Tag Archives: Mexico

FUNDAMENTAL CAMARENA

Fundamental Camarena. Argle Bargle Books. 2021. 144pp, $21.95

The more one digs into the comics medium, the more it rewards you as an immersive world of the mind. You can lose yourself in it as much as any other art form. Christopher Sperandio has taken quite a deep dive into re-working vintage public domain comics just as you would any other kind of “found art.” Check out some of his work on his Instagram. He is genuinely mesmerized by it and respectful of all the souls, many truly unsung heroes, who created the work in the first place. That said, when Sperandio hit upon a cache of original Mexican comic book pages at a public market, he knew right away that this wasn’t just another canvas upon which to recontextualize. This was something special that needed to be called attention to. Sperandio’s long and distinguished career features work that explores the interconnections between mass and museum culture. Sperandio teaches at Rice University where he specializes in working with the comics medium. He recently put together at Rice an arts lab, the Comic Art Teaching and Study Workshop (CATS) and this book is part of that.

A typical copy of Micro Suspenso, #305, circa 1968,  4 1/2 x 3 inches.

A mysterious packet of ink drawings sitting in a stall in a public market in Mexico City. At that point, the fate of these drawings, half a century old, was utterly dependent upon who might take notice of them. So, it’s something of a miracle that this set of drawings would catch the interest of the most ideal buyer. This bundle of originals was created by Julio Camarena for the comic book series, Micro Suspenso. There was no cover but the comic book could be dated to circa, 1970. The story, oddly enough, is entitled, “The Last Buyer.” With Sperandio’s purchase, this little batch of comic book art had fallen into academic hands and, as it turned out, Sperandio was to be the last buyer of this work prior to his immortalizing it in this book. To add a touch of intrigue, the originals were stolen and probably destroyed.

Julio Camarena is plucked from obscurity and joins the world of academia.

And so Julio Camarena, an obscure Mexican cartoonist, finds his work the subject of an academic study. Well, that’s just the beginning. As I mentioned, Sperandio has a working method that involves linking popular media to museum culture. And that is precisely what this purchase of drawings set into motion. We come back to the idea of a playground for the mind. When you stop and think about it, comic books (particularly strange and offbeat comic books) and museums, are both prime venues for some deep thinking, the stuff that dreams are made of! Sperandio developed his project step by step, bringing together the people and resources he needed under the CATS arts lab. In time, he had what was needed for an installation as well as a book.

From the pages of a comic book…

…to the gallery walls of a museum.

As a work of comics, “The Last Buyer” is more than just competent; it’s a guilty pleasure in the best sense. Right away, I was intrigued by the characters and their hint of Mod style sense. And who doesn’t like a good horror story about a possessed car? I’m Mexican-American, and I do read Spanish but not without some effort. I mean, the words don’t just jump out at me as they do in a work of comics in English. That sense of words jumping out is magical and it’s not happening when I’ve got a work of comics in Spanish. For the Camarena stash to fully function as a work of comics for a now predominantly English-speaking audience, the darn thing would need to be properly translated within the comic itself with the Spanish text replaced by English. There are notes at the back of the book with an English translation but that’s just not the same. That said, it’s a fun read. It is masterfully worked out, especially considering the tiny format that was common for these “micro-comics,” pocket-sized comics meant to be read on the way to work or in some less than rarefied environment. That said, of course, this set of drawings has totally become a creature of rarefied environments.

Page excerpt from “The Last Buyer.”

So, what’s so special about this stash of original comic book art that has been taken out of its natural habitat, as it were, and placed under a microscope? First, it’s a learning opportunity, right? Sperandio gets to share some of the history of Mexican comics and he even, early on, gets a chance to demonstrate how unfairly maligned the comics medium has been. His quote from 1999 by noted art critic Rosalind Krauss is priceless. When asked at a public lecture at Princeton University for her opinion on the comics medium, Krauss said the form was “unredeemable.” Ouch! Well, that was over twenty years ago and, I dare say, the general sentiment has changed. As for this stash of Mexican comics in particular, Sperandio is making the case that, yes, this little bundle of obscure comics is a historic and artistic artifact. And, while the originals are now gone forever, the originals had been properly digitized and so can now live on in print, as they were always intended to do. Sperandio, “the last buyer,” managed to pass on a little treasure to all sorts of future buyers, those who buy into the comic medium’s hard-won fight for credibility.

Where all this gets most interesting is in tracking down the one and only Julio Camarena, the cartoonist behind these mysterious comics. Camarena is given his due. He is not presented as some exotic but as the creative professional he was, part of a tradition, part of history. This is the moment when, if you were binge-watching on Netflix, the payoff is finally delivered. Sperandio has gotten to comment on Camarena. A contemporary cartoonist has provided his observations. And a professor of Spanish and Latin American Literature has held court– and even quoted a scholarly report that concludes Mexico and Japan are the world’s only true comic book cultures. All very interesting but now Camarena speaks about Camarena! And, like any long-awaited moment, it’s a little poignant and also a little anticlimactic. Camarena loved his work, has no regrets, and has little patience with looking back. He was interviewed a couple of years ago by Mexican cartoonist Augusto Mora. It’s a wonderful exchange between the two creatives. Camarena sounds to be very savvy about the comics market. He simply doesn’t take himself too seriously or put his work upon a pedestal. He makes a comment towards the end that he regrets that Mexican publishers began to dabble in cheesecake pin-up comics in an attempt to boost sales. That went against their core family audience and so it was no surprise to Camarena when that phase of comics tanked. Ironically, the only photos of Camarena have him showing some of his pin-up work. It’s actually rendered quite well, in a classic tradition but, apparently, he didn’t have his heart in it. No, his heart was in the work he was a part of for most of his life, stories that enthralled readers across a wide spectrum. It was a magical time, a time for all kinds of stories whether historic, romantic, adventurous, or even supernatural.

Cartoonist Julio Camarena

So, did Sperandio’s examination of the Camarena stash of drawings stretch and pull it well past anyone’s intended purpose? Okay, sure, but it was all worth it! Indeed, this book is a ticket to play in the playground of the mind. Seriously, this is a most welcome addition to comics scholarship in general–and Mexican comics in particular. We can already find a number of books that gravitate to pretty familiar subjects like Los Bros Hernandez. Sperandio goes further and provides us with some much needed insight into the roots of Mexican comics and culture. This quirky book is a wonderful exploration of many things, not the least of which is the playground of the mind.