Musée des Confluences, Lyon.

Photo: Olivier Garcin – Musée des Confluences


Project manager

Yoann Cormier, Musée des Confluences

Guest curators

Patrizia Zanotti, executive director of CongMichel Pierre, historian and author

Expert consultants

Sergio Purini, honorary conservator of the America collections at the Royal Museums of Art and History, BrusselsThierry Wendling, anthropologist, researcher at the CNRS

Artistic director

Tiphaine Massari (c-album)

Exhibition design

Gilles Mugnier, Musée des Confluences

Coordination with Cong

Maria-Grazia Lacidogna

We would like to kindly thank the managers of public collections and private collectors for the agreed upon loans.

Musée du Quai Branly – JacQues cHirac, Paris

cinQuantenaire MuseuM, Brussels (royal MuseuMs of art and History) tHe oHio state university – Billy ireland cartoon liBrary & MuseuM, coluMBus (united states)denis Buffenoir

claudine gay and gilles sournies

nadine girard

Bertrand ouillon

sergio Purini

felix roelandt



Exploring a legacy

In addition to cultures and civilisations from all over the world, the Musée des Confluences is devoted to all forms of artistic creation. With this in mind, we had the opportunity to focus on the work of Hugo Pratt, without doubt one of the most important bodies of work in the history of comics. He was one of the first to seek out new paths between storytelling and images, to see himself as both an author and cartoonist, and to achieve a rare fusion of text and graphic art.

From his various geographical creations and his travels was born the idea of creating a dialogue between his world and the collections of the Musée des Confluences. Thanks to the involvement of Cong S.A. and the initiative of its director Patrizia Zanotti, we developed the idea of an exhibition in which a comic book page, watercolour or detail from a panel would be linked with an object, image or story that might have inspired it.

Paying tribute to the horizons of Hugo Pratt, illustrating them and deploying them, means exploring a work and legacy of dreams and signs, of memories and forgotten readings, of films that have vanished from our memories.

Hélène Lafont-CouturierDirector of the Musée des Confluences

Above— photo: Henri Grandjean

Opposite—

Traditional boat made by Edmond Dubé (2001 - America, Canada, Quebec, Atikamekw people of Manawan). Musée des Confluences, Lyon. Photo: Olivier Garcin – Musée des Confluences


The exhibition

trailHugo Pratt (1927-1995) was a creator whose graphic style and art of storytelling stood out from all the rest. He populated our collective imagination with innumerable faces and enriched our geography with improbable places and horizons.

By bringing together 130 of his works and ethnographic objects, the Musée des Confluences takes a fresh look at a monumental and resolutely modern body of work.


1. Hugo Pratt, creator

and explorer

Before delving into Hugo Pratt's geographical creations, the exhibition trail looks at his life, his influences and his sources of inspiration. During his lifetime, he was Venetian, Argentinian, American and European, and curious about all parts of the world.

His openness to the world and his inspiration were enriched by Anglophone adventure fiction (Robert-Louis Stevenson, Jack London), films from the Golden Age of Hollywood (Corto Maltese was inspired by the actor Burt Lancaster) and American comics (those of Milton Caniff in particular).

Hugo Pratt was born in Rimini on the 15th of June 1927 to Venetian parents. He was of British ancestry on his father's side.In 1937, his family left for Ethiopia, which had recently been conquered by Italy, and where his father had been posted. Italy's domination came to an end in 1942 and the young Pratt was sent back to Venice with his mother the following year.He had a talent for drawing and wanted to make a career out of it. In 1949, he was hired by an Argentinian comic book publisher. He moved to Buenos Aires, where he stayed for the next ten years or so. He then returned to Europe as an author with a growing reputation, staying in London, Italy and France. In 1984, he moved to Switzerland, near Lausanne, where he spent the last ten years of his life.

Above, from top to bottom—

Hugo Pratt in Venice (1945) © Cong S.A. Switzerland All rights reserved

Hugo Pratt in Venice (1960s) © Cong S.A. Switzerland All rights reserved

Previous page—

Mask (20th century - Papua New Guinea, Sepik region).

Claudine Gay and Gilles Sournies collection. Photo: Olivier Garcin – Musée des Confluences


Shaped by Western culture

The books we read as children and teenagers shape our future adult lives. As a child, Hugo Pratt read adventure stories written mainly by British (Stevenson, Kipling, Haggard, etc.) and American (Curwood, Melville, Jack London, etc.), as well as Italian (Emilio Salgari), authors. His work, which he described as “drawn literature”, was directly influenced by such authors. He was also inspired by French poets (Villon and Rimbaud) and, later, by South American literature (Borges, Lugones, etc.).

The inspirations of a film lover

Hugo Pratt created comics in the same way as others made films. He was the scriptwriter, director, camera operator, editor, special effects creator and musical composer all at once. His adventures were constructed exactly like story boards. His panels were like shots, with wide angles, high angles, low angles and close-ups. This legacy is that of his passion for the Golden Age of Hollywood, which began at a very young age. The exhibition features several extracts of films that marked him, including His Majesty O'Keefe starring Burt Lancaster, who played a decisive role in the creation of the character Corto Maltese, and Footlight Parade, an American musical, which includes an amazing scene that led to the creation of another female character – Shanghai Li.

Corto Maltese - Tango (1985) © Cong S.A. Switzerland All rights reserved

Poster of the film "Il trono nero" ("His Majesty O'Keefe") by Byron Haskin

© Warner Bros Productions


A kindred spirit: Milton Caniff

Milton Caniff was born in Ohio in 1907 and died in New York in 1988. He was one of the most talented American cartoonists. His series Terry and the Pirates (1934) and Steve Canyon (1947) were translated and published around the world. With his exceptional mastery of black and white, his sense of structuring images and the rhythm of his scenarios, he had a decisive influence on Hugo Pratt. Perhaps his decision in 1945 to anglicise his name from Ugo Prat to Hugo Pratt, with the doubling of the final consonant, was a tip of the hat to the signature of the master cartoonist.

Corto Maltese, birth of a hero

In 1967, Hugo Pratt began publication of The Ballad of the Salty Sea in the Italian review Sgt Kirk. Here, he created the character Corto Maltese, a sailor and adventurer who emerged from the waters, stuck on a raft like a person crucified by the sea, and was picked up by a true pirate – Rasputin. Three years later, Hugo Pratt chose him as the main hero of short episodes that he adapted for Pif Gadget, which gradually made him known in France. This was followed by a cycle including a total of 29 adventures, supposed to be set between 1904 and 1925, which was met with public and critical acclaim.

Corto Maltese - Fable of Venice (1977) © Cong S.A. Switzerland All rights reserved


2. Horizons

This is the heart of the exhibition, which the visitor is free to explore, with ports of call and journeys on land and sea. Hugo Pratt's work is displayed within a labyrinth, encountering the peoples and cultures that are represented by dozens of works and objects.

Hugo Pratt's horizons are those of his journeys, stays and experiences. To these realities were added an imagination fed by literature, cinema, reports, scholarly articles and everyday or exceptional encounters. Sometimes, his imagination got the upper hand and muddied the waters. This gave rise to the birth of a "Prattian" geography that was superimposed over real geography.

These territories became ports of call for his characters: the Great Ocean (Oceania), the Jungle Amazons, the People of the Sun (pre-Columbian America, Easter Island), the Africa of masks and warriors, the time of the Indians of America, and the Great North of Canada. These worlds were also those explored by Western travellers, geographers and ethnologists. A dialogue bringing together this legacy and the cultures and civilisations that inspired Hugo Pratt are brought about by these worlds, illustrated by huge reproductions of comic strip panels from which ethnographic objects emerge.

Around the edges of these spectacular installations, 130 original plates and watercolours are displayed in a more linear form.

Albums presented in the exhibitionCorto Maltese albums: The Ballad of the Salty Sea; Corto, toujours un peu plus loin; Under the Sign of Capricorn; The Ethiopian; Fable of Venice; Tango; Mū, la cité perdueCaptain Cormorant – Ann of the Jungle – Wheeling – the series of Sgt. Kirk – Jesuit Joe – Cato Zulù

Great

Ocean

Jesuit Joe – The Man From the Great North (1980) © Cong S.A. Switzerland All rights reserved

Papuans of New Ireland J'avais un rendez-vous (1994) © Cong S.A. Switzerland All rights reserved

Corto Maltese – J'avais un rendez-vous (1994) © Cong S.A. Switzerland All rights reserved


Great

Ocean

The map of "Prattian" geographies

At the heart of his geographies, an interactive audiovisual system shows a map of Pratt's imaginary world. Like a toposcope, it guides visitors in this labyrinth-like space, bringing them into contact with real or imagined spaces, explored or dreamt up by Hugo Pratt with the populations he placed there. This map is centred on Venice, the point of origin of his imaginary world and his relationship with light and colours.

Map: Tiphaine Massari – c-album

Venice

Masks and

warriors

Jungle Amazons

The People

of the Sun

Great North

and Indians

Indians (1969) Illustration for an advertisement for Dixie kitchens © Cong S.A. Switzerland

Ann of the jungle – Wambo is dead... Wambo revient (1959) © Cong S.A. Switzerland All rights reserved

Papuans of New Ireland J'avais un rendez-vous (1994) © Cong S.A. Switzerland All rights reserved


The Great Ocean

For a long time a mystery in the West, the Pacific Ocean has inspired dreams with the tales told by the great seafarers who have explored it, the peoples that inhabit its islands and archipelagos, and the recurring figures of the cannibal, the Polynesian woman, the warrior and the Maori sailor. It is also a world of sea monsters, volcanoes, storms, shipwrecks and vanished heroes...

From top to bottom—

Corto Maltese - The Ballad of the Salty Sea (1967) © Cong S.A. Switzerland All rights reserved

Mask (20th century - Papua New Guinea, Sepik region) Claudine Gay and Gilles Sournies Collection Photo: Olivier Garcin – Musée des Confluences


From left to right—

Corto Maltese - The Ballad of the Salty Sea (1967) © Cong S.A. Switzerland All rights reserved

Scale model of a double dugout canoe, vëkêkaré (19th century - New Caledonia, L'Île-des-Pins) Provided by the Œuvres Pontificales Missionnaires de Lyon Musée des Confluences, Lyon Photo: Olivier Garcin - Musée des Confluences


Corto Maltese - The Ballad of the Salty Sea (1967) © Cong S.A.

Switzerland All rights reserved

Mask, kavat (2009, Papua New Guinea, Bismarck Archipelago, New Britain,

village of Goalim, Baining people). Musée des Confluences, Lyon

Photo: Olivier Garcin – Musée des Confluences


Jungle Amazons

The vast basin of the largest river in the world, described by conquistadores, geographers and explorers, has fired dreams of the female warriors who gave it their name, the cities of gold of Cibola and the kingdom of El Dorado. They also told stories of giant snakes, caimans, piranhas, the curses of the forest and encounters with headshrinkers.


Resplendent quetzal Pharomachrus mocinno (19th century - Central America) Provided by the Musée d’Art et d’Industrie de Saint-Étienne Musée des Confluences, Lyon. Photo: Olivier Garcin – Musée des Confluences

Corto Maltese - Mū, la cité perdue (1988) © Cong S.A. Switzerland All rights reserved


Above, from top to bottom—

Tsõrebdzu neckwear (end of 20th century - Brazil,

Mato Grosso, Xavante people) Donation by Dr. Aldo Lo Curto.

Musée des Confluences, Lyon Photo: Olivier Garcin – Musée des Confluences

Corto Maltese - Rendez-vous in Bahia (1970) © Cong S.A. Switzerland All rights reserved

Below, from left to right—

Vase with double neck-handle (100 - 600 AD - pre-Columbian America,

Peru, Nazca culture) Royal Museums of Art and History, Brussels

Photo: RMAH, Brussels

Corto Maltese - Heads and Mushrooms (1970) © Cong S.A. Switzerland All rights reserved


The Peoples of the Sun

Olmecs, Mayas of Yucatan, Toltecs, Aztecs of Mexico, Incas of the Andes… all of the great Native American cultures and civilisations have fascinated writers and film-makers for centuries. Pyramids and human sacrifices, sun worship and monumental architectures, wonderful myths, celestial birds, canals and gardens: Hugo Pratt appropriated and blended this world, portraying it with unbridled freedom in Mú, La cité perdue, and creating a long journey dotted with numerous ports of call, like a mysterious map found in San Francesco del Deserto in the Venetian Lagoon.


Reproduction of a colossal head (based on an original dating from 900 - 400 BC - pre-Columbian America, Mexico, Olmec culture) Royal Museums of Art and History, Brussels

Corto Maltese Mū, la cité perdue (1988) © Cong S.A. Switzerland All rights reserved



Corto Maltese - Mū, la cité perdue (1988) © Cong S.A. Switzerland All rights reserved

Ball lasso (end of 19th century - Argentina, Charrúa people) Musée des Confluences, Lyon. Photo: Olivier Garcin – Musée des Confluences


Copy of the Mixtec Nuttall Codex (19th century - Mexico) Musée des Confluences, Lyon Photo: Olivier Garcin – Musée des Confluences

Corto Maltese Mū, la cité perdue (1988) © Cong S.A. Switzerland All rights reserved


Masks and warriors

In 1959, Ann of the Jungle was the first creation by Hugo Pratt for which he was responsible for both the scenario and drawings. While the influence of American comics can be felt (Tim Tyler’s Luck by Lyman Young), his time in Ethiopia as a teenager also fed the creation of the series The Scorpions of the Desert. Africa is also present in The Ethiopian and Cato Zulù with references linked to new travels and readings.


Young Zulu Cato Zulù (1990) © Cong S.A. Switzerland All rights reserved

Shield (beginning of the 20th century - South Africa, Nguni group, Zulu people (?)) Musée des Confluences, Lyon Photo: Olivier Garcin – Musée des Confluences



Headdress (20th century - Ethiopia, Omo Valley, Mursi people) Donated by Antoine de Galbert. Musée des Confluences, Lyon Photo: Olivier Garcin – Musée des Confluences

Ann de la jungle - La cité perdue d’Amon-Râ (1959) © Cong S.A. Switzerland All rights reserved


Corto Maltese - In The Name of Allah, The Merciful And Compassionate (1972) © Cong S.A. Switzerland All rights reserved

Dagger, jambiya (20th century - Yemen) Loaned by Nadine Girard. Photo: Olivier Garcin – Musée des Confluences


The Indian era

Wheeling is a small town in the state of West Virginia that was marked by the wars of the late eighteenth century. This is where the resistance of Indian nations came up against the inexorable advance of colonists, while the American War of Independence was beginning and traces of the French presence remained. Based on this town and its history, on which he became a remarkable expert over time, Hugo Pratt developed his portrayal of the American West with text and images.


Traditional boat made by Edmond Dubé (2001 - Canada, Quebec, Atikamekw people of Manawan) Musée des Confluences, Lyon Photo: Olivier Garcin – Musée des Confluences

The assault of the fort (1963) © Cong S.A. Switzerland All rights reserved



Wheeling (1962) © Cong S.A. Switzerland All rights reserved

Bow and arrow (19th century – North America, Plains region) Provided by the Œuvres Pontificales Missionnaires de Lyon Musée des Confluences, Lyon Photo: Olivier Garcin – Musée des Confluences


Sgt. Kirk - Les faux visages (1956) © Cong S.A. Switzerland All rights reserved

Kachina doll, talavai (20th century - United States, North-east Arizona, Hopi people) Private collection. Photo: Olivier Garcin – Musée des Confluences


The Far North

Marked by the works of James-Oliver Curwood and Jack London, Hugo Pratt pays tribute to the Great North of Canada and its mounted police, a very popular geographical theme in adventure novels. In Jesuit Joe, the violence of nature that he portrays is in no way overshadowed by that of men. He delights in drawing the dark mass of forests, the white of the snow and frozen rivers, the gleaming uniforms and Indian objects and clothing, in all their ethnographic accuracy.


Plan for an unfinished story (1960s) © Cong S.A. Switzerland All rights reserved

Pair of snowshoes, “cod-tail” type (20th century - Canada, Quebec, Huron people of Wendake) Musée des Confluences, Lyon Photo: Olivier Garcin – Musée des Confluences


From top to bottom and left to right—

Scale model of sled with dogs (end of 19th century - North America, western subarctic region) Provided by the Œuvres Pontificales Missionnaires de Lyon Musée des Confluences, Lyon Photo: Olivier Garcin – Musée des Confluences

Eskimo Malamute The Man From the Great North (Jesuit Joe) (1984) © Cong S.A. Switzerland All rights reserved

Harpoon (20th century - Canada, Nunavut, Kinngait, Inuit people). Musée des Confluences, Lyon. Photo: Olivier Garcin – Musée des Confluences


3. Imaginary realms

The art of comics is never that of a fixed image; everything moves, producing sound and movement from one panel and one page to the next. This section of the exhibition aims to illustrate a complete work, in a space designed as a "magic lantern", where silhouettes, stars, moon crescents, shadows and clouds come to life.

Corto Maltese leads a macabre and merry dance. Voodoo reaches a climax. The shaman ventures into the future. Butterflies are gods and the dervishes endlessly whirl. Hugo Pratt was a great composer of the sounds of adventure. He was fond of dances and trances, the sounds of the wind and the clash of weapons, bagpipes and jazz orchestras, and the bandoneon of the Tango.

Lanterne IMAGINAIRES. Credit: La Méduse


4. Library

The last section of the Horizon Lines exhibition is a library. Here, Hugo Pratt's entire body of work can be found, including all of the stories featuring Corto Maltese, as well as the series The Scorpions of the Desert and Sgt. Kirk, the saga Wheeling, the Africa of Cush, Ann of the Jungle and Cato Zulù, the cangaceiros of The Man from Sertão, the faraway climes of Antoine de Saint-Exupéry and the lagoon of Venice as the final setting for Morgan, his last work.

Portrait gallery

From all of the books in his vast library, maps pored over, articles discovered and illustrations studied, he imagined hundreds of characters, from main roles to sidekicks, heroines, and extras, on their own and in crowds. Hugo Pratt was undoubtedly the greatest world-builder in comics. For the first time, the exhibition will present all of the 390 portraits in black and white of the characters created and named by Pratt: from Cush, the African rebel warrior, to “Gold Mouth”, the Brazilian witch, Rasputin, Corto Maltese's evil counterpart, and Jesuit Joe, the mixed-race Indian with an itchy trigger finger….

A life in reviews

This teeming world can also be found in the infinite variety of review and magazine covers that he produced during his life. Comics initially became popular through the daily press, as well as magazines and reviews whose success was ensured by their weekly or monthly covers. Hugo Pratt understood this well and produced hundreds of covers throughout his life as an artist. The exhibition offers a glimpse of the multitude of reviews that Pratt published by presenting a wall of original “front covers”: Misterix, Hora Cero, Corriere dei Piccoli, Sgt. Kirk, Frontera, Asso di Picche...

“Hugo Pratt, trait pour trait”

This documentary follows the footsteps of Hugo Pratt in Venice, where he spent his childhood, as well as in Africa, Argentina, Amazonia, Brazil, London, Genoa, Paris and Lausanne. Unreleased archives also offer a chance to travel alongside Pratt and hear him talk about his memories. Co-produced by Arte, “Hugo Pratt, trait pour trait” by Thierry Thomas was released in 2016.

TURUO

AVOCAT KERSTER

FENG

BRUKOÏ

DANDY ROLL

APARIA

ABU FIRAS

KALEU VON MÖLTKE

BARIN

BUTCH CASSIDY

STEVANI

© Cong S.A. Switzerland All rights reserved


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Hugo Pratt, Horizon lines | 29Hugo Pratt, Horizon lines | 29


Contributors to the

exhibition

Patrizia Zanotti, guest curatorPatrizia Zanotti is manager and director of Cong S.A., which has overseen the promotion of Hugo Pratt's work since 1995. She was 17 years old when she began working with Hugo Pratt in 1979. She began by adding colour to his stories in comic strips, and later managed relations with publishers, as well as the graphics and printing of books. She gradually became the curator for all exhibitions devoted to Pratt and Corto Maltese throughout the world, from Buenos Aires to Paris, Venice, Milan, Rome, Sienna and Bologna. In 1994, she founded the publishers 'Lizard' in Rome, which is now Rizzoli-Lizard.

Michel Pierre, guest curatorHolder of an agrégation (the highest teaching qualification in France) in history, as well as a degree in art history and archaeology, he specialises in colonial history and has authored many works (including Sahara, le grand récit, Belin, 2014, and Le temps des bagnes, Tallandier, 2017). He was also close to Hugo Pratt, with whom he published Corto Maltese, Mémoires and Les femmes de Corto Maltese (Casterman), and was the coordinator of several special issues on his work for L’Histoire/Marianne, L’Express and Ouest-France.

Yoann Cormier, project managerYoann Cormier is the Head of Exhibitions at Musée des Confluences and project manager for the exhibition Hugo Pratt, horizon lines. Over a period of nearly a year, he has brought together many specialists on the work of Hugo Pratt and ethnographic objects, as well as researchers and collectors. Based on this far-reaching research into Hugo Pratt's work, he constructed the substance and storyline of the exhibition by creating a dialogue between the artist's drawings and the ethnographic objects.He produced Species - the web of life in the permanent exhibition trail and oversaw the temporary exhibitions Art and the Machine (2015/2016) and Potières d'Afrique (2016/2017).

Gilles Mugnier, exhibition designerGilles Mugnier is an exhibition designer and the manager of the technical and cultural department at the Musée des Confluences. For Hugo Pratt, horizon lines, he organised the setting up of the exhibition, working alongside graphic artist Tiphaine Massari (c-album), whose overall artistic proposal he made constructible (design of units, choice of display windows, etc.). The large volumes of the room (11 m high) enabled him to explore new forms of graphic exhibition for the museum, in particular by using large-format canvassed frames.He oversaw the design of the following exhibitions: Le musée des Confluences dévoile ses réserves (The Musée des Confluences opens up its reserves) at Lyon's Gallo-Roman Museum in 2011, Potières d'Afrique (2016/2017), Notebooks on the Collections (2017/2018), Tuaregs (2017/2018).



Thierry Wendling, expert consultantThierry Wendling is an anthropologist and researcher at the IIAC - Institut interdisciplinaire d’anthropologie du contemporain (CNRS - EHESS). His research on recreational practices ranges from international chess (see his work Ethnologie des joueurs d'échecs, PUF 2002) to sled races in Alaska. He is also interested in the history of ethnology and the dialogue that artists and writers create with anthropology. He is the author of several articles on Hugo Pratt and is currently working on an ethnography of Corto Maltese.

Sergio Purini, expert consultantSergio Purini is an honorary conservator of the America collections at the Royal Museums of Art and History in Brussels and has been involved in many exhibitions, such as Inca-Perù (Inca-Peru), les Aztèques (The Aztecs), Métropoles mayas (Mayan Metropolises) and Un certain rêve indien (A Certain Indian Dream). Alongside this work, he also conducts various archaeological missions in Peru, Mexico and Colombia. He is passionate about traditional American cultures and is interested in the representation of the "Indian" in comics.

Marie-Paule Imberti, collection expertMarie-Paule Imberti is in charge of the Americas and Polar Circle collections at the Musée des Confluences and is the scientific expert for the exhibition Hugo Pratt, horizon lines. She researched items that could be included in the exhibition from the collections of the museum, other institutions and private individuals. She also monitored the restoration work of some of the items. Her research led her to discover, for example, that the line of mushroom sculptures in the album Mû, la cité perdue was inspired by the work Plants of the Gods by Schultes and Hofmann.

Tiphaine Massari, c-album, artistic directorTiphaine Massari, consultant graphic designer, works for the firm c-album. Founded in 1996 by Laurent Ungerer, the firm creates graphics, signage, visual identity and designs for various cultural institutions, such as the Muséum national d’Histoire naturelle and Comédie-Française. She regularly collaborates with La Méduse, a creator of interactive and audiovisual installations. The Musée des Confluences entrusted her with the artistic direction of the exhibition Hugo Pratt, horizon lines in order to design the overall visual style. Tiphaine Massari has previously worked for the Musée des Confluences, on the inaugural exhibition In the House of Wonders (2014/2016).


Publications:

continue the adventure

The exhibition catalogue and album bring together accounts that offer different perspectives of Hugo Pratt and his work. They immerse the reader in a world of adventures, of both the characters and the author.

The exhibition album

Co-published with the publisher Courtes et Longues, the exhibition album highlights the clear relationship the author had with museums and ethnographic collections. Including drawings and photographs, this work adopts the form of a leporello: it unfolds like an invitation to explore the visual world of Hugo Pratt.

Around a discussion between the Musée des Confluences, Sergio Purini and Thierry Wendling, the album looks back at the many references made in Hugo Pratt's work, as well as his imaginary world and the research he conducted to find his sources.

Selected extracts

These selected extracts are at the heart of the interviews in the exhibition album. They illustrate the interplay Hugo Pratt created between the real and the imagined throughout his works, which forms the common thread of the exhibition.

The background of the exhibition

“The plan for this exhibition was based on thoughts shared by the museum and Patrizia Zanotti, director of the company Cong S.A., which is today responsible for the promotion of Hugo Pratt's work. We wanted to create a dialogue between his work and the sources of his inspiration in terms of ethnographic objects. Presenting the exhibition at the Musée des Confluences seemed like an obvious choice! The spaces and high ceilings lent themselves wonderfully to its presentation. We then needed to consider how to visually combine Hugo Pratt's graphic style and the beauty of the museum's objects. That's how the project began !”

Yoann Cormier


The exhibition album 48 pages On sale at the Musée des Confluences and in book shops for €16 (incl. VAT) Available as of the 7th of April


Seeing the world of Hugo Pratt in the museum's collections

“At the museum, the idea was to use the work that you had carried out, Thierry, as a basis, and to extend it to the other horizons of Hugo Pratt: mainly Oceania, America and Africa. We could conduct work similar to yours in our collections. So, based on the objects drawn on the plates, we simply tried to find objects that could serve as references in our collections. They are not necessarily identical, but they are the types of objects that influenced Hugo Pratt's drawing at the time he was creating his various albums.”

Marie-Paule Imberti

Working on his sources

“[...] I can well imagine him putting a lot of work into his sources, but also dreaming a lot. Dreaming and finding in these images, in these photographs of Oceanian objects, of places he had not yet visited, inspiration for his day-to-day story-writing. [...] Gathering so many things on a daily basis [...], how did the storyteller that was Hugo Pratt digest and then reproduce them in his own way in his plates?”

Thierry Wending

Between fantasy and reality

“While contributing my analysis of the American world, I made a distinction between two types of work produced by Hugo Pratt. There is that of Corto Maltese, where [...] we enter into dreams and fantasy. [...] And, alongside this, there are works such as Jesuit Joe, Fort Wheeling [...] and even Sgt. Kirk, his first works, which are far more steeped in reality.”

Sergio Purini

The exhibition catalogue

Jointly published by the Réunion des Musées Nationaux (RMN) and Cong S.A., the whole catalogue, which is very immersive, offers an overview of the artist's work with many original, and sometimes previously unpublished, plates, as well as archives and photographs, taken in particular by the famous Swiss photographer Marco D’Anna, who, with the writer Marco Steiner, travelled through the places visited by Corto Maltese.

Under the direction of Patrizia Zanotti and Michel Pierre.

The exhibition catalogue 240 pages, format 25 x 22.5 cm 300 illustrations On sale at the Musée des Confluences and in book shops for €39.90 (incl. VAT) Available as of the 7th of April


Contents

Un monde d’aventures Patrizia Zanotti, Michel Pierre

UNE VIE, UNE ŒUVRE

Hugo Pratt, la nostalgie créatrice Dominique Petitfaux

Hugo Pratt et Federico Fellini, correspondances ou l’assomption du ver à soie Thierry Thomas

Hugo Pratt et Milton Caniff Dean Mullaney

L’éclat du noir, letter by Will Gould

Hugo Pratt, le romancier qui dessine Didier Platteau

Galerie de portraits Michel Pierre

HORIZONS

Chroniques des mers du Sud Thierry Wendling

Un retournement d’image Michel Pierre

L’Amérique plurielle de Hugo Pratt Sergio Purini

Afrique(s), masques et guerriers Bertrand Ouillon

Ann de la jungle , un hommage à Lyman Young Michel Pierre

Sur les routes d’Asie Jean-Michel Geneste

Escales magiques et reliques sacrées Daniel Couvreur

LE SECRET DES IMAGES

Les trésors du voyage Marco Steiner

Les trois lettres d’un maudit farceur Daniel Couvreur

L’ombre, le double et la marionnette Massimo Schuster

Danses et transes Benoît Mouchart

La figure du héros Sven Ortoli

Les silences de Corto Stefano Cristante

Le vrai et le faux Laurent Beauvallet

Les univers de Corto Sven Ortoli

La part de rêve Mathias Enard

L’élégance du héros Catherine Ormen

Les séduisantes Teresa Cremisi

L’amitié, plus forte que tout Didier Platteau

La mort en son dessin Michel Pierre

Résistances et libertés Dominique Lanni

L’éternité, c’était cela Juan Díaz Canales

AU-DELÀ DE CORTO

Dans les nuages du temps, vagabonder comme Hugo Pratt Marco Steiner et Marco D’Anna

Liste des œuvres exposées Œuvres de Hugo Pratt Objets exposés au musée des Confluences, Lyon

Biographie

Bibliographie

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Sous son crayon, Raspoutine s’avère également être un amateur d’arts premiers, car on devine à l’arrière-plan de sa cabine la représentation d’un esprit kokorra, emblématique de l’île Buka (attenante à l’île Bougainville). Pour le dessiner, Pratt s’est inspiré d’une pagaie cérémonielle conservée au musée d’ethnographie de Budapest (fig. 48a-b) où fi gure cet être surnaturel. Sans le dire, Pratt construit un réseau de sens graphique qui relie les grandes explorations du xviiie siècle, l’imaginaire occidental du Pacifi que, l’impé-rialisme colonial et les arts de l’Océanie.

Sur son bateau, Raspoutine détient prisonniers deux cousins, Caïn et Pandora. Quand le premier tente de s’échapper, se déroule une sorte de comédie de séduction (p. 28-29) où la jeune femme minaude pour retenir Corto Maltese et donner ainsi plus de chances à son cousin. La fi n de la scène révèle cependant que Corto n’était pas dupe et qu’il a feint de se laisser manipuler. Or ce jeu de fl irt est accompagné, dans le fond des cases, par un puis deux masques (fig. 49a-b) qui traduisent le travestissement des sentiments auquel procèdent les protagonistes.

De fait, ces masques sont inspirés d’une plaque peinte où fi gurent deux faces, collectée dans la région du Maprik (actuelle Papouasie-Nouvelle-Guinée) pour le musée des Cultures de Bâle. Ici, comme pour beaucoup d’autres cas traités dans cet article, Pratt noie l’objet dans le décor

en n’en montrant qu’une infi me partie (et en convertissant les couleurs originales en noir et blanc), mais il reprend en même temps des détails si signifi catifs (par exemple le décroché d’un triangle sur le front) que l’identifi cation ne fait aucun doute.

Le village côtier où échouent par la suite Corto, Pandora et Caïn a été nommé par Pratt « Senik », allusion évidente au Sepik, le grand fl euve de Nouvelle-Guinée connu et célébré depuis les surréalistes pour les productions artis-tiques des cultures qui vivent le long de ses rives. Pour le peupler, Pratt a fait appel à une lointaine société des hauts plateaux, de la vallée Wahgi, reconnaissable aux plumes d’oiseaux de paradis dont ses représentants parent leur coiffure. Il a décoré la case où est gardé Caïn d’une série de représentations masquées ; on y distingue un ornement de faîtage Abelam (de l’American Museum of Natural History à New York), un pupitre d’orateur du lac Tchambuli, un mas-que Eharo, probablement de la baie d’Orokolo (de l’ancien Museum of Primitive Art, maintenant au Metropolitan à New York). De plus, la « grande maison » de ces Senik est inspirée d’une photographie d’une « Haus tambaram », typique de la société Abelam, parue dans le National Geo-graphic en 1951. Ces éléments empruntés à des sociétés très différentes de la Nouvelle-Guinée composent ainsi un collage qui peut sembler réaliste au profane, mais qui n’existe en fait que dans le musée imaginaire de Pratt. >

48b

48a

48a | Pagaie, ose, de pirogue, fi n du xixe – début du xxe sièclePapouasie-Nouvelle-Guinée, région autonome de Bougainville, sud de l’île de Buka Bois et pigmentsParis, musée du quai Branly – Jacques Chirac

48b | Corto Maltese – La Ballade de la mer salée, 1967Encre de Chine

_CATALOGUE PRATT_BAT_14 02 2018_from David_100%.indd 76 19/02/2018 11:40

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49a | Élément d’un linteau de façade de maison cultuelle, milieu du xxe sièclePapouasie-Nouvelle-Guinée, East Sepik Province, district de Maprik, population AbelamBois et pigmentsParis, musée du quai Branly – Jacques Chirac

49b | Corto Maltese – La Ballade de la mer salée, 1967Encre de Chine

50a | Corto Maltese – La Ballade de la mer salée, 1967Encre de Chine

50b | Proue de pirogue, avant 1934Papouasie-Nouvelle-Guinée, East Sepik Province, district d’Angoram, village de Kambaramba, population KaprimanLanbowiBois et pigmentsParis, musée du quai Branly – Jacques Chirac

50b

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DANS LES NUAGES DU TEMPS VAGABONDER COMME HUGO PRATT

Hugo Pratt a créé Corto Maltese en 1967, et cinquante ans plus tard son personnage, plus que jamais actuel, de-meure une icône de liberté, de curiosité et de respect des différentes cultures, sans distinction de races ni de points cardinaux. Mais quel est le lien entre Pratt et Corto, et, surtout, quel est l’esprit qui anime leur voyage ? Il existe un lien subtil entre les îles et les terres que Corto Maltese aime fréquenter, de Malte à Escondida, de la toundra sibé- rienne à la pampa argentine, des brouillards qui voilent les pierres celtiques aux Moai de l’île de Pâques. C’est un fil rouge qui relie les aventures et les rencontres de Corto à la vie réelle de Hugo Pratt, une géographie imparfaite, la carte d’un dépaysement qui possède le pouvoir d’annuler distances et frontières, de les transformer en transits, et de susciter des synchronies, des vibrations de l’imaginaire qui dépassent et relient des lieux et des moments différents.

Le cheminement de Corto est celui du nomade à la recherche de l’eau, sa navigation est celle du marin en quête de nouvelles terres, à la découverte des couleurs et des par-fums ; en effet, la vie de Pratt a été une recherche physique et intellectuelle des images qu’il a vécues enfant, poursui-vies dans les films et rêvées dans les pages des livres, dans un kaléidoscope de visions superposées, à retrouver ou à réinventer en parcourant le monde.

Et Pratt voyage, il accomplit un périple vagabond qui part des Scorpions dans les déserts de la Dancalie, puis il em-barque et traverse l’Atlantique pour rencontrer les gauchos, les chevaux sauvages et les récits de la pampa argentine, pour écouter les notes du tango et se perdre dans les bois silencieux des Indiens Iroquois de Wheeling, marcher dans

les étendues de bruyère battues par le vent d’Irlande, ou sillonner les mers du Sud tant désirées. Escondida, l’île du moine de la Ballade, n’est pas loin de l’inaccessible tombe de Stevenson, cachée peut-être au sommet de l’île au trésor où commença son grand labyrinthe harmonique. Ce voyage incessant, physique et mental, est un trésor de visions à contempler sous le vent des routes du monde, un aiguillon pour avancer, chercher encore pour continuer à rêver.

Mais rien n’est prévisible, car Pratt trace sur ses feuilles blanches des lignes et des bandes, puis les fait briser par Corto, Cush, Tir Fixe, Bouche Dorée, Banshee, Dandy Roll, ou par le marin Sardane qui attendait depuis des siècles dans le monde disparu de Mū. C’est alors qu’il est beau de se perdre et d’errer avec eux, en chantant et en dansant sur les notes de Boccherini, ou de voler dans les nuages à la recherche d’étoiles dont la lumière guide mieux qu’un phare, car elles sont lointaines, au-delà des cartes, mais par-tout visibles pour ceux qui savent lever la tête et regarder le ciel. Et Pratt nous fait voler là-haut, en commençant par regarder Corto, tous ses personnages, et nous les lecteurs, droit dans les yeux. C’est la clé de la porte secrète pour atteindre le campiello vénitien où le temps et l’espace dis- paraissent, deviennent des passages vers le vrai voyage : la surprise, l’amusement léger, la curiosité profonde.

C’est ce que j’ai tenté de faire avec Marco D’Anna depuis quatorze ans : parcourir et inventer des itinéraires sur les traces de Corto Maltese, en recherchant des vibrations et des musiques qui nous emmènent vagabonder dans le temps, dans ses histoires, même quand cela semblait im-possible car aujourd’hui tout a changé. >

Marco Steiner, écrivain, Marco D’Anna, photographe,des voyageurs à la recherche de l’imaginaire de Hugo Pratt

Union Island, Grenadines

page de droite Apia, Upolu, îles Samoa

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Hugo Pratt: reality

distilled in an imaginary

story

At the heart of the exhibition, certain objects testify to the true fascination of Westerners for the rest of the world, since the great explorations and the establishment of colonial empires in the 18th century.

From this period onward, the Western world hungered for exoticism and mystery, exhibiting the most bizarre objects in cabinets of curiosities. In response to this strong demand, fake objects became increasingly common, providing yet more food for the West's collective imagination.

This fascination was still very much alive in the 1960s, when Hugo Pratt created the character Corto Maltese…

The crystal skull

The mysteries of forgotten times fascinated Hugo Pratt. He also stirred up our curiosity for the extraordinary by scattering his albums with enigmatic archaeological artefacts. Crystal skulls, which at the beginning of the last century were attributed to Aztec culture and the morbid and spectacular perception that the West had of them, are the perfect illustration of this. In Rendez-vous in Bahia, Hugo Pratt placed one of these fakes, which were actually produced in the 19th century in Europe, into the hands of an obscure sacrificial priest of pre-Columbian appearance.


Representation of a human skull (19th century - Mexico, federal district of Mexico City) Donated by Alphonse Pinart Musée du quai Branly – Jacques Chirac, Paris

Corto Maltese Rendez-vous in Bahia (1970) © Cong S.A. Switzerland All rights reserved



Shrunken head tsantsa (19th century - Peru, Ecuador, Jivaro people). Musée des Confluences, Lyon. Photo: Olivier Garcin – Musée des Confluences

Corto Maltese - Heads and Mushrooms (1970) © Cong S.A. Switzerland All rights reserved

The tsantsa shrunken heads of the Jivaros

The technique of shrinking enemies' heads (tsantsa), which was practised right up until the 1960s by the Shuar (Jivaros Indians) of the forests of the Upper Amazon is both terrifying and fascinating at once. As of the end of the 19th century, these ritual trophies attracted the curiosity of Western museums and private collectors, encouraging the trafficking of fakes, which were made in particular using the heads of monkeys. The shrunken head is a recurring motif in Hugo Pratt's work.

The Maori tattoo

Practised both among men and women, the Oceanian tradition of tattooing marked the imaginations of people in the West. The first descriptions of Maori tattoos were brought back by the English explorers Wallis and Cook, as well as by the Frenchman Bougainville, during the 18th century. Of divine origin, the moko is a symbol of spirituality and expresses a person's identity: his or her genealogy, social rank and personal achievements. Considered to be barbarian, due to the techniques used (carved bones, shark teeth and wood), the art of tattooing was forbidden by missionaries shortly after 1797. It would not reappear until much later, after the 1970s.

The lines and spirals covering the face of Tarao, a recurring character in the adventures of Corto Maltese, use patterns from this traditional form of body art. They refer to his mastery of the sea.

Tarao Corto Maltese - The Ballad of the Salty Sea (1967) © Cong S.A. Switzerland All rights reserved


Corto Maltese,

birth of a hero

When Hugo Pratt gave life to Corto Maltese, he was unaware of the extent to which his character would turn his life and the landscape of comics upside down. He first appeared in 1967 in the first pages of The Ballad of the Salty Sea. This album became the first in a long series that Hugo Pratt would continue for the rest of his life.

Your papers please

When he invented the identity of his hero, Hugo Pratt decided to have him born in Malta, at the centre of the Mediterranean, and live in Antigua, in the Caribbean. Corto Maltese is a sailor in between two islands: between and old land of Europe, overrun by invasions, and a new land in the Americas, associated with pirates and privateers. Then, to make anything possible, he gave his hero a father who was a Cornish sailor and a mother who was a gypsy from Gibraltar.

How do I look?

The reefer jacket is worn with the collar turned up, but still allowing the ring on the left ear to show. The neck tie is never properly tied and the cap, simply placed on the head, stays on even in the worst storms. With a slender figure marked by a pair of white navy trousers, Hugo Pratt succeeded in giving his hero an immediately recognisable and superbly elegant style.

Corto Maltese (1978) © Cong S.A. Switzerland All rights reserved


The seductresses

Hugo Pratt created the most seductive female figures in the world of comics. They are present throughout his works and are particularly drawn to Corto Maltese, tempting and confronting him, moving him, rejecting him, throwing him sideways glances or looking him right in the eyes. They are at the heart of the stories, but rarely in the heart of the hero, who we know was once in love but never learn more.

Corto the collector

Make no mistake: Corto does not lead a life of poverty. He has a grand apartment in Hong Kong, in a neighbourhood "full of villains and pretty women". A grand piano has pride of place in the middle of his living room and on one of its walls hangs a Modigliani, as well as a Gauguin, for a time at least, until it is stolen by Rasputin. He is also a collector of African masks, precious fabrics and Chinese and Japanese paintings.

Corto Maltese - The Leopard-Men of the Rufiji (1973) © Cong S.A. Switzerland All rights reserved

Corto Maltese - Piece in O'Minor for Harps and Nitroglycerine (1972) © Cong SA, Switzerland. All rights reserved


Other ways to visit

The museum will be holding gatherings and events around the exhibition, including fun tours for families, discussions about the behind-the-scenes of the exhibition and more...

June 2018

Family tour – “Comme un jeu d’enfants” (Like child's play)2nd, 16th and 30th of June / 10.30 am / duration 1½ hrs / ages 6 and aboveA fun tour on the theme of the treasure island, with a guide and digital devices.

Fly-by tourThursday the 7th of June / 12.30 pm / duration 1 hr / ages 13 and aboveAn express tour to discover the exhibition during your lunch break.

Special visitsSaturday the 9th and Sunday the 10th of June Special tours of the exhibition will be held as part of the Lyon Comic Book Festival.

Evening tourThursday the 14th of June / 8 pm / duration 1½ hrs / ages 13 and aboveVisit of the exhibition with Yoann Cormier, exhibition project manager, and Michel Pierre, historian, writer and guest curator.

Round table – The sequence of the visitor Thursday the 7th of June / 7 pm / duration 1½ hrs / ages 12 and aboveWith Yoann Cormier, exhibition project manager, Michel Pierre, historian, and Tiphaine Massari, graphic designer at c-albumA look behind the scenes at the production of the exhibition. A 'Confluence of knowledge' event

This programme continues throughout the exhibition and is accessible to people of all ages; to be consulted each month at www.museedesconfluences.fr


http://www.museedesconfluences.fr


Lyon BD Festival

The thirteenth edition of Lyon BD Festival (Lyon Comics Festival) will be held on the 9th and 10th of June 2018. Alongside this weekend open to the general public, there will be a special day for professionals on Friday the 8th of June. Throughout the month, the whole city will be buzzing around this comics gathering: fifty or so venues, including the biggest cultural institutions in Lyon and the surrounding area, will be hosting events, exhibitions and shows for the festival's “off-programme”. An original creation by the authors, this dynamic and contemporary programme on the ninth art features transdisciplinarity, performance, live entertainment, and an international outlook.

More than 200 authors are expected during the festival weekend and 80,000 festival-goers during the month of June.

The full press kit is available upon request to [email protected]

Meeting at the Hôtel de Ville (Lyon City Hall)

In resonance with the exhibition, the Lyon Comic Book Festival will hold an exhibition on Rubén Pellejero and Juan Díaz Canales' interpretation of the Corto Maltese series. The two authors talk about their story and their personal relationship with the work of Hugo Pratt and the world of Corto Maltese. In addition to displaying original plates, the exhibition tells the story of their work on this series through two albums released in recent years: Equatoria and Under the Midnight Sun (Casterman, French publishing house).

Lyon BD Festival: 9th and 10th of June 2018 - Hôtel de Ville, Place des Terreaux, Opéra de Lyon, Théâtre Comédie Odéon, Galerie des Terreaux, Musée d’Art Contemporain… An exhibition on the work of Rubén Pellejero and Juan Díaz Canales at Lyon City Hall

Lyon, a city of comics

Juan Díaz Canales Rubén Pellejero

Equatoria

Aventurier charmeur et ironique, Corto Maltese

– amoureux de sa liberté et des femmes – traverse

le monde, toujours en quête d’un trésor caché,

d’un ami à sauver… ou d’une cause perdue à défendre.

Par Hugo Pratt

1 La Ballade de la mer salée2 Sous le signe du Capricorne3 Corto toujours un peu plus loin4 Les Celtiques5 Les Éthiopiques6 Corto Maltese en Sibérie7 Fable de Venise8 La Maison dorée de Samarkand9 La Jeunesse10 Tango11 Les Helvétiques12 Mū la cité perdue Par Rubén Pellejero et Juan Díaz Canales

13 Sous le soleil de minuit14 Equatoria

1911, de la Méditerranée au cœur de l’Afrique équatoriale, Corto est sur la piste d’un mystérieux artefact, Le Miroir du Prêtre Jean. Comme toujours, sa route sera ponctuée de rencontres : journaliste anglaise, nationalistes grecs, trafiquant français… et surtout une séduisante allemande d’origine somalienne, à la recherche de son père, administrateur colonial porté disparu.

9:HSMCKD=U^WVVW:ISBN 978-2-203-09211-2N001 16 €

Equa

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Pelle

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Henri Grandjean - Collectif ITEM Lyon BD Festival 2017

mailto:sandrine.deloffre%40lyonbd.com

http://www.lyonbd.com


New to the European museum scene, the musée des Confluences creates dialogue between the sciences in order to understand the history of humanity. Located at the confluence of the Rhône and Saône, at the heart of an architectural structure designed to be a place of meeting and reflection, the musée des Confluences deals with big universal questions: humanity's origin and future, the diversity of cultures and societies, as well as the place of humanity in the living world. The permanent exhibition trail includes four exhibitions that are unique in offering an interdisciplinary approach for visitors. Walls between the sciences are broken down and dialogue is created in order to unravel the complexity of our world. Through emotion and wonder, the musée des Confluences offers an invitation to learn. With nearly 725,000 visitors in 2017, the musée des Confluences is the most visited museum in France (outside of Paris).

Practicalinformation

Museum opening timesFrom Tuesday to Friday11 am to 7 pmSaturday and Sunday10 am to 7 pmThursday night-time opening until 10 pm

How to get herewww.museedesconfluences.fr/ fr/informations-pratiques

PricesEntrance fee of €9 for all exhibitions; free for children aged under 18 and students aged under 26. www.museedesconfluences.fr/ fr/tarifs-expositions

Booking and information+33 (0)4 28 38 12 12Monday to Friday from 10 am to 5 pmOnline ticket office:www.museedesconfluences.fr/ fr/billetterie-reservation

Photo: Maxime Brochier

The musée des

Confluences


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Photo: Charles Fréger

Notebooks on the Collections Until the 9th of September 2018

With an exhibition design that reflects the atmosphere of its reserves, the Musée des Confluences lifts the veil on its ethnology and natural science collections.The exhibition offers a chance to discover how the collections have been formed over time, thanks to scientific expeditions organised by the museum and the donations made by military personnel, colonial administrators, religious missions and traders during the nineteenth century, as well as by various collectors up until the present day.Part of the world's tangible and intangible heritage, and representations of a weakened biodiversity, these collections continue to grow, in order to begin conserving tomorrow's heritage today.

Tuareg Until the 4th of November 2018

The exhibition offers a chance to discover the visual world of the Tuareg people through their clothing and jewellery, artisanal objects and poetry, which play an important role in the construction of the individual and in social relations. The exhibition shows how these objects are a favoured medium for the expression and transmission of Tuareg style, and also how they demonstrate the dynamism of a constantly-evolving society.

Yokainoshima, spirits of JapanStarting on the 7th of July 2018 The daily lives and collective imagination of the Japanese are populated with divinities, monsters and spirits. Today, the characters of Yo-kaï watch games or Miyazaki's animated films make references to these fantastical spirits. While we are familiar with the images that are transmitted by pop culture, their origin and history are often ignored.The exhibition highlights the links Japanese people create with supernatural worlds, through rituals and festive practices.The exhibition "Yokainoshima, spirits of Japan" was born of a meeting between the collections of the musée des Confluences and the work of contemporary photographer Charles Fréger.

www.museedesconfluences.fr

“My father was right, I found my treasure island. I found it in my inner world, in my encounters, in my work. Spending my life in an imaginary world has been my treasure island.”

Corto Maltese - J'avais un rendez-vous (1994) © Cong S.A. Switzerland All rights reserved

Documents

07.04.2018 – 24.03.2019 Exhibition, Lyon · 4 | Hugo Pratt, Horizon lines With this exhibition devoted to Hugo Pratt (1927 – 1995), the Musée des Confluences pays tribute to