MoNTUE《L’OUVRE 9 打開 羅浮宮九號》羅浮宮漫畫收藏展＿導覽手冊

羅浮宮的法文是 Louvre， Ouvrir 是法文的打開， L'ouvre 便打開了羅浮宮。

9 法文念作 Neuf， Neuf 有「新」的意思， Neuvième art ―第 9 藝術是漫畫

L'OUVRE 9 打開 羅浮宮九號 打開第九藝術，打開新的羅浮宮！

導言 Introduction

緣起 2012 年末，北師美術館籌備《序曲展》時，羅浮 宮圖書出版分處 副主任法布里斯‧德瓦（Fabrice

總策劃 Professor ╱ 林曼麗 LIN Mun-Lee

Douar）正好來訪，與我談起羅浮宮有個漫畫出版 計畫。得知前館長亨利‧羅荷特（Henri Loyrette） 也大力支持，允許受邀的創作者不受任何限制， 入館自由創作，用漫畫翻新民眾對羅浮宮的既定 印象。驚喜之餘，我曉得 羅浮宮有許多創新作 為，和我在故宮的 Old is New 系列策略頗有異曲 同工之妙。2009 年，羅浮宮更選在展演當代藝術 的模型廳（Salle de la maquette），展出 5 位創作者 1 的原稿，當時也引起國際藝文媒體爭相詢問。 跨域 博物館邀請漫畫是跨域合作。所謂跨域，是回到 藝術創作的原點。創作者不受現存的藝術類型影 響，在無任何限制下，自由地用各種媒材創作。 作品完成後，便進入時間裡，與各藝術類型產生 關連，爾後由論述補述定位。這也是為什麼我們 在漫畫創作裡，發覺其他藝術的影子，如：電影 分鏡、文學敘事、攝影視角、美術技巧…等。而 漫畫進入美術館展出，正是因為美術館作為承載 各類藝術內涵的場域，讓隱藏在漫畫裡的各種藝 術，重新在美術館場域中產生關係。 創新的九 羅浮宮九號是文化及藝術策略上的創新。九，是 被視為第九藝術的漫畫；九，也是建造於朗斯九 號礦坑上的羅浮宮分館；九，在法文讀音上，也 是新的意思。北師美術館與羅浮宮合作，便以九 為名，開啟美術館與博物館的創新對話。 開放平台 來北師美術館「打開 羅浮宮九號」，像開啟成層 套疊的後設裝置。走進美術館，裡頭有座羅浮宮； 打開羅浮宮，意外看見館內有法國、比利時、日 本和臺灣藝術家的漫畫創作；翻開漫畫，發覺畫 裡有畫，畫的是羅浮宮典藏的畫作與藝術品；仔 細閱讀畫中畫，走進時間為人類保存的文明、歷 史與藝術裡。美術館瞬時成為跨越時空、場域及 藝術的開放性平台。

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Origin W hen the Museum of National Taipei University of Education (MoNTUE) was preparing for its grand opening show "Still the Vanguard of Education, the Forefront of Art" towards the end of 2012, Fabrice Douar, the deputy head of subdirectorate of Publications of the Louvre (adjoint au chef de service à la sous-direction de l'édition du musée du Louvre) came for a visit. He spoke to me about “The Louvre and Comics” (Le Louvre et la bande dessinée). Henri Loyrette, the previous director of the Louvre, was very supportive for the project. He allowed the invited artists free of limit to the museum, and to create in essence of comics to renovate the impression of old among the general public. Apart from being pleasantly surprised, I realized that the Louvre broke many new grounds, and the effects seemed to resemble what my plans of the "Old is New" Series at the National Palace Museum. In 2009, the Louvre presented the original works of five artists in the project in the Salle de la Maquette, the contemporary art hall, and generated many inquiries from the press around the global art scene.

Interdisciplinary When a museum invites comic artists to work together, it is an act of interdisciplinary collaboration. The idea of “interdisciplinary” is to return to the origin of art creation. The artists are not under the influence of any existing genres, and, without any restriction, can create freely with any medium. After the work is completed, it will enter the element of time, and connected with every genre of art. Further later, it will be positioned and supplemented by discourses. This might be the reason why we encounter shadows of other art forms in the comic art, such as: storyboard of the cinema, literary narratives, photographic perspectives, and fine art techniques... etc. Having comics to be exhibited in an art museum is precisely for the reason that a museum should embody various art forms within, and it would allow the arts hidden in comics to regenerate connections with each other.

The Innovative Ninth/Neuvième For Louvre, Neuvième art is an innovation of cultural and artistic strategy. The ninth indicates comics is the ninth art form - comics; the ninth is also the Louvre's branch Museum Louvre-Lens built on top of pit No. 9 in Lens; “the nine” in the French pronunciation is similar to "new". Therefore, in collaboration with the Louvre, the MoNTUE chose “9” to name for our exhibition in search of open and innovative dialogues between museums.

Open Platform Coming to “L'OUVRE 9” at MoNTUE is as if opening up multiple layers of a meta-installation. You will see inside there's a Louvre as entering; opening up the Louvre, you will see unexpectedly the comic artworks from French, Belgium, Japanese and Taiwanese artists; opening up the comics, you will discover paintings within paintings, and they are about the paintings and other artworks in the collection of the Louvre; reading carefully of them, you will have a sense of walking into the well-kept scenery of human civilizations, history and art inside the tunnel of time.

Right at that moment, the art museum thus becomes an open platform, crossing all measures of time, space and art.

1. 2009 年，《 羅 浮 宮 邀 請 漫 畫 展 》（Le Louvre invite la bande dessinée），展出 5 位藝術家原稿：德魁西（Nicolas de Crécy） 的《 衝 出 冰 河 紀 》（Période glaciaire）、 馬 修（Marc-Antoine Mathieu）的《消逝的地窖》（Les sous-sol du Révolu）、利倍 舉（Éric Liberge）的《奇數時間》（Aux heures impaires）、伊 斯列（Bernar Yslaire）的《羅浮宮的天空》 （Le Ciel au-dessus du Louvre），以及荒木飛呂彥（Hirohiko Araki）的《岸邊露伴 走進羅浮宮》 （Rohan au Louvre）。 In 2009, the show "Le Louvre invite la bande dessinée" presented original works of five artists: "Période glaciaire" by Nicolas de Crécy; "Les sous-sol du Révolu" by Marc-Antoine Mathieu; "Aux heures impaires" by Éric Liberge; "Le Ciel au-dessus du Louvre" by Bernar Yslaire; and "Rohan au Louvre" by Hirohiko Araki.

展覽論述 Curatorial Statement 策展人 Curator ╱ 法布里斯．德瓦 Fabrice Douar

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L'OUVRE 9 La Bande Dessinée, le 9e Art, est un phénomène artistique en plein essor depuis une trentaine d’années et la France se situe au carrefour des nombreux échanges et influences qui ont cours dans cet art. Le Louvre a donc voulu aller à la rencontre de la Bande Dessinée en tant que nouvelle forme de créativité contemporaine et l’associer à sa politique culturelle d’ouverture sur la cité. L’objectif de cette collection est d’instaurer un dialogue entre le musée, les œuvres, les collections et le regard contemporain du public qui passe par celui de l’artiste. Sans jamais enfermer la démarche dans des contraintes « objectives » ou scientifiques issues d’une histoire de l’art traditionnelle, la « carte blanche » favorise un libre échange entre l’auteur, sa singularité, sa créativité, et le musée que nous mettons à sa disposition.

Cette exposition présente le fruit de cette collaboration qui dure depuis déjà 10 ans. Les artistes se sont emparés du plus grand musée du monde et ont, chacun à leur manière, questionné la part de réalité culturelle que représente cette institution ou joué avec les fantasmes que ses collections suscitent en chacun de nous.

Au niveau 2, Étienne Davodeau, David Prudhomme et Jirô Taniguchi évoquent le Louvre à la lumière, celui ouvert au public en journée. La confrontation des œuvres et des visiteurs donne lieu à la découverte pour certains d’un patrimoine insoupçonné qui deviendra un élément important de la fiction (Davodeau), la possibilité de croquer sur le vif le rapport qu’entretient le public avec les œuvres donnant lieu à d’étranges similitudes (Prudhomme), ou encore renverra aux souvenirs personnels du visiteur qui se mêleront au passé du bâtiment (Taniguchi). Hirohiko Araki opère un passage de la lumière vers l’ombre en installant au fur et à mesure son histoire dans les entrailles du musée et ses réserves qui conserveraient un tableau maudit. Qui ne s’est jamais demandé ce que les réserves du Louvre cachaient ?

La deuxième partie de cet étage, plus sombre, évoque d’abord le Louvre dans sa dimension historique. Celle, imaginaire, des œuvres associées à un fantôme qui les hante depuis leur création et dont l’histoire nous est racontée à côté de l’image (Enki Bilal), ou celle, historique, du Louvre pendant la Révolution française (Yslaire). Christian Durieux clôt ce parcours par l’évocation d’une visite nocturne et solitaire d’un personnage politique en fin de vie qui trouvera un réconfort grâce à une muse.

Au niveau 3, Philippe Dupuy et Loo Hui-Phang font sortir de l’obscurité de la mine d’autrefois le Louvre-Lens en pleine lumière. Un dialogue s’instaure alors entre les œuvres et le

passé minier du site. On replonge ensuite dans l’obscurité avec le Louvre sous les glaces que découvre une équipe d’archéologues du futur qui cherchent à comprendre et déchiffrer ce qu’ils ont sous les yeux (Nicolas de Crécy). Éric Liberge nous raconte la vie nocturne du Louvre, lorsque le musée est fermé. C’est le moment que choisissent les œuvres pour sortir de leur « prison » matérielle et régénérer leur âme sous le contrôle d’un gardien complice. Enfin, MarcAntoine Mathieu nous plonge dans les profondeurs du Louvre, musée organique sans cesse en évolution, qu’un personnage est chargé d’inventorier. Cette tâche sans fin n’estelle pas la quête de l’humanité ?

A ce jeu entre ombre et lumière, composante essentielle de l’art du dessin, nous avons choisi d’exposer selon deux principes. La Bande Dessinée est un art narratif lié à la publication, mais aussi, ne l’oublions pas, une œuvre d’art qui peut seule se laisser contempler. Pour conserver ces liens, nous avons déroulé tout au long de l’exposition des plateaux qui présentent les œuvres à la façon d’un très long rouleau, horizontalement, et par séquences narratives comme des chapitres d’un livre. Le visiteur pourra ainsi suivre et comprendre la logique narrative de chaque auteur et la construction visuelle et dessinée qu’il utilise dans son récit. Pour répondre à l’horizontalité de cette présentation, et pour le plaisir esthétique, nous avons placé sur les murs, soit des photos qui renvoient au Louvre et rappellent certaines parties du musée concernées par les œuvres sélectionnées, soit des planches seules ou les dessins préparatoires des œuvres qui « racontent » l’histoire de leur création et se laissent regarder comme n’importe quelle autre œuvre d’art.

L’exposition a choisi ainsi de mettre en exergue la bande dessinée comme lieu par excellence du pur graphisme mis au service de la narration, de l’expression par le dessin qui relie les hommes dans sa spontanéité sensible et sa compréhension immédiate.

Afin de marquer encore plus nettement ce lien universel du dessin, nous avons souhaité inviter des artistes taïwanais à ce projet. Sur le thème du rêve et de l’invitation au voyage que suscite le Louvre, sept artistes ont répondu à leurs homologues européens et japonais. Une fois encore, leurs regards personnels, leurs cultures originales et leurs expressions singulières plongent le visiteur dans une atmosphère particulière et renvoient de nouvelles images du Louvre, de nouveaux prismes dont le visiteur pourra se servir afin d’appréhender le plus grand musée du monde, l’art et, pourquoi pas, lui-même…

The Louvre and the Ninth Art Comics—the “Ninth Art”—constitute an artistic phenomenon that has been booming for some 30 years, and France is at the crossroads of many exchanges and influences that are current in this art form. That is why the Louvre Museum wished to go out to meet comics, as a new form of contemporary creative activity, and to associate this art with the museum’s cultural policy of openness to all of society. The aim of the Louvre’s collection of comic albums is to establish a dialogue between the museum, its artworks, its collections, and the gaze of today’s public as mediated through the eyes of the artist. Each of the invited authors is given complete creative freedom, a “carte blanche” that facilitates a free exchange between the authors, their unique character, their creativity, and the museum, which we place at their disposal. The process is never confined within “objective” or “scientific” constraints derived from traditional history of art.

the Louvre-Lens in northern France out of the darkness of the coalmine that formerly occupied its site and into the full light of day. A dialogue takes place between the artworks and the site’s mining history. We then plunge back into darkness, with the Louvre buried under ice and being discovered by a team of future archaeologists who try to understand and decipher what they see before them (Nicolas de Crécy). Éric Liberge tells us of the nightlife of the Louvre, when the museum is closed. That is the time that the artworks choose to emerge from their physical “prison” and regenerate their souls under the watchful eye of a complicit night watchman. Finally, Marc-Antoine Mathieu takes us down into the very bowels of the Louvre, an organic, constantly changing museum that one of his characters is charged with inventorying. Is this endless task not the very quest of humankind?

This exhibition presents the fruits of this collaboration, which has now been under way for 10 years. Eleven artists have seized hold of the greatest museum in the world, and—each in their own way—have questioned the slice of cultural reality that this institution represents, or played with the fantasies that the museum’s collections arouse in each of us.

Within this interplay of darkness and light, which is an essential component of the art of drawing, we have chosen to present works according to two principles. Comics are a narrative art form intended for publication, but we should not forget that they are also works of art that can be appreciated individually. To maintain the link with publishing, running throughout the length of the exhibition are displays that present the works horizontally, in the form of a long scroll, and in narrative sequences like the chapters of a book. Thus the visitor can follow and understand the narrative logic of each author and the visual and drawing structures that he uses in his story. As a counterweight to this horizontal presentation, and for aesthetic effect, we have placed on the walls either photos showing parts of the Louvre that feature in the selected works, or individual page art or preparatory drawings from the works that tell the story of their creation, but which can also be viewed like any other work of art.

On the 2nd Floor, Étienne Davodeau, David Prudhomme and Jirō Taniguchi represent the Louvre in the light, the Louvre that is open to the public by day. For some of them, their coming face to face with the artworks and the museum visitors leads to the discovery of an unsuspected heritage that becomes an important element of their fiction (Davodeau); it offers the opportunity to sketch from life the relationship between the public and the artworks, and to highlight some strange similarities (Prudhomme); or it brings back personal memories of the visitor that become mingled with the building’s history (Taniguchi).

Hirohiko Araki makes a transition from light to dark by gradually carrying his story into the depths of the museum and its reserve collections, which are said to include a painting that is cursed.

Who has never wondered what things may be hidden among the Louvre’s reserves?

The second part of this level is darker, and primarily evokes the Louvre in a historical dimension: the imaginary dimension of works that are associated with a ghost who has haunted them since their creation, and whose story is told beside the image (Enki Bilal); or the historic dimension of the Louvre during the French Revolution (Yslaire). Christian Durieux rounds off this section by portraying a solitary nighttime visit by a politician reaching the end of his life, who finds solace thanks to a muse.

On the 3rd Floor, Philippe Dupuy and Loo Hui Phang bring

Thus in this exhibition we have chosen to showcase the role of comics as a prime example of pure graphic art placed in the service of narration, of expression through drawing that brings people together by its evident spontaneity and immediate comprehensibility.

To more clearly highlight this universal bond of drawing, we also invited Taiwanese artists to take part in the project. Seven artists responded to their European and Japanese counterparts, taking up the theme of dreams and invitation to a journey that the Louvre evokes. Once again, their individual perspectives, their cultural origins and their unique ways of expressing themselves immerse visitors in a special atmosphere and bring forth new images of the Louvre, new prisms through which visitors may see the greatest museum in the world, see art, and—why not?—see themselves….

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L’OUVRE 9 打開 羅浮宮九號 漫畫（Bande dessinée）作為第九藝術，三十多年來，

方陸惠（Loo Hui Phang）重現羅浮宮朗斯分館地底

是相當蓬勃發展的藝術現象。法國受到各式漫畫

下的礦坑，開啟作品與礦坑往事的對話。接著，

風潮的影響，位居這門藝術的交流中界。羅浮宮

觀眾進入覆蓋於冰河底下幽暗的羅浮宮，未來世

因此希望以漫畫，這極具當代創意表現的新形式，

界的考古學者們試圖理解、辨識眼前發現的文

結合博物館向城市開放的文化政策。而出版系列

明， 如 尼 古 拉 ‧ 德 魁 西（Nicolas de Crécy） 的 作

漫畫的目的，是希望透過當代藝術家的觀點，開

品。艾瑞克 ‧ 利倍舉（Éric Liberge）講述羅浮宮

啟博物館、作品、館藏及民眾間的對話。羅浮宮

夜間閉館發生的事。入夜後，特殊守夜員挑選藝

不拘泥於傳統藝術史觀所界定的「客觀」或學院

術品，將作品的靈魂從物質性的「束縛」裡釋放，

派限制，提供入館創作的藝術家「無限制條件」

重獲新生。最後，馬克安端 ‧ 馬修（Marc-Antoine

（Carte blanche），開放博物館讓創作者自由發揮

Mathieu）透過典藏盤點員，引導觀眾進入羅浮宮

其特長與創造力。

深處，這不斷更動的生命體。盤點的工作永無止

本展覽是羅浮宮漫畫出版計畫執行十多年的成

盡，而人類調查自身文明時，不也如此嗎 ？

果。十一位藝術家獨享這座世界最大規模的博物

光影的明暗遊戲，是構成漫畫的必要元素，展覽

館時，也以各自的方式，對博物館的文化現況提

依照兩軸線進行作品部署。漫畫是敘事藝術的一

出疑問，或仔細玩味館藏所引發的觀眾想像。

種，與書本出版息息相關，別忘了，漫畫作品也

美 術 館 二 樓， 由 艾 堤 安 ‧ 達 文 多（Étienne Davodeau）、大衛 ‧ 普多姆（David Prudhomme）， 以及谷口治郎（Jirô Taniguchi）呈現日光下的羅浮 宮，也是白日開放遊客參觀的時間。在藝術家眼 裡，羅浮宮館藏與觀眾的互動，意外讓這座歷史 遺址變成發展劇情的重要元素，如達文多的作品； 或成為描繪觀眾與館藏品有巧妙互動關係的地 方，如普多姆的作品；或轉換成個人回憶與羅浮 宮史實交錯的故事，如谷口治郎的作品。荒木飛

可抽離敘事軸線，單幅欣賞。為了保留漫畫與書 本的關係，特別設計摺本展台延伸至所有展間， 水平呈現作品裡的敘事段落，像閱讀書本一樣。 觀眾能隨著每位創作者的敘事邏輯，閱讀他們配 合敘事繪製的視覺圖像。配合平面的展呈方式， 及視覺美感，展牆上也擺置羅浮宮的照片，呼應 作品裡呈現的博物館空間。展牆上也有創作者的 草稿或手稿，「講述」藝術家的創作過程，或任 觀眾像欣賞藝術品一樣觀看。

呂彥讓故事由明到暗，場景發生在羅浮宮地下深

展覽強調漫畫是平面藝術，能輔佐敘事及圖繪表

處，幽邃的館藏庫房裡，保存一幅受詛咒的畫作。

述，觸及觀眾直覺的感性與理性。

所有人都想知道羅浮宮的庫房裡究竟藏了什麼 ？

為彰顯漫畫無國界的特質，展覽更邀請臺灣藝術

美術館二樓另一面陰晦的展間，像是羅浮宮的歷

家一同參與計畫，並以想像力逛羅浮宮為題，讓

史對照。在想像的對照裡，藝術品完成後，便有

七位臺灣藝術家與歐洲及日本藝術家以畫對話。

幽魂附著，畫作旁的文字，講述幽魂與作品間的

臺灣藝術家以自身的觀點、文化，及獨特的表現

故事，如恩奇 ‧ 畢拉（Enki Bilal）的畫作；在歷

方式，讓觀眾走進特別的氛圍，也讓羅浮宮有了

史對照裡，如伊斯列（Yslaire）援引法國大革命的

新樣貌與新視角。觀眾也能藉機洞窺這世界規模

史實。克里斯 ‧ 杜利安（Christian Durieux）位於

最大的博物館，或洞窺自我……

二樓陰晦展間動線的尾端，一位遲暮的政治人物 夜深獨自遊蕩羅浮宮，直到遇見畫中的女子。 美術館三樓，菲立浦 ‧ 度比（Philippe Dupuy）與

1 Floor 服務台 Information

校園 Campus

講座區 Lecture Area

和平東路二段 He-ping Ed. Road

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置物櫃 Locker

st

參觀方向

1

Café Müssion

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2 Floor nd

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Étienne Davodeau 艾堤安．達文多 展區 寫實羅浮宮（日光下的羅浮宮） Le Louvre réaliste

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1

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David Prudhomme 大衛．普多姆 展區 注視下的羅浮宮（觀眾與作品） Le Louvre regardé

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Jirô Taniguchi

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谷口治郎

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展區 詩化羅浮宮（羅浮宮的空間與光線） Le Louvre poétisé

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Hirohiko Araki 荒木飛呂彥 展區 虛擬羅浮宮（羅浮宮的場景） Le Louvre fictionnel

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5

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Enki Bilal 恩奇．畢拉 展區 迷幻羅浮宮（典藏品與魅影） Le Louvre fantastique

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Bernar Yslaire & Jean-Claude Carrière 伯納．伊斯列／尚克勞德．凱立瑞 展區 史事羅浮宮（歷史的深邃地窖） Le Louvre historique

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Christian Durieux 克里斯．杜利安 展區 靜謐空曠羅浮宮（清晨黃昏的詩意光線） Le Louvre vide et silencieux

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3 Floor rd

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Philippe Dupuy & Loo Hui Phang 菲立浦．度比／方陸惠 展區 奇幻透明羅浮宮 （浸沐晨光中） Le Louvre transparent et merveilleux

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Nicolas de Crécy 尼古拉．德魁西 展區 廢墟羅浮宮（細數博物館典藏品） Le Louvre abandonné

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Marc-Antoine Mathieu 馬克安端．馬修

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展區 羅浮迷宮（ 後設博物館） Le Louvre transfiguré

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Éric Liberge 艾瑞克．利倍舉 展區 形變羅浮宮 （典藏品靈光）

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Le Louvre dédale

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B1 Floor 展區 用想像力逛羅浮宮 Dreamin' Louvre

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簡嘉誠 Jason Chien

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阿推 AH TUI (PUSH COMIC)

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常勝 Chang Sheng

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麥人杰 Richard Metson

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TK 章世炘

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小莊 Sean Chuang

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61Chi

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參展藝術家 ARTISTS 16

Étienne Davodeau 艾堤安．達文多

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David Prudhomme 大衛．普多姆

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Jirô Taniguchi 谷口治郎

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Hirohiko Araki 荒木飛呂彥

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Enki Bilal 恩奇．畢拉

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Bernar Yslaire & Jean-Claude Carrière 伯納．伊斯列╱尚克勞德．凱立瑞

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Christian Durieux 克里斯．杜利安

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Philippe Dupuy & Loo Hui Phang 菲立浦．度比 ╱ 方陸惠

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Nicolas de Crécy 尼古拉．德魁西

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Marc-Antoine Mathieu 馬克安端．馬修

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Éric Liberge 艾瑞克．利倍舉

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阿推 AH TUI（PUSH COMIC）

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簡嘉誠 Jason Chien

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常勝 Chang Sheng

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麥人杰 Richard Metson

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TK 章世炘

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小莊 Sean Chuang

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61Chi

Étienne Davodeau 艾堤安．達文多

艾 堤 安． 達 文 多， 生 於 1965 年 曼 恩 與 羅 亞 爾 省 的 莫 吉 地 區（Les Mauges），度過歡樂無憂的童年時期。大學就讀造型藝術學系時，持續不

斷的創作，更與網站創始人奧立維．莫年（Olivier Maunaye）、弗瑞德．西 蒙（Fred Simon）、 尚 路 克 ‧ 西 蒙（Jean-Luc Simon）、 喬 布（Joub） 克 里斯多夫．赫曼尼耶（Christophe Hermenier）與提耶希．基亞德（Thierry Guyader）等人成立 Psurde 工作室，發表最初的漫畫創作。隨後寫了第一

本劇本，1992 年 Dargaud 出版社正式出版漫畫創作《不喜歡樹木的男人》 （L'Homme qui n'aimait pas les arbres），自此後以漫畫為業。 He was born in 1965 in Les Mauges, a region of the French department Maine et Loire. There he spent a wonderful childhood. At Rennes, he enrolled in the plastic arts department at the university, for reasons that still escape him. There he studied (a little) and drew (a lot). He got to know a few lads who shared my interest in comics, and founded the studio Psurde with friends, a modest venture that enabled to publish their first works, which today are mercifully nowhere to be found. Who were these valiant pioneers? Fred Simon, Jean-Luc Simon, Joub, and alone with Christophe Hermenier and Thierry Guyader, who cravenly abandoned comics for painting and the press. And then he wrote the script for what would become his first book. Entitled L'Homme qui n'aimait pas les arbres , it found a place for itself as best it could in the Dargaud catalog for 1992. Since that date, as long as nobody stops him, he have been making comic books.

2F 展區 寫實羅浮宮（日光下的羅浮宮） Le Louvre réaliste

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《斜眼小狗》Le Chien qui louche

作品簡介

此本書是羅浮宮與 Futuropolis 合作出版的系列漫 畫第 9 本，於 2013 年出版。主角是相當熱愛自己 工作的羅浮宮警衛—法畢安（Fabien）。女友瑪 蒂（Mathilde）是貝農家族的女兒，有一天邀請他 拜訪住在鄉下的家人。瑪蒂（Mathilde）的家人最 近在閣樓儲藏室發現一幅推測是 19 世紀的油畫 《斜眼小狗》，當他們知道法畢安在羅浮宮工作 時，相當興奮地開始詢問這幅畫有多少價值？一 股腦兒的想要將《斜眼小狗》展示於羅浮宮，但 法畢安不敢冒犯他們，所以含糊地帶過……沒想 到有一天，瑪蒂的兩個哥哥跑來羅浮宮找他，詢 問鑑定畫作的進度，原來這件事是法畢安加入貝 農家族的資格考試！《斜眼小狗》像是一場鬧劇， 又帶點幽默及偵探故事風格，看似平凡的故事， 作者絕妙取材將純藝術與平民藝術藉由敘事進行 對比，試圖探問：「什麼才是藝術，什麼不是？ 又是誰決定哪些物件值得博物館保存？」

Le Chien qui louche , the 9 th album in the Louvre / Futuropolis collection, and was published in 2013. It tells the story of Fabien, a security officer at the Louvre. He loves his job. He also loves Mathilde. She introduces him to her family in their huge country house near Angers in western France. The fact that Fabien works at the Louvre is a happy coincidence, for they have just discovered in the attic a painting by one of their ancestors, dating from the 19th century. It is a frightful daub depicting a wretched mutt with crossed eyes. Not wishing to put his prospective in-laws' noses out of joint, Fabien hums and haws noncommittally and tries to change the subject.

For the Benions, the matter is clear: they are in no doubt that the painting deserves a place on the walls of the museum. Until the day, that is, when the two brothers roll up at the Louvre and ask Fabien what he is doing about it.

Getting the cross-eyed dog into the Louvre would be proof of Fabien's commitment to joining the Benion family!

Behind the buffoonery and humor, and with a treatment somewhat in the style of crime fiction, the work asks some vital questions: what is art, and what is not? What should be preserved in a museum, and who decides on its acquisitions?

Bienvenue à bord de ce gigantesque vaisseau qui transporte à travers les âges le meilleur de l'aventure humaine !

Welcome aboard this gigantic vessel that transports through the ages the best of the human adventure! 歡迎來到這艘歷史巨筏，橫跨人類史上最美妙探險的船！ — Étienne Davodeau 艾堤安 ‧達文多

David Prudhomme 大衛·普多姆

大衛．普多姆，1969 年出生，定居在波爾多。早在 1992 年開始到 2004 年間， 大衛還在安古蘭漫畫學院就讀時，就以派翠克．柯帝亞（Patrick Cothias） 的劇本《秘密尼儂》（Ninon secrète）進行創作，由 Glénat 出版共六集漫畫 創作。且曾與多位編劇合作創作漫畫，如《傑克說過》（Jacques a dit）、《頭 巾的遊戲》（Le Jeu du foulard）、《奇蹟之塔》（La Tour des miracles）、《帕 德林律師滑稽劇》（La Farce de maître Pathelin）、《入定》（J'entr'oubliay）、 《塑膠聖母》（La Marie en Plastique）等。2010 年，由 Futuropolis 出版的 《Rebetiko》，獲得許多獎項，如 2010 年安古蘭國際漫畫節的「寰宇觀點 獎」（Regards sur le monde）、「2010 年閱讀獎」年度最佳漫畫類（Lire 2010）、2010 年摩納哥電影與文學國際論壇的「年度最適影視改編漫畫獎」

及 2011 年雅典舉辦的 Comicdom 漫畫節年度「最佳外國出版」獎。除了與 多位編劇合作外，2011 年時也與多位漫畫家如艾堤安．達文多（Étienne Davodeau）、艾曼紐．吉北（Emmanuel Guibert）、巴斯卡．哈巴提（Pascal Rabaté），馬克安端· 馬修（Marc-Antoine Mathieu）與圖伯斯（Troub's）合

作創作《石洞壁畫！》（Rupestres !），該書亦由 Futuropolis 出版。 David Prudhomme was born in 1969 and lives in Bordeaux. While still a student in the comics art department of the École des Beaux-Arts d'Angoulême, in 1992 David launched the series Ninon secrete , written by Patrick Cothias. He continued with this series until 2004, by which time six albums had been published by Glénat. He has worked with a number of writers to make comics, such as Jacques a dit and Le

Jeu du foulard, La Tour des miracles, La Farce de maître Pathelin, J'entr'oubliay, La Marie en Plastique, La Marie en Plastique . His 2009 work Rébétiko , also published

by Futuropolis, received various prestigious awards including the“Regards sur le monde＂ prize at the 2010 Angoulême International Comics Festival, the“Lire 2010＂ prize for best comic book of the year, the prize for best comic book adaptable for the cinema, at the Forum International Cinéma et Littérature de Monaco 2010, and the award for the best Greek edition of a foreign comic, at the Comicdom Awards presented during the Comicdom Con Athens festival in 2011 . In 2011 , under Prudhomme's management, Rupestres ! a collective work on cave art, was produced in collaboration with Étienne Davodeau, Emmanuel Guibert, Pascal Rabaté, Marc-Antoine Mathieu and Troubs, and published by Futuropolis.

2F 展區 注視下的羅浮宮（觀眾與作品） Le Louvre regardé

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作品簡介

《漫步羅浮宮》La Traversée du Louvre

《 漫 步 羅 浮 宮 》 於 2012 年 出 版， 是 羅 浮 宮 與 Futuropolis 合作出版的系列漫畫第 7 本，這部作品

獲得 2012 年國際漫畫類「日內瓦城市獎」。作者 本人就是故事的主角，故事開始於他與朋友相約於 羅浮宮，透過電話確認位置、尋找對方，在尋找的 過程中，看見羅浮宮牆上的一幅幅畫作，彷彿像一 連串的畫格，畫格似乎成為鑲著不同風景的窗， 作者在博物館內四處漫步、觀察參觀的人們。看 到學生在《梅杜薩之筏》（Radeau de la Méduse） 前擺一樣的姿勢拍照；男人從《盤腿而坐的書吏》 （Scribe Accroupi）肩膀後方探出頭來讀著抄寫的內 文；在展示古希臘、伊特魯里亞（étrusques）與羅 馬文物的展覽廳中，觀眾將自己的頭置於獅子口 中……觀眾與作品之間產生千姿百態互動情境，這 場歷時約兩小時、一場每天在世界各地博物館上演 的戲，是詭異、啞默且隨興的劇。博物館每天都充 滿著各種不同的語言，而參觀者與作品之間的聯繫 卻是無聲、私密甚至好笑、帶有詩意的。大衛．普

La Traversée du Louvre , published in 2012 , is the 7 th album in the Louvre / Futuropolis collection. This work won David Prudhomme the Prix Töpffer International for “best comic book of the year in the French language＂at the 2012 Prix Rodolphe Töpffer de la Ville de Genève.

The author puts himself inside the action and wanders through the galleries of the museum. What he sees gives him the impression of being inside the frames of a giant comic strip. He decides to tour the museum at a running pace and to observe not the exhibited works but the people who are looking at them and photographing them: a group of schoolchildren accidentally arranged in the same positions as the shipwrecked sailors of the Raft of the Medusa ; a man standing behind The Seated Scribe as if he were trying to read over his shoulder; a young woman putting her head into the mouth of a lion, in the galleries where Greek, Etruscan and Roman antiquities are exhibited.... Over the space of two hours, the author is the attentive witness of a strange ballet, mute and carefree.

While all the languages of the world are squeezed into the galleries of the Louvre every day, the relationship that visitors have with the works is almost mute, intimate, sometimes comical or poetic. David brings us morsels of that relationship, chosen with tenderness, kindness and insight.

多姆選取看似日常生活再平常不過的片段，在敘事 的脈絡中分享他的觀點。

J'ai l'impression de marcher dans une BD géante. Sur tous les murs il y a des cases. Tous les formats, tous les styles. Des lecteurs de partout venus du monde entier. Plus fort que Tintin !

I feel as if I am walking through a giant comic strip. On all the walls there are frames. All formats, all styles. Readers from everywhere, who have come from all over the world. It's better than Tintin! 我好像走在巨大的漫畫裡。每面牆上都是格子，各種尺寸和風格都有。還有來自 世界各國的觀眾，比《丁丁歷險記》還厲害！ — David Prudhomme 大衛‧普多姆

Jirô Taniguchi 谷口治郎

谷口治郎，1947 年生於鳥取縣，1970 年開始投入漫畫，在日本或法國都是 別具一格的作者。就像是其他的日本漫畫作者一樣，一開始先進入石川球 太（Kyûta Ishikawa）的工作室擔任助手。也約莫那時期，他開始受歐洲漫 畫影響，特別是白描線條風格（La ligne claire）。谷口治郎有時以個人進 行創作，有時與他人合作，創作出如《悠悠哉哉》（1992）、《父之曆》 （1994）、《遙遠的小鎮》（1998）等作品。其創作的漫畫故事內容多描 述日常生活，以及對於私密情感的表達；相較於日本漫畫，創作風格較接 近法國／比利時的漫畫風格，所以在日本被歸類為「寫實派」（Gekiga） 以及「成人」（Seinen），這也解釋為什麼他的作品會在法國受到讀者喜 愛的原因。此外，不只有漫畫讀者喜愛他的作品，也有喜愛古典文學、喜 歡法國／比利時漫畫風格的讀者喜愛他的漫畫創作。谷口治郎也嘗試各種 不同類型的創作風格，如略帶懸疑風格的《事件屋稼業》、西部風格的 Oh…

《Seton》（2004），另外有描述暴力摔跤的《惡狼傳》，以及科幻風格， 或具有自傳色彩的私密告白之作，例如《冬の動物園》（2005）等創作。 Jirô Taniguchi is an author apart, both in Japan and in France. Born in 1947 in Tottori,

Mais …

he began drawing comics in the 1970s. Like many Japanese authors, he gained his first experience as an assistant to a mangaka, in his case Kyuta Ishikawa. During the 1970s he first discovered European comics, at that time unknown in Japan, and was to be strongly influenced by their style, with its clarity and diversity of drawing—particularly ligne claire “ ( clear line＂). Both in two-person collaborations and working alone, he embarked on a remarkable career that would be punctuated by milestone works such as The Walking Man (1992), My Father's Almanac (1994), and A Distant Neighborhood (1998). The thematic content of some of his stories, centered on daily life and the representation of the intimate, as well as his realistic style, closer to a certain strand of Franco-Belgian comics than to manga, can perhaps explain the strong interest that his work has attracted, mainly in France. His principal styles are gekiga and seinen manga .

His readership spans not only readers of comics, but also readers of classic literature; not only lovers of Franco-Belgian comics, but also manga fans. For from the early 1970s Où suis-je ? …

to the late 1980s this mangaka tested himself in all genres, with a marked taste for action images: crime fiction with Trouble Is My Business , the Western with Seton (2004), hardcore shoot wrestling with Legend of the Hungry Wolf , and science fiction, along with stories in a more intimist or even autobiographical style, such as A Zoo in Winter (2005).

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2F 展區 詩化羅浮宮（羅浮宮的空間與光線） Le Louvre poétisé

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作品簡介

《羅浮宮守護者》Les Gardiens du Louvre

這本是羅浮宮與 Futuropolis 合作出版的系列漫畫 第 11 本作品，於 2014 年出版。故事描寫一位日 本漫畫家，趁著到歐洲時，獨自來到巴黎，卻生 了一場大病。隔天，當身體較為舒緩後，想要好 好參觀各個博物館／美術館，參訪羅浮宮時，身 體卻又突然不舒服，進到了看似現實，卻又虛幻 的地方，原來是遇到勝利女神的守護者。第三天， 決定要再回到羅浮宮好好參觀，很快地發現這個 博物館藏著不為人知的一面……在守護者的引導 下，於現實及夢境間擺盪，墜入畫中的世界，與 藝術家相遇，沿著藝術家的足跡漫遊。現實與夢 境已難以區分，谷口治郎透過故事，帶領我們穿 越時空，進入熟悉卻又未知的領域……每件藝術 創作／人都有靈魂及其獨特的歷史，在羅浮宮守 護者的引領下，將開啟一場內在的探索之旅……

Les Gardiens du Louvre is the 11th album in the Louvre / Futuropolis collection and was published in 2014. At the end of a group trip to Europe, a Japanese cartoonist stops off alone in Paris with the intention of visiting the French capital's museums. But confined to his hotel bed by a sudden fever. When his illness gives him a little respite, he begins to carry out his plan of losing himself in the crowded aisles of the Louvre. As he comes face to face with works and artists of different eras, he soon discovers many unsuspected facets of this museum, which is a world unto itself. Wandering between the works of JeanBaptiste-Camille Corot and the Italian painters, amid the Oriental and Egyptian antiquities, in a journey that oscillates between dream and reality the cartoonist loses himself among these iconic works that he is unfamiliar with but which fill him with enthusiasm. Guided by a strange personage, an emanation of the Winged Victory of Samothrace, his meanderings through the museum finally lead him to a crossroads between collective tragedy and personal history. With this album in the form of an inner journey, Jirô Taniguchi invites us on a voyage through time and through art in search of the spirit of this place, under the guidance of various tutelary figures, be they familiar or unrecognized.... For the Louvre has its guardians!

En songe, en réalité, et dans nos chimères... que nous est-il donné de voir ? Ce qui vient vivre en nous, et ne nous quitte plus... ce sont toutes nos émotions... tous nos rêves !

In thoughts, in reality, and in our fantasies… what is granted to us to see? Those things that come to live in us, that never leave us… they are all our emotions… all our dreams! 在夢境、現實與幻想之中，所見為何物？心頭上揮之不去的…都是我們 的情感…我們的夢想！ — Jirô Taniguchi 谷口治郎

Hirohiko Araki 荒木飛呂彥 en page 1

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荒木飛呂彥，生於 1960 年日本宮城縣仙台市。從小就對事物充滿好奇， 且興趣廣泛，從嬰兒時期開始熱愛漫畫，喜歡製造懸疑、如福爾摩斯的偵 探小說，也喜愛魔術、恐怖片和西方文化。1987 年至今，持續創作《JoJo 的奇妙冒險》（Jojo no Kimyôna bôken）系列，每部都有不同的主角。荒木 飛呂彥對服裝時尚頗為講究，尤其是義大利風格，也賦予漫畫角色特殊造 型。影響荒木的人很多，如手塚治虫、《泰山》的作者伯恩·霍加斯 （Burne Hogarth），啟發他對人體解剖學的專研，特別是男性肌肉的運作，而且人

物常有奇異姿勢，這可能是受到埃貢．席勒（Egon Schiele）1，或者十六 世紀義大利風格主義 2 的影響。 Hirohiko Araki was born in 1960 in Sendai, in Japan's Miyagi Prefecture. An author who is curious about everything, with eclectic tastes, Araki has been in love with manga since his earliest childhood. The imagination of this master of suspense and sudden comebacks is fed by a confirmed penchant for detective fiction, including Sherlock Holmes, and an interest in conjuring, horror films, and Western culture. From 1987, Araki has begun his long-running saga JoJo's Bizarre Adventure . He changes the principal characters in each story arc.

Hirohiko Araki is a passionate aficionado of clothing fashion, particularly Italian fashion.

This is what gives his characters such a distinctive look. Many influences have shaped

Quant au tableau…

Araki's work, both in Japan and the West. We can cite Tetsuo Hara, for example, but also Burne Hogarth, who drew Tarzan , for his dynamic representation of the male anatomy and musculature. As for the strange poses that Araki's characters strike, they may well be a legacy of the graphic style of Egon Schiele, or even of 16th-century Italian Mannerism.

1. Egon Schiele （1890-1918 年） : 奧地利畫家，師承古斯塔夫·克林姆 （Gustav Klimt），是 20 世紀初期一

位重要的表現主義畫家。席勒的作品特色是表現力強烈，描繪扭曲的人物和肢體，且主題多是自畫像。 2. Maniérisme : 亦譯為矯飾主義、手法主義、形式主義等，文藝復興晚期（1550 年 -1580 年）出現的一種

潮流，這個潮流在當時藉由瘦長的形式、誇大的風格、不平衡的姿勢來描繪人類和動物，以此產生戲劇 化和強而有力的物象。

2F 展區 虛擬羅浮宮（羅浮宮的場景） Un Louvre fictionnel

entendu dire qu’après une expertise scientifique rofondie, il avait été brûlé. Mais est-ce la vérité ? recherches en vue de confirmer cette version…

sont restées lettre morte. Sans doute parce qu’il s‘agit là d’une possession du Musée du Louvre. Ainsi, son mystère demeurera à jamais hors de portée.

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作品簡介

《岸邊露伴走進羅浮宮》Rohan au Louvre

2010 年 4 月 出 版 的《 岸 邊 露 伴 走 進 羅 浮 宮 》

（Rohan au Louvre）， 是 羅 浮 宮 與 Futuropolis 合 作出版的第 5 本，也是日本第一本全彩直繪的漫 畫。這部作品是 1987 年開始連載的《JoJo 的奇 妙冒險》第一百集，以岸邊露伴，第四部的英雄 人物為主角。主角岸邊露伴是位年輕漫畫家，度 假時結識一位年輕女子 ―七瀨（Nanasé），一 看到岸邊就提起一幅受詛咒的畫―山村仁左衛 門（Nizaémon Yamamura） 的 作 品。 山 村 仁 左 衛 門使用某個樹齡超過 1000 年的大樹萃取出來汁 液作畫，雇主責備他為了作畫而導致這棵重要的 樹木死亡，決定殺死他，之後，那幅畫被羅浮宮 的典藏人員買走……十年以後，成為知名漫畫家 的岸邊再次耳聞這幅「不祥」的畫作於羅浮宮展 出，當抵達展示畫作的展間後，目睹作品消失不 見……瞬間，整個博物館轉變為奇妙的偵探小說 場景。

Rohan au Louvre , published in April 2010 ,is the 5 th album in the Louvre / Futuropolis collection. It is the first Japanese manga completed in direct color, with the Louvre placed at the center of the story. This work is also number 100 in the author's long-running series JoJo's Bizarre Adventure, which he began in 1987, and features Rohan Kishibe, protagonist of the series' fourth story arc.

Rohan Kishibe is a young mangaka. While on holiday he makes the acquaintance of a young woman, Nanase, who is renting a room in his grandmother's house. Seeing him drawing, she tells him about a strange painting: one by Nizaemon Yamamura, painted using a pigment extracted from a great tree more than 1000 years old. The painting is cursed, for the painter was condemned to death by his lord for cutting down the venerable tree. The painting narrowly escaped destruction and was bought by a Louvre curator... Ten years later, after becoming a well-known mangaka, Rohan once again hears of this notorious “evil＂ painting. Taking advantage of a visit to Paris, he decides to go and see the painting at the Louvre. Once there, Rohan realizes that although the work is listed in the museum's catalogue, it seems to have disappeared....

The museum's galleries and storerooms become the stage for a fantastical police investigation.

Le sous-sol du Louvre est creusé d'innombrables couloirs destinés au transport des œuvres. Sous quel endroit du musée sommes-nous actuellement ? Désolé, mais je ne peux pas vous répondre, c'est top secret.

The basement of the Louvre is struck through with countless corridors intended for transporting the artworks. What part of the museum are we under right now? Sorry, but I can't tell you; it's top secret. 羅浮宮在地底挖了無數條藝術品運送通道。我們位在羅浮宮何處？ 抱 歉，無可奉告，因為這是機密！ — Hirohiko Araki 荒木飛呂彥

Enki Bilal 恩奇·畢拉

恩奇．畢拉，1951 年生於塞爾維亞的貝爾格勒。10 歲時，跟隨全家搬到巴 黎，後來進入美術學院就讀，處女作《詛咒之缽》（Le Bol maudit）於 1972 年的《領航員》報（Pilote）發表。結識皮耶．克里斯汀（Pierre Christin） 之後，兩人開始長期合作，1975 年，恩奇．畢拉第一部出版作品《遺忘之 船》（La Croisière des Oubliés）及 1976 年的《金屬咆哮》（Métal Hurlant） 就是皮耶所進行編劇的。1979 年出版的《黯黑方陣》（Les Phalanges de l'Ordre noiri），奠定恩奇．畢拉在漫畫名人堂的地位，這個系列的創作也

讓他從傳統的上色方式轉化到直接上色，克服上油墨技術的難關。1980 到 1993 年間，恩奇．畢拉完成《尼可波三部曲》（La Trilogie Nikopol），這部

鉅作堪稱 80 年代科幻漫畫的革命先驅。此外，他也幫電影製作場景布置。 恩奇．畢拉的風格逐漸遠離傳統漫畫型態，尤其受法蘭西斯．培根（Francis Bacon）和弗拉基米爾—里科．奇（Vladimir Velickovic）的作品風格影響，更

接近當代藝術的表現手法。恩奇．畢拉創作是科幻、混種奇異的風格，他 透過繪畫建構其生命與創作，反思人類天性、生活及生態環境的衝突。 Enki Bilal was born in 1951 in Belgrade, Serbia. He moved to Paris with all his family at the age of 10. After attending some courses at an art school, he published his first story, Le Bol maudit , in the magazine Pilote in 1972. He got to know Pierre Christin, with whom he was to pursue a long and productive collaboration, and in 1975 published his first album, La Croisière des Oubliés , based on a script by Christin. He then worked with the magazine Métal Hurlant from 1976 onward. In 1979 , the success of Les MEP_BILAL-LOUVRE_STANDARD.qxd:Mise en page 1

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Phalanges de l'Ordre noir earned Enki Bilal a lasting place of honor among comic book authors. This series would also enable him to break free of the technical constraints of traditional inking and coloring and to transition to direct color. Between 1980 and 1993, Bilal produced the poetic, amusing and surrealistic series La Trilogie Nikopol , which revolutionized the comics and science fiction of the 1980s. His style progressively departs from traditional comics production methods, leaving behind ligne claire (“clear line＂) and moving toward a style of painting more in keeping with the conventions of contemporary art, and inspired in particular by the works of Francis Bacon and Vladimir Velikovic. Bilal's artworks are enabled readers to discover the many talents of this “hybrid artist＂ who has built his life and his work around drawing, and reflect more deeply on human nature and on global environmental issues.

2F 展區 迷幻羅浮宮（典藏品與魅影） Le Louvre fantastique

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作品簡介

《羅浮宮魅影》Les Fantômes du Louvre

2012 年，羅浮宮與 Futuropolis 合作出版的系列漫

畫第 8 本作品《羅浮宮魅影》（Les fantômes du Louvre），羅浮宮總讓人想到幽靈，到處都是，

展廳的每個角落、每一吋作品、眼睛所及的地方 都有，地板、牆角、天花板……在羅浮宮參觀時， 總會屏氣觀看作品，當離開後，走在里沃利街、 塞納河畔，震撼感仍然縈繞不去，就像浸染了作 品背後魅影們的悲慘命運，蓋上了他們生存時代 的印記，成為證人。恩奇‧ 畢拉挑選 22 件作品， 創造「虛構的」藝術典故，或也可說那些在作 品背後「被遺忘」的故事……想著「歷史」是 如何造出來的？從過往歷史中我們又想要留下 什麼？「歷史」究竟遺漏了多少的人？又有甚 麼才是正確的？這些人有沒有留下曾經存在的 痕跡？……

Les fantômes du Louvre is the 8th album in the Louvre / Futuropolis collection. At the Louvre, the very air we breathe seems to be full of ghosts. They permeate every corner of every gallery, every part of every work, everything the eye can see. They are everywhere, on and in the parquet flooring, in the recesses of the walls, in the air that hangs under the ceilings.... On leaving the museum, on the rue de Rivoli or the banks of the Seine, we seem to breathe out scraps of them that had infiltrated our lungs during our visit, whereupon they return immediately to their proper places, as if sucked in by their fate, permanent witnesses shackled to their times. In this book there are 22 such phantoms. Enki Bilal presents their lives to us in a surprising portrait gallery and thus tells us an apocryphal history of art, made up of biographies of unknown people that are historically plausible, but totally fictional. For in the end, what is the official version of History made up of? What do we remember, or what do we wish to remember, of the time that passes? How many people fall into the forgotten spaces of history? And what traces do they leave?

C'est comme si au Louvre on respirait du fantôme. À chaque coin de galerie, dans chaque parcelle d'œuvre, dans tout ce que les yeux touchent, partout, dans et sur le parquet, dans les replis des murs, dans tout l'air qui colle aux plafonds...

At the Louvre, the very air we breathe seems to be full of ghosts. They permeate every corner of every gallery, every part of every work, everything the eye can see. They are everywhere, on and in the parquet flooring, in the recesses of the walls, in the air that hangs under the ceilings.... 在羅浮宮呼吸到的空氣，都像是鬼魂的氣息。每條長廊的角落、每個作 品，凡視野觸及之處皆是；連鑲木地板內外、牆壁的皺褶裡，甚至貼近 屋頂上的空氣都是…

— Enki Bilal 恩奇‧畢拉

Jean-Claude Carrière

克勞德·凱立瑞

Bernar Yslaire

伯納·伊斯列

Chapitre II • 15 fructidor an I

伯納．伊斯列（Bernar Yslaire），1957 年生於布魯塞爾。7 歲開始畫第一 部漫畫，12 歲開始在多本同人誌發表小故事，16 歲即獲得《史比呼》漫 畫周報（Spirou）正式發表的機會，1978 年開始創作《畢杜維與維歐蕾》 （Bidouille et Violette）系列漫畫，是法國—比利時漫畫中第一個愛情故 事。1986 年，伊斯列將姓氏字母作小幅度更動，從 Hislaire 成為後來眾 所皆知的 Yslaire，並正式使用這個筆名。其另一史詩般的羅曼史鉅作《桑 泊》（Sambre），被眾多評論家與大眾視為 80 年代的代表作，作品故事 直到現在還持續發展；1997 年開始，開始於網路進行漫畫連載，畫風及 敘事內容富含實驗性，三年間創作了《二十世紀天空的記憶》（Mémoires du XXe ciel）、《 夏 娃 世 紀 》（Le siècle d'Èva）；2006 年， 創 作 了《 布

魯塞爾的天空》（Le Ciel au-dessus de Bruxelles）。他和羅蘭斯．艾利克 （Laurence Erlich）於 2012 年合作創立故事脈絡以政治科幻為題材的雜誌 《Úropa》。2009 年，法國文化部授予伯納．伊斯列藝術與文學第三等勳 章（chevalier），於 2015 年獲頒二等勳章 （Officier）。

du mois d’août 1793, un jeune homme inconnu

ond et parle avec un fort accent slave. Il dit s’appeler Jules Stern et venir de Khazarie, un vieil empire Bernar Yslaire was born re. Mais personne ne connaît la Khazarie…

in Brussels in 1957. He began drawing his first comics at the

age of seven. From age 12 he published his first stories in various fanzines, before

joining the magazine Spirou at age 16. In 1978 he launched his series Bidouille et Violette , the first love story in Franco-Belgian comics.

In 1986 , Hislaire became Yslaire and changed gears with Sambre , a great Romanesque fresco that was hailed by critics and readers alike as one of the leading works of the 1980s, and a saga that he continues to pursue to this day. From 1997 onward, he produced one of the first serialized graphic novels on the Internet, an openly experimental work. Over a period of three years, Mémoires du XX e ciel and later Le siècle d'Eva , In 2006 he published Le Ciel au-dessus de Bruxelles . In 2012, with Laurence Erlich, he set up Úropa, a pioneering digital magazine, of which the first three issues appeared as iPad and iPhone apps. In 2009 the French Ministry of Culture named Bernar Yslaire a Chevalier des Arts et des lettres, and in 2015 elevated him to the rank of Officier of the same order.

2F 13/10/09 18:13:08

展區 史事羅浮宮（歷史的深邃地窖） Le Louvre historique

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《羅浮宮的天空》Le Ciel au-dessus du Louvre

作品簡介

與 編 劇 尚 克 勞 德 ‧ 凱 立 瑞（Jean-Claude Carrière）合作的《羅浮宮的天空》（Le Ciel audessus du Louvre），是羅浮宮與 Futuropolis 出版

社合作出版的系列漫畫第 4 本，於 2009 年出版。 故事述說法國大革命時期，推翻路易十六的革命 黨雅各賓派領導人羅伯斯比爾（Robespierre），委 託新古典主義畫派的著名畫家大衛（David Jacques Louis）繪製一幅巴拉（Bara）的肖像畫，但當時

大衛並未完成這幅創作。1793 年，羅伯斯比爾死 亡後，大衛開始畫出 20 幅法國大革命兩位核心人 物交手的過程…… 尚 克 勞 德‧ 凱 立 瑞 在 導 演 華 依達（Wajda）的電影《丹頓》（Danton）便曾 編劇過以大革命時期恐怖為主題，但為了伯納· 伊斯列，重新調整內容，編出不同的結局。《羅 浮宮的天空》從畫家大衛（David Jacques Louis） 的工作室出發，用另一個角度描繪法國大革命， 是個從未被發掘過的故事，藝術家的創作如何成

Le Ciel au-dessus du Louvre , written by Jean-Claude Carrière, is the 4 th album in the Louvre/Futuropolis collection, and was published in 2009. It is the story of a painting, at the time of the French Revolution. The story of a portrait of the Supreme Being, commissioned

by Robespierre from the painter Jacques-Louis David.

A portrait that was never painted. It is also the story of another work that the painter would leave unfinished: the portrait of Bara, a strikingly good-looking boy aged 13 who was a martyr of the Republic. From the inauguration of the Louvre Museum to the Festival of the Supreme Being, from August 1793 to the death of Robespierre, it is also the depiction, written and drawn in 20 urgent “paintings＂— themselves also unfinished—of an encounter between two major actors of an overly hasty revolution.

Jean-Claude Carrière had already tackled the subject of the Reign of Terror in the film Danton , directed by Andrzej Wajda, but his vision, paired with Bernar Yslaire's, renews the subject. Robespierre appears both enlightened and lost, while David fulfills his destiny: that of a painter torn between political commitment and artistic ambition. Le Ciel au-dessus du Louvre is a fascinating foray into the French Revolution, from the original angle of its portrayal inside an artist's studio.

為政治操弄的一種手段，在飽受與野心拉扯間， 又發生那些故事……

Ouvrir un musée public est un devoir révolutionnaire ! Car la République doit se défendre par les armes, mais aussi par les idées, par les images, par les symboles... par la beauté !

Opening a public museum is a revolutionary duty! For the Republic must defend itself with arms, but also with ideas, with images, with symbols… with beauty! 創設公立美術館╱博物館是推動改革的任務 ! 國家不僅需要武器捍衛自己，也需 要有想法、形象、符號 ... 以及美感 !

— Bernar Yslaire 伯納‧伊斯列 ＆ Jean-Claude Carrière 尚克勞德‧凱立瑞

Christian Durieux 克里斯·杜利安

克里斯 ‧ 杜利安，1965 年生於布魯塞爾，在這裡一直住到 2008 年搬到波 爾多為止。自小開始就不懼怕鬼魂或妖怪，唯一害怕的就是「無聊」。為 了填補無聊時光，他不停更換創作的工具，畫出多部寫實且灰暗的作品， 曾與多位編劇如尚 ‧ 杜佛（Jean Dufaux）、安德亞（Andreas）、柯涅特 （Cornette）、克里斯多佛 ‧ 康提 （Christophe Conty）、克里斯多佛 ‧ 達 必奇 （Christophe Dabitch）等人合作，創造出風格多元、類型廣泛的漫畫， 如間諜漫畫（Avel chez Glénat）、科幻題材（Mobilis chez Delcourt）、兒童 創作、愛情短篇等。杜利安在漫畫創作上不斷追尋多元及改變，透過畫作 可以看到他使用不同的工具，如羽毛筆，或筆刷或氈筆，也嘗試其他的合 作及體驗，發展更多元的可能。 Christian Durieux was born in 1965 in Brussels, where he lived for many years before moving to a village near Bordeaux in 2008. As a child, he does not remember being scared of ghosts and monsters, but he admits to a more much more insidious fear: the fear of boredom. To keep it at bay, he has never stopped changing his creative world, his style and his tools. By turns he has drawn albums that are realistic or dark, including crime/spy fiction with scriptwriter Jean Dufaux (Avel , published by Glénat) and suspense thrillers with Andreas (Mobilis , published by Delcourt). He has drawn with pen, brush and felt-tip. Working with other scriptwriters, he rounded out his style by producing works for children: in particular the series Oscar , written by Denis Lapière and published by Dupuis. Changing tack once again, he took pleasure in drawing a pretty love story set in New York with Central Park , scripted by Jean-Luc Cornette and published by Dupuis. There will be other collaborations, other experiments, other wishes. For the moment, one thing is sure: Christian Durieux does not have time to get bored. The child has become a monster.

2F 展區 詩化羅浮宮（羅浮宮的空間與光線） Le Louvre poétisé

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《著迷》Un enchantement

作品簡介

2011 年出版的《著迷》（Un enchantement），是

羅浮宮與 Futuropolis 出版社合作出版的系列漫畫 第 6 本作品。故事描繪某晚，羅浮宮破例停止夜 間參觀，擺設宴席接待一位遲暮的政治家，於羅 浮宮漫遊發生的故事。在晚宴裡，這位政治家悄 悄的離開會場，遇見一位獨自坐在一幅畫作下方 的年輕女孩，她頭髮綁起來露出細緻的額頭，相 當美麗，她邀請他一起在羅浮宮內部散散步，他 們穿越畫作及羅浮宮的各個展廳。這是一個奇妙 的夜晚，誘惑與受誘惑之間，幽默與情感之間， 政治反思與詩歌間……這些充滿詩意的時光，在 永恆的藝術品前，人生的一切都顯得短暫，藝術 和權力、命運或是愛情之間的關係，究竟有何意

Un enchantement , the 6 th album in the Louvre / Futuropolis collection, was published in 2011 . One evening, the Louvre is closed to the public to host a fashionable reception in honor of a politician who is leaving office. He quietly slips away from the reception room and happens upon a young woman, sitting in front of a painting, whom the museum guards have passed by without noticing her.... What is she doing there? Very pretty with her hair gathered up to reveal her slender neck, she wins the old man's heart with one glance and invites him to walk with her through the deserted museum. There follows a whimsically fantastical night alternating between seduction and erudition, humor and emotion, political reflections and poetry. These moments of suspended poetry allow the author to tackle important themes, such as the eternal nature of artworks compared with the fleetingness of human life; the relationship between art and power; fate; and even loving relationships between living beings. Do these things have any meaning?

義呢？

Il y a trop d'images, ici. Trop de belles choses... c'est presque étouffant, tant de belles choses... Je fais un tri... j'en choisis une. Et je fais le noir avec mes mains. Quand je les ouvre, je ne vois plus que ce que j'ai choisi. Je peux voir pleinement...

There are too many images here. Too many beautiful things… it's almost suffocating, so many beautiful things…. I make a selection…

I choose one. And I cover my eyes with my hands. When I open them, I see only the thing that I chose. I can see completely…. 這裡有太多畫像，太多美的事物…多到讓人窒息。那麼多美的事物…得做篩選… 就選定一件。用雙手遮住眼睛。當雙手張開，我只看見剛才選定的，但卻更完整…

— Christian Durieux 克里斯‧杜利安

Loo Hui Phang

方陸惠

Philippe Dupuy

菲立浦·度比

菲立浦．度比，1960 年生於聖安德列斯（Sainte-Adresse），1979 年進 入巴黎裝飾藝術高等學院，一邊念書，一邊幫法國與比利時的報紙畫 插畫及漫畫。1983 年他結識也是漫畫家的查爾斯．貝伯里恩（Charles Berberian），在繪畫與編劇上共同創作。共創的第一部作品《小畫家》

（Petit Peintre）1984 年開始刊登於 Fluide Glacial 雜誌，1985 年正式出 版；1990 年發表《尚先生》（Monsieur Jean）讓他們聲名大噪；隨後， 此系列的第四集獲得 2000 年安古蘭「最佳作品」大獎。持續漫畫創作 之餘，菲立浦．度比也替報紙、廣告創作插畫及漫畫、設計電影海報， 如肯．洛區（Ken Loach）的《鐵路悲歌》（The Navigators）、強納森． 諾西特（Jonathan Nossiter）的《葡萄酒世界》（Mondovino）……菲立浦． 度比和查爾斯．貝伯里恩曾於巴黎、布魯塞爾、伊斯坦堡、里斯本、波 多、日內瓦、赫爾辛基、魯汶（比利時）和安古蘭等城市舉辦過展覽。 度比也嘗試不同的敘事與繪圖方式，發展結合戲劇、音樂、繪畫的創 作；近年，更以個人發表較偏向藝術類型的創作，如《鬧鬼》（Hanté， Cornélius 出版， 2005）、《一場美式選舉》（Élection Américaine，方陸

惠編劇）、《蒼白的孩子》（Les Enfants Pâles，方陸惠編劇，2012）， 由 Futuropolis 出版。 Born in 1960 at Sainte-Adresse in Normandy, Philippe Dupuy entered the École nationale supérieure des Arts Décoratifs in Paris in 1979. Alongside his studies, he began publishing illustrations and comic strips in the French and Belgian press.

In 1983 he got to know Charles Berberian, himself a comics author. In 1984, they joined the magazine Fluide Glacial . Their first album, Petit Peintre , was published in 1985, but it was in 1990 that they launched Monsieur Jean , the series that introduced them to a wide public. The fourth volume of the series took the“best album＂prize at the Angoulême International Comics Festival in 2000. For many years they have also been pursuing a productive career as illustrators, both in the press and in advertising. Their signatures have graced several cinema posters (Ken Loach's The Navigators , Jonathan Nossiter's Mondovino , etc.). Many exhibitions have been devoted to their work, notably in Paris, Brussels, Istanbul, Lisbon, Porto, Geneva and Helsinki. The cities of Leuven (Belgium) and Angoulême (France) presented major retrospectives of their work in 2000 and 2009 respectively. In parallel with his partnership with Charles Berberian, Philippe Dupuy has explored other graphical and narrative paths, amassing an eclectic variety of experience, sometimes with a collaborative partner, sometimes alone: illustrated concerts, installations, illustrated performances with several comics authors. For some years, Philippe Dupuy has also been producing books without Charles Berberian, opening up a new path for him in both personal and artistic terms. Thus Hanté (published by Cornélius in 2005) and Une Élection Américaine (in collaboration with writer Loo Hui Phang), and Les Enfants Pâles at Futuropolis (also with Loo Hui Phang).

3F 展區 奇幻透明羅浮宮 （浸沐晨光中） Le Louvre transparent et merveilleux

30

作品簡介

《九號礦坑》L'Art du chevalement

2013 年 出 版 的《 九 號 礦 坑 》（L'art du chevalement）是為羅浮宮朗斯分館（Le Louvre-Lens）

所做的第 1 本漫畫作品，由方陸惠編劇，也是羅 浮宮與 Futuropolis 合作出版的系列漫畫第 10 本。 主角歐菲奧（Orféo）受這個陌生的美麗地方迷惑， 在羅浮宮朗斯分館裡頭穿梭，渾然不知這是一個 建立在他的舊礦坑上的博物館，將所見跟尋找煤 礦的馬兒老鴿（Pigeon）分享，壟罩在超現實的 氛圍裡，他們沿途看到各時期的藝術品，讓他們 流連忘返。開始與藝術品對話，說著九號礦坑的 歷史：1889 年開採，遭遇水災，連馬都被沖走； 大戰期間德國人為了禁止煤礦產業的發展，拆掉 所有機器；直到 1924 年以後，為了安置德國戰 犯，再次被開啟並使用，後來也成為英軍的駐防 地，而藝術品則帶領著歐菲奧認識更多作品…… 礦坑與藝術品之間的世界，建立了某種關係，一 條貫穿各個世代的隱約線索。這場對話跨越時 間，講述人類的歷史，勞動生活，磨難與藝術的 歷史。對藝術扮演的角色有著十分細膩、輕巧又 慧黠的反思，到最後，原來一切都是有意義的，

In 2013 , L'Art du chevalement (written by Loo Hui Phang), was published as the 10th album in the Louvre/ Futuropolis collection. It is the first comic book devoted to the Louvre-Lens, a satellite museum of the Louvre in the northern French city of Lens. Orféo is struck by the beauty of this place, which is both unfamiliar and strange to him. Wandering through the galleries of the LouvreLens, unaware that he is in the museum that has taken the place of his old mine, he describes what he sees to Pigeon, his colliery horse. In an unreal atmosphere, their path takes them past works from very distant and very different eras, which come alive as they pass by.

A dialogue ensues between Orféo and the artworks.

The latter explain to him why they were created, while the young man unfolds to them the history of Pit No. 9.

Opened in 1889, Pit No. 9 was flooded, horses and all, by the Germans during the Great War, and the machines dismantled, in order to destroy the French coal mining industry. The mine was not put back into service until 1924 , for it took this long to get everything working again. But after World War II it became a camp for German prisoners of war, and then for a British garrison.

Correspondences of meaning are created between the world of the mine and the works of art, and an intimate bond is forged between the generations. This is a dialogue across time which tells the story of men, their life of toil, their suffering, and the history of art. It is a discriminating and intelligent reflection on the role of art, executed with a light touch, which takes on its full meaning in this museum built in the very heart of the Nord Pas-de-Calais coalfield, a region so often scarred by war and by the intensive extraction of coal.

一座蓋在礦坑之上的博物館，蓋在這個飽受戰爭 蹂躪、煤礦過度開採的北加來海峽省 (Nord Pasde-Calais)。

L'art de la mine. L'art du chevalement. L'art de descendre au plus profond pour extraire la matière noble et la remonter à la lumière. L'art fait de même.

Il creuse sa mine intérieure.

The art of the mine. The art of the pithead. The art of going down into the deepest places to extract the noble material and bring it up into the light. Art does the same. It digs from its inner mine. 採礦技術，井架技術，都是進到深處挖掘稀有的礦藏，讓它們重見天日。藝術 也是如此，它挖掘自己內在的礦藏。 — Loo Hui Phang 方陸惠 ＆ Philippe Dupuy 菲利普‧杜比

Nicolas de Crécy 尼古拉．德魁西

尼 古 拉． 德 魁 西，1966 年 生 於 里 昂， 就 讀 安 古 蘭 美 術 學 院（École des Beaux-Arts d'Angoulême），主修漫畫。就學時，製作多部動畫作品，1990

年曾擔任迪士尼裝飾動畫師，後來以亞利希歐．提奧亞斯（Alexios Tjoya） 的劇本，創作《瘋狂閹伶》（Foligatto），1991 年由 Humanoïdes Associés 出版，且贏得許多獎項。自 2008 年在日本京都的九條山藝術村駐村後， 他頻繁往返法日，締結多次合作，目前已經有五本作品翻譯為日語，且 陸續出版一些與日本為主題的作品，如《日本日常美學》（Esthétiques du quotidien au Japon）、《魅影日記》（Journal d'un Fantôme）與《京都筆記》

（Carnets de Kyôto）。從《瘋狂閹伶》開始，德魁西開創許多獨特的敘事 及繪畫手法，如青少年插畫等，他的風格介於漫畫與視覺藝術間，應邀舉 辦多場展覽，翻譯為歐洲各國語言、英文與日語，創下獨特且辨識度高的 風格。 Nicolas de Crécy was born in Lyon in 1966. After completing his baccalaureate in applied arts in Marseille in 1984, Nicolas undertook three years of education in the comics art department at the École des Beaux-Arts d'Angoulême. After various jobs in animation, such as background artist with Disney in 1990, in 1991 he published Foligatto , written by Alexios Tjoyas, at Les Humanoïdes Associés. The work garnered several awards. After receiving a stipend to stay as an artist in residence at Villa Kujoyama in Kyoto, Japan in

2008, he subsequently visited Japan regularly to pursue collaborative projects there.

To date, five of his titles have been translated into Japanese, and many of his books are set in Japan, such as Esthétiques du quotidien au Japon , Journal d'un fantôme , or Carnets de Kyôto . His work, divided between comics and the plastic arts, has been the subject of numerous exhibitions and translations in Europe, the USA and Japan, earning recognition for his original and distinctive style.

3F 展區 廢墟羅浮宮（細數博物館典藏品） Le Louvre abandonné

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作品簡介

《衝破冰河紀》Période glaciaire

為羅浮宮與 Futuropolis 合作出版的系列漫畫第 1 本作品，於 2005 年出版。這部作品獲得 2006 年 獨立書店聯盟的最佳漫畫大獎－維京（Virgin）書 店獎、2005 年的解放巴黎讀者獎、廣播電台 RTL 大獎。書中畫出在遙遠未知的未來，歐洲被冰雪 覆蓋，一組科學研究團隊前進冰荒大地，希望找 到冰河史前文明遺跡。這支隊伍的成員包含人類 與狗豬混種生物，牠們不只會說人話、戴墨鏡、 還會滑雪，且有絕佳的嗅覺能夠進行「年代鑑 定」！突然，相互擠壓的冰河運動，造成冰山倒 塌，露出一座宏偉的建築，引起探險隊的好奇， 進入這座建築時發現不可思議的物件，豐富的冰 河史前文明在眼前展開。他們並不曉得這座建築 是羅浮宮，在裡面發現保存完整的館藏。科學家 們試圖理解文明的遺跡／殘片，如有德拉克羅瓦 （Delacroix）與勒‧布朗（Charles Le Brun）的畫 作，詛咒人像與昔蘭尼加（cyrénaïques）陶瓶， 開始瘋狂輪流提出各自的理論……德魁西引領我 們進入一座現實中不可能發生的羅浮宮，隱藏在 童話故事般情節背後，有著對於文化、記憶、科

Période glaciaire , which appeared in 2005, is the first album in the collection co-published by the Louvre Museum and the French publishing house Futuropolis.

This album received the prestigious Prix des Libraires de Bande Dessinée in 2006, the Prix Virgin-Mégastore de la meilleure BD in 2006, and the Prix des lecteurs du Parisien in 2005. It was named RTL Comic Book of the Month in October 2005. In a far-off and unspecified future time, Europe is buried under ice. A team of scientists decide to risk a journey across the frozen wastes in the hope of finding vestiges of the mythical pre-glacial civilization of which no trace remains. The team is made up of human beings and of dog-pigs that speak our language, wear dark glasses and can ski. They are employed for their remarkable“ historiological ＂ sense of smell! Rising up out of the icebound expanses, like a great iceberg adrift in the ocean, an immense, richly decorated building offers itself to the curiosity of the expedition members. On entering the place, they discover something unimaginable: the incredible riches of the pre-glacial civilization. Without knowing it, they have found their way into the Louvre, where they discover its collections, miraculously intact. Each of the scientists on the expedition then tries to comprehend the possible significance of these testimonies of the vanished civilization, producing the craziest of extrapolations. From the paintings of Eugène Delacroix or Charles Le Brun, to Egyptian execration figurines or Cyrenaic pottery, Nicolas de Crécy reveals himself as the remarkable guide of an unlikely visit to the Louvre. A breathtaking reflection, in the form of a fable, on culture, memory and scientific research.

學研究上驚人的反思。

Nos ancêtres aimaient les images... Ils ont trouvé des systèmes mécaniques pour reproduire la réalité. Ils y ont consacré des moyens immenses. À tel point que la réalité est devenue impossible à aborder autrement que par les images.

Our ancestors loved images…. They invented mechanical systems to reproduce reality. They devoted immense resources to this. To the point where it became impossible to approach reality other than through images. 先人們喜好圖像…他們發明能複製現實的機械系統，也為此傾注大量資源。 甚至到了沒有圖像，就無法與現實接觸的地步。 — Nicolas de Crécy 尼古拉‧德魁西

Marc-Antoine Mathieu 馬克安端·馬修

馬克安端 ‧ 馬修 1959 年生於安東尼（Antony），於翁傑（Angers）美術學 院主修雕塑。1986 年進入 Lucie Lom 工作室，擔任廣告與空間設計師，在 菲利浦 ‧ 勒督克（Philippe Leduc）和艾莉莎 ‧ 法希（Élisa Fache）的協助下， 他開始為各種不同形式的公共場所創作影像、舞台設計、裝置藝術，如於 美術館、劇院、大街、廢棄工廠、嘉年華會……除了漫畫創作，也持續進 行藝術創作，馬克安端 ‧ 馬修超過二十年努力專研漫畫創作，創造出黑與 白的宇宙、簡潔的風格、卡夫卡式與波赫士式的詩意。這些光怪陸離的作 品透過探問存在的課題，巧妙地融合了幽默、詭異與離奇的人物。作者稱 這些高度自娛的內容為「聰慧的娛樂」，勇於對世間定見提出哲學式的反 問，引發另一種未預設立場的可能性。這使得漫畫增添一項潛在可能性， 並且提供讀者從自身觀點去詮釋作品的權力，保留想像空間，某種程度上， 使觀看者成為演員。 Marc-Antoine Mathieu was born in 1959 in Antony, a suburb of Paris. After studying sculpture at the École Supérieure des Beaux-Arts d'Angers, in 1986 Mathieu cofounded the Atelier Lucie Lom, where he works as a poster artist and stage designer.

Together with Philippe Leduc and Élisa Fache he creates images, exhibition designs and installations for all kinds of public institutions and events: museums, theaters, streets, derelict industrial sites, festivals, etc. Alongside his work as a plastic artist, for 20 years Marc-Antoine Mathieu has been plowing a distinctive furrow in the field of comics. His monochrome world, with its effective graphic style, draws its poetry from Franz Kafka and Jorge Luis Borges. His work subtly wields humor and the absurd, and his characters are haunted by existential questions. The author applies himself to creating what he calls“intelligent diversions,＂in which philosophical questionings take precedence over assertions, proposing a view of things rather than forcing one on the reader. His concern is to develop one of the revealed potentials of comics: to give back to the reader's gaze all its power of interpretation, that is to say of imagination. To give pride of place, as it were, to the reader's role as an“active spectator.＂

3F 展區 羅浮迷宮（ 後設博物館） Le Louvre transfiguré

34

作品簡介

《消逝的地窖》Les Sous-Sols du Révolu

這部作品為羅浮宮與 Futuropolis 合作出版的系列 漫畫第 2 本，於 2006 年出版，且獲得 2007 年圖 書之夜大獎（Prix de la Nuit du Livre）。馬克安端． 馬修以冷面笑匠的奇想風格引導我們在如有機體 般的「偉大羅浮宮」前，反思藝術、時間與知識 的傳遞，《消逝的地窖》整部作品如荒誕派戲 劇，不時有著反覆且無意義的舉動，瀰漫著對現 實主義的滑稽模仿與消遣，像是薩謬爾．貝克特 （Samuel Beckett）透過戲劇對人生陰暗描繪。讀 者跟著書中的「專家」厄德．勒佛呂莫（Eudes le Volumeur）1 和他的學徒李奧納（Léonard）展開

探索，進入羅浮宮的核心。從中可以窺見作者對 藝術與知識的想法，從複製與傳承的角度思考的 觀點。提出疑問甚麼是博物館研究員的「任務」？ 我們所處的社會與文化及傳承的關係又是什麼？ 是不是所有東西都應該保存？知識又該如何傳 遞？這一切跟藝術有什麼關係？

1. 原文 Eudes le Volumeur 從法語羅浮宮（musée du Louvre）字母變位而來。

The second album in the Louvre/Futuropolis collection, Les Sous-sols du Révolu ( 2006 ), and this work was awarded the 2007 Prix de la Nuit du Livre for comics and manga. The story brings us reflections on art, time and the transmission of knowledge, in a vision at once deadpan and phantasmal of a“ Very Very Great Louvre＂that has the appearance of a constantly developing living organism.

The spirit of Samuel Beckett breathes on this exploration of the museum. In a future of unspecified date—if it is not a parallel universe, or another dimension of reality— the reader follows step by step the wanderings of Eudes le Volumeur (the name is an anagram of“ le musée du Louvre ＂) an“ expert ＂ accompanied by his acolyte Léonard, and tasked with making a complete survey of the museum in order to map and catalogue it fully. But can one measure the immeasurable? Can one quantify the unquantifiable? Marc-Antoine Mathieu draws us into the depths of the museum, into the very bowels of the Louvre.

The self-references, anagrams and visual puns that pepper the story enrich the author's reflections on art and on how it is perceived, how far it is reproducible, and how it is passed down. Thus through the profession of museum curator, a role for which he sets out the“ mission, ＂ he asks questions of our society and its relationship to culture and the transmission of culture. Must everything be preserved? How should this knowledge be passed down? And among all of that, how do we transmit art?

On peut imaginer une suite de tableaux se succédant chronologiquement... de telle sorte à former un récit. En d'autres termes, une narration picturale séquentielle.

You could imagine a series of pictures arranged in chronological order… so as to form a story. In other words, a sequential pictorial narrative. 請想像一排畫作，一幅接著一幅，按照時間排列…就變成一則 故事，換言之，變成連續的圖畫敘事。 — Marc-Antoine Mathieu 馬克安端‧馬修

Éric Liberge 艾瑞克．利倍舉

HEURES IMPAIRES.qxd:Mise en page 1

6/08/08

艾瑞克．利倍舉，生於 1965 年，自小開始就被各式各樣的漫畫吸引，因 而喜歡上繪畫。1977 年《金屬咆哮》（Métal Hurlant）雜誌與科幻題材的 漫畫，為他開啟新的繪畫境界、尋找到最適合自己的創作形式，透過漫畫 自由發揮創作—隱形與死後的世界。艾瑞克．利倍舉不只創作與骸骨有關 的題材，也與編劇合作，尋找特殊題材的故事，如龐克蒸汽船船長的故事 《Les Corsaires d'Alcibiade》；奇幻故事《Tonnerre rampant》與《Métal》； 關於骨董的 Passé、Voyageurs 系列；與法國大革命有關的《Versailles》； 《Wotan》描繪出二次世界大戰；畫出 Camille Claudel，Alan Turing... 等人的 9:56

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自傳。因應不同的敘事需求，而使用不同的線條風格，所以利倍舉不使用 單一繪圖技巧，只要能在板子上畫畫的道具都可能成為工具，從原子筆到 羽毛筆，傳統的羽毛刷到現代刷。至於原稿彩繪，他偏好水彩，不時的更 換工具讓他的實驗永無止盡，一點一滴的從中找尋自己，更堅持自己上色， 透過上色在畫中呈現自身的想法。

Born in 1965, Éric Liberge devoted himself to drawing from an early age, through the medium of comics. It was in 1977, when he discovered the magazine Métal Hurlant and science fiction, that graphical horizons were opened up to him that suited his tastes and talents. They would enable him to develop his preferred themes: the invisible and the afterlife. But Éric did not confine himself to drawing bones and skeletons. Whether working with a scriptwriter or as sole author, his desire for eclecticism pushed him to explore ever different worlds: pirate adventures crossed with steampunk (Les Corsaires d'Alcibiade ), fantasy (Tonnerre rampant,Métal, etc.), ancient times (Passé , in the series “Voyageurs ＂), the French Revolution (Versailles ), World War II (Wotan ), the modern age, and biographies (Camille Claudel, Alan Turing, etc.). This diversity of narrative horizons is coupled, for each album, with the search for the kind of line that will best match the atmosphere of the project in hand. Thus he does not stick rigidly to a single graphic technique, which would force him to keep on monotonously using the same tools. Anything that can draw a line can be used to ink the page. From ballpoint pen to fountain pen, from traditional nib pen to brush, these frequent changes of implement give him infinite scope for experimentation, and for self-discovery. A skilled practitioner of direct color, he has a predilection for watercolor and remains convinced that an author should apply his own colors whenever he is able to. This is a logical continuation of the treatment of line that he developed in his monochrome work.

3F 展區 形變羅浮宮 （典藏品靈光） Le Louvre dédale

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36

《奇數時間》Aux heures impaires

作品簡介

2008 年 出 版 的《 奇 數 時 間 》（Aux heures impaires），是羅浮宮與 Futuropolis 合作出版的系

列漫畫的第 3 本，故事開始於一位年輕的聾啞人 士巴斯提昂（Bastien），在等待實習面談空檔開

In Aux Heures Impaires , the third album in the Louvre/ Futuropolis collection, a deaf youth named Bastien has an appointment at the Louvre for an internship. He is upbraided by a museum guard who sees him eating a sandwich in a gallery while waiting for his hiring interview.

Feeling that he is under attack, Bastien runs away from

始，因為在展廳裡吃三明治而遭到警衛斥責，感

the guard only to be caught by a mysterious character,

到相當受辱，在躲避警衛的過程中，遇到傅奇華

Fu Zhi Ha, who introduces himself in sign language as

（Fu Zhi Ha）— 一位操著奇妙的符號性語言的羅

characters quickly become friends, but it takes many

浮宮夜間管理員，對巴斯提昂伸出援手。很快地， 他們兩個變得相當友好，在多次夜訪後，傅奇華 才對巴斯提昂說出他真正的工作—守護住在每幅 作品上的靈魂。世界上每間博物館都有專門的「管 理員」，肩負著重責大任，遵守規定在夜間奇數 整點時，讓作品們可以隨心所欲「重新創作」。 但這並非是簡單的任務，因為每位創作者，也就 是每幅作品，如同海綿一樣不斷吸收世間的變遷，

a night watchman and offers to help Bastien. The two nocturnal visits to the night watchman before the latter reveals the true nature of his work to his young guest: a soul inhabits each work of art, however old it may be, because the artist who fashioned the work breathed all his creative force into it. Every museum in the world has a“guardian＂whose job it is to arrange these moments of“ recreation ＂ and freedom that are granted to the works at the odd hours of the night, according to a strictly defined roster. But the task is no easy one, because like its creator each work of art continues to be a sponge that sucks up the world around it, and the pressure that is released gives rise to the most unexpected and irrational

當能量釋放出來時，往往難以預期，也無法掌握。

phenomena. Bastien naturally doesn't believe a word

但巴斯提昂一點都不相信會發生這樣的事，直到

of this, until one nighttime visit when, alone among the

某天夜晚單獨的面對作品……他究竟能不能克服

student manage to overcome his fears? Will he accept the

恐懼，接受資深夜間管理員賦予的任務？

freed works, he has to bow to the evidence. Will the young mission that the old night watchman offers him?

Une œuvre c'est exactement comme un enfant… ou plutôt… un orphelin. Et lorsque tu te tiens là, devant elle et que tu l'admires de tout ton cœur, il se crée entre vous un contact privilégié, elle devient ton miroir. Ôte-lui cette simple attention et elle n'est plus rien. La plupart des gens ne prennent pas le temps de rechercher ce contact. Ils veulent juste "consommer de l'art" A work of art is just like a child… or rather… an orphan. And when you are standing there in front of it, admiring it with all your heart, a special kind of contact is created between you; it becomes your mirror. Take away this simple fact of paying attention and it is nothing. Most people do not take the time to seek this contact. They just want to ‘consume' art. 一幅作品就像孩子一樣…或說…像個孤兒。當你站在它面前，由衷欣賞時，你們之間便 繫起特別的關係，作品成為你的鏡像。一旦喪失對作品的關注，作品便什麼也不是。大 部分的人都不願意花時間建立這關係，他們只想消費藝術。 — Éric Liberge 艾瑞克‧利倍舉

AH TUI（ 阿推

阿推 AH TUI（PUSH COMIC），為重要的資深漫畫家，曾任時報出版漫畫編輯、飛碟唱片 美術主編、實踐大學助理教授，目前從事漫畫圖像等多媒體創作、ART TOY 角色玩具設 計、插畫和街頭流行觀察、多種類型作品；長年以創作另類科幻漫畫為主，歐美風格加 上獨特的細膩畫法，漫畫中隱藏的大量密碼符號，是推派畫迷最愛的解碼遊戲。 1985 年出版個人第一本書《太極符》，至今個人創作累積二十多部，代表作有《九命人》、

《超人巴力入》、《承諾島》等，多部漫畫獲得海外授權。2012 年赴法國蒙特波列市「新 漫畫節」和香貝里漫畫節舉辦個展；2014 年獲邀擔任新竹縣政顧問；2015 年推出睽違 十六年漫畫新作《野星球》並舉辦展覽，並以《乒乓狗》獲得中國第十二屆金龍獎「最

） PUSH COMIC

佳劇情漫畫獎類」金獎。 AH TUI (PUSH COMIC), moniker of a celebrated Taiwanese comic artist, is a man of many roles, including working as the comic section editor for the China Times, an art editor for UFO Records label, and as an assistant professor at Shih Chien University. Now, he is engaged in multimedia creation of cartoons, art toys and character toys, as well as illustrations and observation of popular street culture—anything that is related to multimedia comic. Known for his offbeat sci-fi comics, he uses one-of-a-kind pen work with American and European influences. The numerous hidden codes and symbols are decoding games favored by fans.

He published his first book THE SYMBOL OF TAICHI in 1985, and then went on to be the author of twenty plus comic books, including NINE LIVES MAN, BALÉZO , and PROMISED ISLAND, many of which are licensed overseas. In 2012, he was invited to France to stage his solo exhibition at Montpellier Les Nouveaux and Chamery's International Comics Festival. In 2014, he became a Hsinchu County Affairs Advisor. In 2015, he released his long-awaited new work WILD STAR after a sixteen-year hiatus and held an exhibition. He won the Gold Award at the 12th Golden Dragon Award in China for his work PIN

BOM DOG .

《外星人逛羅浮宮》

作品簡介

Des extra-terrestres au Louvre 聽說，外星人可與藝術品的靈魂對話，然而，外星人因為擅自和藝術的靈魂交流，而導 致星球爆炸，震波將外星人衝到地球，闖禍的調皮外星人來到法國巴黎，愛上羅浮宮博 物館的大量藝術品，忍不住又想互動…

B1

Rumor has it that aliens can converse with the spirit of artworks. Unfortunately, this form of impermissible conversational exchange has caused the alien planet to explode, sending the aliens to planet Earth. These

展區 用想像力逛羅浮宮

naughty aliens have descended to Paris, France, and they fall head over heels with the artworks in the Louvre.

Dreamin' Louvre

They couldn't help but want to talk to...

這次設定不同以往的風格，以狂野色塊和古典的黑線條對應，用有限資源 創造無限想像。希望在沉默的畫面中，表現出漫畫藝術的尖叫聲……

This time I have chosen a different style than the past, with wild colors echoing the classic black lines, and utilizing limited resources to create unlimited imaginations. Hoping in the silent space of my paintings, I can express the sounds of screaming in comic art...... ―阿推 AH TUI（PUSH COMIC）

38

Jason Chien 簡嘉誠

簡嘉誠，自由創作者，曾擔任漫畫主筆、動畫分鏡師、廣告分鏡師。覺得漫畫是一張紙、 一支筆就能形成的紙上電影；每一本漫畫，都是一張通行券，能帶你到不同的世界盡情 遨遊，所以決定投入漫畫創作。2005 年 8 月以〈小紅帽愛上大野狼〉於《挑戰者月刊》 正式出道。漫畫作品有《星光墜在希伯來》、《股市之神― 是川銀藏》以及《時空鐵道 之旅》。2013 年以《時空鐵道之旅》獲第四屆金漫獎一般漫畫類首獎，單行本新作《阿 里山林鐵奇事》將於 2016 年上市。 Jason Chien is an independent artist who has worked as a lead comic artist, and an animation and advertising storyboard artist. Believing comic is a "paper movie" that can be fashioned out with nothing but a single piece of paper and a pencil, he sees manga as a ticket that can take people to different worlds. He becomes a comic creator himself. In August 2005, he made his debut with The Little Red Riding Hood Loves the Big Wolf in the Challenger Monthly magazine. His comic works include A Falling Star, Jiden:Haran O Ikiru , and Time Travel: A Journey to Collect Train Tickets which won him the Best Comic in the general comic category at the 4th Golden Comic Awards. His new standalone work The legend of Alishan Forest Railway is expected to hit the shelves in 2016.

《召喚大師》

作品簡介

Le rassemblement des grands maîtres 一個會通靈的少年要交美術史報告，因為懶得查資料……竟異想天開的潛入羅浮宮， 以作品為媒介召回了文藝復興時期大師們的靈魂！他想詢問大師們關於作品的靈感，並 記錄寫成報告。 哪知大師們因為生前的積怨，竟吵了起來！最後甚至要在蘇利館地下室的石牆上用漫畫 一決勝負……

B1

A psychic teenager needs to hand in an art history report, but he is too lazy to look up for information. He boldly sneaks into the Louvre, and summons the spirits of art masters from the Renaissance! He wants to ask them about the inspiration behind their artworks and write them down in his report.

展區 用想像力逛羅浮宮

To his surprise, the masters seem to hold a grudge against one another and start a heated argument!

Dreamin' Louvre

They decide to have a stonewall comic showdown in the basement of the Sully Wing...

事實上我還沒去過羅浮宮，因此在蒐集資料時，簡直就像在一塊塊地拼湊一幅 巨大的拼圖。講到羅浮宮，就會想到達文西的《蒙娜麗莎》（Italian：Monna Lisa），進一步又會聯想到文藝復興時期。……就這樣我開始創作這部作品。 想像中的羅浮宮目前只存在漫畫裡，有天我一定要親自踏進那藝術殿堂。 In fact I have not been to the Louvre, so when gathering information, I felt just like putting a huge piece of puzzle together. Talking about the Louvre, I think immediately of Da Vinci's Monna Lisa, and then from there I think of the Renaissance. That was how I began this artwork. Imaginary Louvre existing now only in comics, however I have to personally go to that palace of art one day. ―簡嘉誠 Jason Chien

Chang Sheng 常勝

常勝，1968 年生於臺灣臺北，復興商工西畫組畢業，而後任職於廣告公司，擔任創 意總監，期間獲「New York Festival Advertising Awards」等國內外廣告獎肯定。2004 年毅然放棄十五年廣告生涯，投身漫畫創作。小時迷戀日本科幻漫畫之父星野之宣 的作品，深受其影響。擅長以較寫實的風格，詮釋科幻、奇幻等題材。創作時以「讓 腦中的幻想活起來」為理念，認為「漫畫」賦予無限想像生命力，而「漫畫家」則 是應該有著持續不斷創作能量的人。代表作有《夢境大飯店》、《BABY》、《Oldman 奧德曼》等，多次獲得金漫獎等國內漫畫大獎肯定，2013 年更以《Oldman 奧德曼》 獲得「日本第六屆國際漫畫賞佳作」。 Chang Sheng, born in 1968 in Taipei, graduated from the Western Painting Group at Fu-Hsin Trade & Arts School. He then worked in advertising for 15 years as creative director, during which he was recognized for his advertising acumen by winning a New York Festival Advertising Awards. In 2004, he decided to abandon his 15-year career in advertising to kick start his journey in the world of comic. As a kid, Chang Sheng was obsessed with the works of Yukinobu Hoshino, Japan's premier sci-fi mangaka, as can be observed in his Hoshino-influenced comics. He is adept at more realistic comics in communicating science fiction and fantasy. Always keeping the mentality of "letting the inner imaginations come alive", and believes comic should be flowing with unbridled imagination and a comic artist should be continuously charged with creative energy. His representative works include Dream Hotel, BABY , and Oldman , some of which have won him the Golden Comic Awards in Taiwan multiple times. In 2013, he received special mention in the 6th International MANGA Award in Japan for Oldman .

《Déjà vu》

作品簡介

宇宙中，毫無生命跡象的未知星球上，太空人 Robinson 在荒蕪一物的星球，遇見 達文西的蒙娜麗莎，眼前情境似幻覺卻如此真實，他開始思考這一切是如何發生 的…這是第一次人類發展出超越光速的宇宙飛行器，太空船搭載微型黑洞，以超光 速前進探索宇宙。航行中一顆幾厘米的太空微粒貫穿了太空艙，所有船員罹難， 唯 Robinson 倖存，回到地球。然而他逐漸發現這迫降的地球並不是原來的世界， Robinson 意外的來到一個平行世界之中。Robinson 相信蒙娜麗莎是唯一能夠傳遞意

念並與原世界產生某種程度連結的關鍵。多年之後，Robinson 的女兒在羅浮宮裡看 見蒙娜麗莎，對當下情境產生了極大程度的既視感 DEJA VU。

B1 展區 用想像力逛羅浮宮 Dreamin' Louvre

In the expansive cosmos, astronaut Robinson roams an unknown barren planet showing no signs of life. There, he meets Da Vinci's Monna Lisa . The illusion seems so real and he begins to ponder how it all happened...The first human spacecraft able to break the speed of light is equipped with micro black holes to move it in superluminal warp drive in exploration of the universe. A tiny space particle penetrated the spacecraft and killed all the crew members, except for Robinson, who survived and made his way back to Earth. However, after he emergency landed, he realized the Earth wasn't how he remembered it. Robinson had unexpectedly stumbled upon a parallel universe. Robinson believes that Monna Lisa is the only vehicle to deliver his thoughts and maintains some sort of connection with the Earth he calls home. Years later, Robinson's daughter comes across the Monna Lisa in the Louvre, and a huge wave of Déjà vu overcomes her.

藝術之於我的價值在於感動，更甚是撼動與領悟。當我佇立在一幅作品前， 總是會有一種陷入的感覺，時間與時間的堆疊，周圍陷入架空的環境，有些 東西觸碰到我的心，我想將這無以解說的情感藉由我的畫和故事表現出來。 Art for me is about being moved; even more so is to be shaken by it and gain some insights of life. When I stand in front of a painting , there is always a feeling of falling completely into it, with time overlapping one another, and surrounded as if by sheer emptiness. Something there touches my heart, and I want to express this unspeakable emotion through my paintings and stories. ―常勝 Chang Sheng

40

Richard Metson 麥人杰

人稱麥叔叔、鬍子、小麥，1964 年生，射手座 A 型。創作橫跨漫畫、動畫、電影、 電玩、時尚各界，風格全方位。1984 年以《天問》參加「全國漫畫大擂臺」獲第一名， 1985 年開始於雜誌《歡樂漫畫》發表《劇場》*、《零代傳說》*。 1994 年發行《黑

色大書》、《麥先生的麻煩》等的單格漫畫引起了 1980 年代臺灣社會的流行風潮， 堪稱為冷笑話始祖。 1991 年起開始製作動畫短片，1998 年擔任臺灣本土動畫長片《魔法阿媽》的動畫導

演，此片獲 1999 臺北電影節最佳影片以及芝加哥國際兒童電影節最佳動畫長片， 為臺產動畫樹立新里程碑。1996 年於《Playboy》中文版雜誌連載漫畫《狎客行》， 結合中國武俠元素、搞笑幽默及性話題，火辣尺度破表，連載中即造成轟動，後於 2003 年出版單行本，並售出多國版權。近年全心投注動畫創作，《交班》為其睽違

十年的漫畫創作。 Uncle Mai, Beard, or simply Mai, Ren-Jie MAI goes by numerous nicknames. Born in 1954, a Sagittarius with blood type A, Mei is an all-around creator who has gotten his hands dirty in comics, animation, movies, video games, and fashion. In 1984, he won the first prize in the National Comic Challenge with Heaven , and began publishing comic serial Theater and Zero Generation Legend in the Joy Comics magazine in the following year. In 1994, he released several single-frame comic bestsellers The Black Book and My Trouble , sparking a frenzy in Taiwan as the "father of flat jokes."

He started making animated shorts in 1991, and later in 1998 acted as the animation director for Grandma and Her Ghosts , a Taiwanese animated feature film that was awarded Best Film in the 1999 Taipei Film Festival and won Children's Jury Award at the Chicago International Children's Film Festival, establishing a new milestone for Taiwan's animation. His comic serial Sex-files of Chinese Swordsmen in the Playboy Chinese edition in 1996 combining elements of Chinese martial arts, funny humor and Kama Sutra became an instant sensation that broke the hotness scale, literally; the compiled standalone was published in 2003 and licensed overseas in numerous countries. Having focused on animation in recent years, Changement d'équipe is a brand new comic creation after a gap decade. * 由於《劇場》、《零代傳說》未有英文篇名，本導覽手冊之英文名稱為美術館暫譯。

B1

作品簡介

《交班》Changement d'équipe

展區 用想像力逛羅浮宮 Dreamin' Louvre

看就是了！ Just follow the exhibition ！

為了可以在羅浮宮的無人時刻去參觀，說什麼都要答應 才行。雖然回來以後一直想不到該怎麼畫、畫什麼⋯⋯ 但是〈蒙娜麗莎〉面前空無一人？這一刻千金難買啊！ For the reason that I could visit the Louvre when no one was there, I said yes no matter what would happen. Despite the fact that ever since I came back, I did not know how I should approach my drawings, and what to draw......

But to have spent my time alone in front of the great artwork Monna Lisa like that? I can tell you the moment was priceless! ―麥人杰 Richard Metson

TK 章世炘

TK 章世炘，臺灣漫畫工作者，出生於臺中。求學時期獲東立出版社漫畫新人王第 11

屆冠軍。2007 年以《烈炎真言》正式出道，2013 年以《黑色狂想曲》奪得金漫獎少 年漫畫首獎，2014 年和電影《甜蜜殺機》合作，出版獨立創作單行本《一顆子彈的重 量》，並於 2014 年獲邀參加安古蘭國際漫畫節展覽。目前持續在《龍少年》漫畫月 刊發表連載，創作擅長以純粹的黑白筆觸、細膩的畫風，呈現精彩刺激的冒險故事。 TK is a Taiwanese comic artist born in Taichung. He won the first prize in the 11 th Manga Newcomer of Tong Li Publishing when he was still a student. Debuting with SKANDA in 2007, TK later grabbed the first prize with Black Dreams in the Teenager Comic category of the Golden Comic Award in 2013. The following year, he published a standalone comic book Sweet Alibis in conjunction with the movie of the same name, and was invited to participate in the Angoulême International Comics Festival exhibition. He continues to contribute to the comic serial in Dragon Young Comic magazine. Specializing in pure black and white creative pen work, he portrays the exciting adventures in a delicate style.

《3AO7》

作品簡介

西元 2317 年，著名的人類遺產 羅浮宮遺址，每天依舊吸引著絡繹不絕的參觀人潮。 為了舉辦特展，羅浮宮請專業的機械人搬運公司來運送展覽品。編號第 3A07 號搬運 機械人，一如往常的執行著作業。搬運途中，一個塵封已久的展覽品外箱意外破損， 一個和自己有著一樣的機械身軀規格，但卻有著精緻人臉的機械女人 出現在眼前。 從此之後，這個女人的面容開始在機械人 3A07 的眼前不斷浮現，如影隨形…… 創作緣由

B1 展區 用想像力逛羅浮宮 Dreamin' Louvre

羅浮宮，一個展示古蹟、藝術品，同時保存著光陰和情緒的奇幻地點。當自己站在 羅浮宮正門之前時，就曾經想著，如果可以選擇一個東西放到羅浮宮裡展覽，我會 放什麼呢？當下心裡就有了答案，希望能展示一個看不見、摸不著、卻無所不在的 某種 ( 情緒 ) 於是誕生了這部短篇漫畫作品的雛形。 In AD 2317, the famous Louvre Heritage Site is still receiving endless hordes of tourists every single day. A special exhibition is about to open, and the Louvre hires a professional robot moving company to transport the exhibits. Transport robot No. 3AO7 is working hard per usual. During the process, the crate of a dust-covered exhibit accidentally cracks open. Inside is a robot sporting an identical body as 3AO7, but with a refined female human face. After seeing this girl robot, 3AO7 begins to see her face every waking moment... over and over again like an unshakable shadow...

Behind the Creation The Louvre, a magical place that displays artifacts and works of art, with time and emotions frozen in time. When I was standing in front of the main entrance of the Louvre, I thought about what I would put in the Louvre when I can choose one thing to exhibit? An answer took shape at that instant: I want to display something (emotionally moving) that is invisible, intangible, but omnipresent. The precursor of this short comic was born.

漫畫和單幅畫作、雕像、影像或聲音一樣，都是藝術創作的一 種形式。身為漫畫工作者，除了對於『漫畫』這個創作類別被 羅浮宮重視而感到非常光榮之外，更對於能藉由這次的合作案， 讓更多人了解漫畫裡豐富的各種創作類型而感到高興……

Comics and single drawings, sculptures, and videos or sound, all are inclusive forms of artistic creations. As a comic artist, aside from feeling honored for the genre of comics being regarded as an important artistic medium by the Louvre, I am also delighted to take this chance of collaboration to let more people understand the rich varieties within the different approaches of comic art ...... ―TK 章世炘

42

Sean Chuang 小莊

本名莊永新，二十年廣告導演資歷，執導作品超過四百部，曾獲多次時報廣告獎與亞 太廣告獎肯定，作品足跡橫跨大陸、新加坡與日本等地，是臺灣知名廣告導演。1997 年出版記錄工作與生活的漫畫《廣告人手記》，熱銷十八刷，成為業界與相關科系必 讀的經典。可說是「左手拍片右手畫漫畫」的全方位創作者。 2010 年以無對白、向歐漫致敬的《窗》重返漫壇，最新作品《80 年代事件簿》獲 2014 金漫獎年度漫畫大獎，並售出法、德等外語版權。2015 年獲頒《講義》雜誌年度

最佳漫畫作家，十月獲比利時漫畫中心（Belgian Comic Strip Center）邀請舉行《80 年 代事件簿》個展。 Sean Chuang has over twenty year of experience as a commercial director under his belt, having directed more than four hundred commercials, some of which won him numerous Times AsiaPacific Advertising Awards. As a well-known commercial director, his works can be seen in China, Singapore, Japan and many other countries. Film Maker's Notes , a comic book that documents the ups and downs of Chuang's work and life, was published in 1997 and reprinted eight times, making it a classic must-read in the advertising industry and among students aspiring to work in the field.

Chuang is said to be an all-purpose creator, shooting commercials with his left hand and producing comic with his right.

He made his return to the comic scene in 2010 with The Window , a tribute to European comic with no dialogue. His latest 80s Diary in Taiwan won him the Best Comic of the Year in the 2014 Golden Comic Awards and with French and German licensing rights sold. Chuang was chosen as the Best Comic Artist of the Year in 2015 by Lecture Notes magazine, and was invited to stage a solo exhibition of 80s Diary in Taiwan at the Belgian Comic Strip Center in October.

作品簡介

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《倩影遊戲》Cache-cache

展區 用想像力逛羅浮宮 Dreamin' Louvre

百年歷史的羅浮宮，世界各國遊客造訪巴黎必經之地，在人潮擁擠人聲鼎沸的德 儂館，是否有神秘的事情正在發生呢？對藝術興趣缺缺的男孩好像發現了什麼…… 進入藝術的聖堂，總是令人肅然起敬，因為同一個空間裡，並置了人類文化歷史 的精華，如果對藝術品沒有抱持著崇敬的態度，會不會因此招來懲罰呢？謹以此 短篇，表達我對羅浮宮既尊敬又害怕的奇思幻想。 The centuries-old Louvre is a must-visit Parisian destination by tourists around the world. In the bustling crowded Denon Wing, something mysterious is going on. A boy who has little interest in the arts seems to have discovered......

Entering a sanctuary of arts always evokes a sense of reverence, for in the same space resides the historical essence of human culture. Would someone be punished for not showing respect to the works of art? This short piece expresses my respect and uneasiness for the enigmatic Louvre.

羅浮宮之遙遠，遠非一趟休館特別參訪得以深入。於是我選擇開一個玩笑警 告那些對藝術缺乏敬意的參訪者，在這個匯聚了大量人文歷史痕跡的聖堂， 除了藝術的氣息之外，一定還有些值得尊敬的什麼⋯⋯ The unattainability to the Louvre can't be thoroughly understood just by paying one particular visit to the museum even during its closing hours alone. So, as a warning , I have chosen to play a joke on those visitors who lack respects for art; apart from the artistic atmosphere, in this sacred place where a large number of cultural and historical traces gathers, there must be still something worthy of our reverence ...... ―小莊 Sean Chuang

61Chi

本名劉宜其，1988 年生於臺灣高雄，師範大學設計研究所畢業。2007 年發表第一本 同人誌插圖集，至今已自費出版同人誌漫畫十餘本，並持續替多家出版社與私人委 託案件繪製小說封面及插圖。 61Chi 屬最新一代臺灣漫畫新銳，繪畫功力驚人，風格橫跨兒童插畫、美系寫實、及

日式唯美。同時搞設計、畫漫畫、玩攝影，嘗試將藝術與設計的雙重美感，帶入漫 畫、插畫作品中。首部單行本作品《房間》獲得第八屆日本外務省國際漫畫賞銀賞， 並入選臺北國際書展大獎、金鼎獎優良出版品推薦。 Born in 1988, Liu Yi-Chi (pronounced like 61Chi in Chinese) graduated from the Graduate Institute of Design, National Taiwan Normal University in 2011. In 2007, she published her first dōjinshi illustration collection, and has self-published over 10 dojinshi works to date. She also draws novel covers and clip arts for publishing houses and writers.

61Chi is part of a new generation of cutting-edge comic artists in Taiwan, armed with amazing skills to produce comic arts ranging from children's illustrations, realism art, and Japanesestyle aesthetics. She is busy with design, manga drawing and photography, attempting to bring her background in art and design into her comic and clip art. Her first standalone book Room won the silver award in the 8th International MANGA Award presented by Japan's Ministry of Foreign Affairs, and was nominated for a TIBE Award and recommended by the Golden Tripod Awards as an Excellent Publication.

B1

作品簡介

《女神們的煩惱》Préoccupations de déesses

展區 用想像力逛羅浮宮 Dreamin' Louvre

愛美是女人的天性，羅浮宮的鎮館三寶也不例外！ 看維納斯―納納、蒙娜麗莎―莎莎、勝利女神―多莉，為了吸引更多入館的遊客， 是如何愛美、為美煩惱！ 「愛美無罪～拉客萬歲～」 It is in every woman's nature to want to look beautiful, and the three goddesses in the Louvre museum are no exception! See for yourself how the goddess of love Venus , Monna Lisa , and the goddess of victory Victoria worry about their beauty and try to look pretty, all so they could attract more tourists into the museum!

They say: "Attract tourists looking pretty! And long live beauty!"

《六人行》（Friends）這部美劇我前後看了整整六遍，大概是 因為很喜歡一群朋友混在一起發生鳥事的感覺吧！於是選定鎮 館三寶，以這三個女人（女神？）的鳥事做為作品主題。 《Friends》: I have watched the full TV drama episodes for six times, probably because I like very much the mixed feelings and silly happenings when a group of friends hang out together! So I decided to choose the precious three characters in it, these three women (goddesses?), and use their silly or crappy stories as the theme for my artwork. ―61Chi

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總策畫 Professor

林曼麗 LIN Mun-Lee

策展人 Curator

法布里斯．德瓦 Fabrice Douar

執行總監 Executive Director

藍恭旭 LAN Kung-Hsu

展覽統籌 Exhibition Coordinator

黃聖閎 HUANG Sheng-Hung

展覽執行 Exhibition Executor

吳家祺 WU Jia-Chi

媒體暨編輯 Media Relations & Copywriter/Editor

朱筱琪 CHU Hsiao-Chi

教育推廣 Education and Promotion

趙宜恬 CHAO I-Tian。鍾一瑄 CHUANG Ihsuan

票務行銷 Ticket and Marketing

徐珮琳 HSU Pei-Lin

展覽助理 Exhibition Assistants

王韞雄 WANG Yun-Hsiung。丘正芝 CHIU Jeng-Jr。李明庭 LI Ming-Ting 沈昱廷 SHEN Yu-Ting。林惠慈 Hui Tzu Lin。洪紹元 HONG Shao-Yuan 范惟先 FAN Wei-Hsien。莊舒茵 CHUANG Shu-Yin。許博俊 HSU Po-Chun 郭修余 GUO Hsiu-YU。陳子光 CHEN Tzu-Kuang。陳世瑋 CHEN Shih-Wei 陳冠宇 CHEN Kuan-Yu。張佳立 CHANG Jia-Li。黃欣怡 HUANG Sin-Yi 劉彥均 LIU Yan-Jun。鄭凱文 CHENG Kai-Wen。蕭鈺屏 Hsiao Yu-Ping 蕭慧君 Hsiao Hui-Chun。謝惠羽 HSIEH Hui-Yu

實習生 Intern

陳羽芯 CHEN Yu-Hsin。林麗雯 LIN Lih-Wen

展場意象設計 Exhibition Concept Design

Lucie Lom

展場設計 Exhibition Design

別音設計 Noiz Architects

視覺設計 Graphic Design

別音設計 Noiz Architects

九號說書人 Story Teller

許哲珮 Peggy HSU

動畫設計 Animation Design

陳昱辰 CHEN Yu-Chen

展覽攝影 Photography

王文彥 WANG Wen-Yen

翻譯 Translators

唐樂榕 Robert Luke TAYLOR。莊依婷 CHAUNG Joy。梅心怡 Delphine Hsini MEI 陳英哲 CHEN Ying-Che。傑森思語文創意社 Jason's Language inspirations

活動支援 Event Support 特別感謝 Special Thanks

於形咖啡 Café Müssion Jean-Luc Martinez。Vincent Pomarède。Aline Colin。Laurence Castany

小学館 Shogakukan。集英社 Shueisha。東映株式会社 Toei Company 博凱 Nicolas BAUQUET。連苔嵐 LIEN Tai-Lan。黃健和 HUANG Aho 張敏慧 CHANG Min-Hui。賴美杏 LAI Joyce Mei-Hsing。孫鳳儀 SUN Feng- Yi 顏亦慈 YAN Yi-Tse。王奕文 WANG Yi-Wen。Camille Palopoli Victorine Majani d'Inguimbert。Yukiko KAMIJIMA。小田基行 Motoyuki ODA

井藤 涼 Ito RYO。Irene SNIEGOWSKI。高見澤庸 Yo TAKAMISAWA。Sakura WAKITA

備註 本手冊中、英文內容俱由法文直譯而來，故中、英文兩語文間之語意參照容或有所不同。

Exposition organisée par le Museum of National Taipei University of Education en partenariat avec le musée du Louvre 展覽由國立臺北教育大學北師美術館與羅浮宮共同合作

L'OUVRE 9《打開 羅浮宮九號》 羅浮宮漫畫收藏展 2015.11.28 ― 2016.02.28 地點 Venue │北師美術館 MoNTUE 106 臺北市大安區和平東路二段 134 號 No. 134, Section 2, Heping East Rd, Da'an District, Taipei City, 106

開放時間 Opening Hours 週二至週日 10:00 – 17:00 週一及國定例假日休館 Tuesday to Sunday 10.00 – 17:00

http://montue.ntue.edu.tw

Closed on Monday & National Holidays

http://www.louvre.fr