5 questions for Tina Brenneisen

4 January 2022

Until January 16, 2022, we can enjoy Tina Brenneisen’s Comic “True Stories. Marie Luis tells”
in the LUDWIGGALERIE Schloss Oberhausen. In the comic, a
male research group a legendary creature – the woman. Critical and
Brenneisen humorously addresses the role of women in society.
she resorts to an episodic plot in which the protagonist
Marie Luis tells men fictional stories about different women,
their lives and achievements. But even in these fictional
Despite the many triumphs, realities reveal dark sides in the everyday life of
Women cannot hide. Even if the story is not yet published,
it is now ready to be presented to the public.

The Berlin comic artist is an artist and publisher
at the same time. As Founder
Parallelallee, a small independent comics publisher, determines
about publishing some stories. We asked them
what requirements she sets for publishing and what
Artists actually deserve more attention.

Fig. Tina Brenneisen, True Stories. Marie Luis tells, 2020 © Tina Brenneisen

Nathalie
Schraven: What comes first in your work? Words or images?

Tina
Brenneisen: The word. I usually only think about it when the text is finished.
how I implement it stylistically. For example, I am currently working on a
Story that is structured like a play. There are 15 characters, very
a lot of dialogue, little action, only interior as setting and a single
Accessory for playing: a bed. So I decided to play without panels
work and think more in loose fields of action that go beyond the speech bubbles
held together and structured. This means that the speech bubbles take over
itself an important dramaturgical, sometimes almost figurative role,
become projectiles, meandering through the area, depending on what
content in the dialogues. It is more tiring to work without panels
work, but fits well with the story, which is about clashing
opinions.

NaS: Which
What criteria have you set for publishing?

TB: The
History should be good. And for me a story is good if it
something moves in me, opens up a new perspective or viewpoint, something
shows what I have not seen or thought before. Whether that is through the pictures
or over the text is the same. Ideally over both, of course. That
I know from my own experience that this is difficult. The medium of comics is very
challenging because it plays with so many levels and all of them
Making them sound better together is not easy.

Image: Tina Brenneisen, True
Stories. Marie Luis tells, 2020 © Tina Brenneisen

NaS: Which
Do illustrators deserve more attention?

TB: I
I think comic artists as a whole deserve more attention. If you
Consider how difficult the working conditions are in Germany. Comics are
not exactly a cultural asset in this country (except in Oberhausen Castle) and otherwise
Unlike in France, no one is waiting for comics here. At the same time, the
Comic production is incredibly time-consuming, book production is expensive
and for most of us, despite our calling, it is only a secondary occupation.
I was introduced to the Argentinian comic artist Power Paola, who in her home country
is considered the icon of Latin American comics, but in Germany
is largely unknown. Your publisher Alejandro
Bidegaray (Musaraña, Buenos Aires) called her main work Virus Tropical and she
at a panel discussion during the Fumetto Festival in Lucerne 2017 as
“our ‘mouse’, our Marjrane Satrapi.” The film version of her comic was shown
2018 at the Biennale. That is why we will be working with the translator Lea
Hübner next year Power Paolas Virus Tropical in our publishing house Parallelallee
and make sure that she gets the attention she deserves
earned.

NaS: A
World without comics would be for you…

TB:
Conceivable, but less pleasant.

NaS: What
What advice would you give to someone who wants to become a comic artist today?

TB:
Stick with it, don’t get discouraged, get a job,
the wonderful culture of DIY, the fanzine culture and
see the medium as what it is, despite all the difficulties:
a space of great freedom.

Author: Nathalie Schraven