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Le Sommeil du monstre #2
32 décembre
Optus Warhole, le duplicateur d’humains, se mue en Artiste du Mal Suprême, prompt à jouer et à se jouer de tout, de l’infiniment grand, y compris une ouverture abyssale sur l’inconnu du cosmos, ou de l’infiniment petit, y compris quatre destins humains, il est vrai pas tout à fait ordinaires, car tout simplement ses préférés : ceux de Nike, Leyla, Amir et... Sacha.
62 pages, Hardcover
First published July 1, 2003
2 people are currently reading
142 people want to read
About the author
Enki Bilal
243 books316 followersEnki Bilal (born Enes Bilal) is a French comic book creator and film director.
Bilal was born in Belgrade, then the capital of Yugoslavia, to a Czech mother, Ana, who came to Belgrade as child from Karlovy Vary, and a Bosnian Muslim father, Muhamed Hamo Bilal who had been Josip Broz Tito's tailor. When he was five years old, his father managed to take a trip and stay in Paris as a political émigré. Enki and the rest of the family followed him, four years later.
Enki Bilal has no sense of belonging to any ethnic group and religion, nor is he obsessed with soil and roots. He said in one interview: "I also feel Bosnian by my father's origin, a Serb by my place of birth and a Croat by my relationship with a certain friends, not to mention my other Czech half, who I am inherited from mother".
At age 14, he met René Goscinny and with his encouragement applied his talent to comics. He produced work for Goscinny's Franco-Belgian comics magazine Pilote in the 1970s, publishing his first story, Le Bol Maudit, in 1972.
In 1975, Bilal began working with script writer Pierre Christin on a series of dark and surreal tales, resulting in the body of work titled Légendes d'Aujourd'hui.
He is best known for the Nikopol trilogy (La Foire aux immortels, La Femme piège and Froid Équateur), which took more than a decade to complete. Bilal wrote the script and did the artwork. The final chapter, Froid Équateur, was chosen book of the year by the magazine Lire and is acknowledged by the inventor of chess boxing as the inspiration for the sport.
Quatre? (2007), the last book in the Hatzfeld tetralogy, deals with the breakup of Yugoslavia from a future viewpoint. The first installment came in 1998 in the shape of Le Sommeil du Monstre opening with the main character, Nike, remembering the war in a series of traumatic flashbacks.
In 2012, Bilal was featured in a solo exhibition at The Louvre. The exhibition, titled "The Ghosts of the Louvre", ran from 20 December 2012 to 18 March 2013. The exhibition was organized by Fabrice Douar, and featured a series of paintings of "Ghosts", done atop photographs that Bilal took of the Louvre's collection.
Bilal was born in Belgrade, then the capital of Yugoslavia, to a Czech mother, Ana, who came to Belgrade as child from Karlovy Vary, and a Bosnian Muslim father, Muhamed Hamo Bilal who had been Josip Broz Tito's tailor. When he was five years old, his father managed to take a trip and stay in Paris as a political émigré. Enki and the rest of the family followed him, four years later.
Enki Bilal has no sense of belonging to any ethnic group and religion, nor is he obsessed with soil and roots. He said in one interview: "I also feel Bosnian by my father's origin, a Serb by my place of birth and a Croat by my relationship with a certain friends, not to mention my other Czech half, who I am inherited from mother".
At age 14, he met René Goscinny and with his encouragement applied his talent to comics. He produced work for Goscinny's Franco-Belgian comics magazine Pilote in the 1970s, publishing his first story, Le Bol Maudit, in 1972.
In 1975, Bilal began working with script writer Pierre Christin on a series of dark and surreal tales, resulting in the body of work titled Légendes d'Aujourd'hui.
He is best known for the Nikopol trilogy (La Foire aux immortels, La Femme piège and Froid Équateur), which took more than a decade to complete. Bilal wrote the script and did the artwork. The final chapter, Froid Équateur, was chosen book of the year by the magazine Lire and is acknowledged by the inventor of chess boxing as the inspiration for the sport.
Quatre? (2007), the last book in the Hatzfeld tetralogy, deals with the breakup of Yugoslavia from a future viewpoint. The first installment came in 1998 in the shape of Le Sommeil du Monstre opening with the main character, Nike, remembering the war in a series of traumatic flashbacks.
In 2012, Bilal was featured in a solo exhibition at The Louvre. The exhibition, titled "The Ghosts of the Louvre", ran from 20 December 2012 to 18 March 2013. The exhibition was organized by Fabrice Douar, and featured a series of paintings of "Ghosts", done atop photographs that Bilal took of the Louvre's collection.
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Displaying 1 - 12 of 12 reviews
December 12, 2020
Od kada sam postao roditelj često razmišljam o vaspitanju i uspostavljanju sistema vrednosti. Naime najčešće se desi da svojoj kćerci kažem Nemoj to da radiš, to nije lepo! a ne kažem To nije dobro ili To je loše. Dakle, ultimativna odrednica ispada lepota. Da li to znači i da je estetika životno usmerenje i merilo postupaka?
U 32. decembru Bilal postavlja neka slična pitanja. Ultimativni zlikovac, sada istovremeno podmlađen i umnožen, izvodi Absolute Evil Art performanse koji su istovremeno i akti terorizma, mada nisu usmereni ni prema kome direktno, odnosno moglo bi se reći da su usmereni prema čovečanstvu. Jedino što nedostaju bilo kakvi zahtevi, odnosno umetnost deluje kao krajnja odrednica.
Unatoč ovakvoj temi, Bilal je daleko emotivniji i involviran. Izuzetno dobro razrađene situacije, detalji, likovi su životniji, ideje provokativnije nego u prvom delu a svet proširen. Čak je i kraj zaokruženiji nego prvi put, iako celoj priči još uvek nedostaje razrešenje.
U novo-uspostavljenom sistemu vrednosti - apsolutna umetnost! :)
(Ispod je tekst nakon prvog čitanja :)
What better time to read this but on January 1st :)
Even better than the first part, now that the settings are there. Managed to mix unbelievable ideas with unforgettable images!
U 32. decembru Bilal postavlja neka slična pitanja. Ultimativni zlikovac, sada istovremeno podmlađen i umnožen, izvodi Absolute Evil Art performanse koji su istovremeno i akti terorizma, mada nisu usmereni ni prema kome direktno, odnosno moglo bi se reći da su usmereni prema čovečanstvu. Jedino što nedostaju bilo kakvi zahtevi, odnosno umetnost deluje kao krajnja odrednica.
Unatoč ovakvoj temi, Bilal je daleko emotivniji i involviran. Izuzetno dobro razrađene situacije, detalji, likovi su životniji, ideje provokativnije nego u prvom delu a svet proširen. Čak je i kraj zaokruženiji nego prvi put, iako celoj priči još uvek nedostaje razrešenje.
U novo-uspostavljenom sistemu vrednosti - apsolutna umetnost! :)
(Ispod je tekst nakon prvog čitanja :)
What better time to read this but on January 1st :)
Even better than the first part, now that the settings are there. Managed to mix unbelievable ideas with unforgettable images!
September 1, 2019
Absolute evil art, a legfelsőbb gonosz művészete, sűrített halálkitörés... lenyűgözően elmebeteg anyag ez még mindig, és nehéz kikerülni a hatása alól. "Kattintson a vérfoltokra, és tekintse meg a gyilkosságokat...."
Annyira nem réteges egyébként a sztori; így a második kötet végére nagyjából kimerül abban a konfliktusban, hogy megfékezhető-e egy korlátlan hatalommal bíró, tartályban lebegő gonosz agy ámokfutása, aki művészeti önmegvalósításnak éli meg a társadalom és a tudomány manipulációját. Ugyanakkor annyira csodálatosan van ez a sok agyrém megrajzolva, hogy nem tudok betelni a színekkel, a formákkal, úgy egészében a kötetek esztétikájával. Ez képzőművészet némi szöveges magyarázattal, csak hogy ne veszítsük el a fonalat.
Annyira nem réteges egyébként a sztori; így a második kötet végére nagyjából kimerül abban a konfliktusban, hogy megfékezhető-e egy korlátlan hatalommal bíró, tartályban lebegő gonosz agy ámokfutása, aki művészeti önmegvalósításnak éli meg a társadalom és a tudomány manipulációját. Ugyanakkor annyira csodálatosan van ez a sok agyrém megrajzolva, hogy nem tudok betelni a színekkel, a formákkal, úgy egészében a kötetek esztétikájával. Ez képzőművészet némi szöveges magyarázattal, csak hogy ne veszítsük el a fonalat.
January 4, 2021
¡El dibujo es impresionante! La historia es extraña. Y no me di cuenta hasta el final, de que era el segundo de una tetralogía. A lo mejor por eso.
August 5, 2022
Les graphismes sont incroyables mais j'ai pas vraiment accroché à la mise en page dense et compliquée ce qui m'a freiné dans ma lecture
May 29, 2023
top 3 volumi, Gucci
August 15, 2025
Fantastic artwork, strange storyline. Way stranger than Philip K. Dick, but fascinatingly attractive.
February 14, 2021
Bilal a trouvé de nouvelles idées géniales autour de l'art pour alimenter son style unique. J'ai moins accroché qu'au premier opus, d'abord parce que l'inconfort lié à l'absence de certitude que je lisais l'aventure d'une copie ou d'un original de nos 3 héros m'a déstabilisé toute la lecture durant et surtout parce que la transformation d'Optus Warhole en artiste halluciné ne m'a pas paru très cohérente.
May 4, 2013
La démence de Warhole devient alarmante et tourne au massacre, après avoir visité le mystérieux site de l'aigle les dix témoins disparaissent, le nuage de la mort fait des dégats. Tragique, beau et envoutant, on n'attend que la suite des aventures déjantées de Nike, Amir et Leyla...
May 25, 2012
Holeraw genera Warhole e il mondo dell'arte non sarà più lo stesso.
Trovate visive e narrative sensazionali.
Trovate visive e narrative sensazionali.
January 19, 2011
Ok, I had read it when it 1rst came out and since then I have read as in dozens of different kinds of comix but nothing compares to Bilal.
December 16, 2013
Kovin paljon parempi tämä oli kuin muistinkaan. Raskas luettava, välillä sekava seurata, mutta oikeastaan ihan hyvä.
Displaying 1 - 12 of 12 reviews