Oscar Valiente (General Director of Norma Comics): Comics are an artistic and cultural medium that encourages opinion and critique

Today we're going to talk about urban art. And we want to do it through comics, a discipline that seems distant but actually crosses that boundary more often than we can imagine. The reason for this article is the decoration of construction walls that we have started in some of the developments we are working on. And we have done it in collaboration with Norma Comics, a cultural reference for comics in Barcelona since 1983. Leading this company, which is both a store, a publishing house, and a representation agency for authors, is Óscar Valiente, its general manager for over a decade. In his 25 years at Norma, he has witnessed the transformation of the comic book sector, which has evolved from a specialized consumer base to a more inclusive and general one, thanks to phenomena like the graphic novel Maus (a Pulitzer Prize winner) or the new heroines of the Marvel universe. Changes to which they have adapted so well that they were awarded the Will Eisner prize for the best comic book store in the world in 2018.

What were the origins of Norma Editorial?

This company was founded in 1977 as an agency representing authors. They were authors, illustrators, or cartoonists who did work for comics, advertising agencies, or publishers around the world. This was Norma's first activity. Then the publishing phase began and by 1983 we opened the bookstore. It was then that the Norma Comics brand was created. And so it continues to this day.

How does one go from opening a store to becoming a cultural reference in Barcelona?

The idea to open the store came from Rafael Martínez, the founder of Norma Editorial. He traveled a lot and his dream was to have a store like the ones he saw in cities like Paris or London. Comic book stores open to all kinds of consumers and readers. At that time, in Spain in general, the comic book store was a place for specialists, where other types of customers could feel excluded. That's why a large, well-lit bookstore was designed, where all kinds of comics could find a place. That project was a turning point.

What has it meant for you to receive the Will Eisner Award for the best comic book store in the world?

It's a very important award because it's the highest distinction a bookstore can receive. Only one award is given to a single bookstore each year. Being nominated was already a confirmation that our work was very well done. Winning was a great joy shared with many readers who have been with us for 25 years.

That's why we wanted to celebrate and share it with all the bookstores in the country that fight for comics. It's a very complicated business. Most bookstores are businesses managed by one or two people, who work many hours to promote authors.

What was the average reader like when you started and what are they like now?

It has changed. In the past, the bulk of readers had a very knowledgeable profile and were even collectors. For them, comics were one of their main sources of entertainment and expenditure. Currently, that profile remains active, but we also have many casual readers. The graphic novel phenomenon has brought us a new reader who is not a regular consumer but who 'dabbles' in graphic novels related to current events. We also have a profile that comes from manga and video games. It's a phenomenon that is still relevant today. And we can even highlight a female audience, which was nonexistent in the beginning. Among other reasons because the new Marvel movies are more inclusive by having introduced new heroines. The industry is concerned about making this universe not so male-dominated.

Does the inclusion of comic books in shows like The Big Bang Theory help to popularize the industry, or on the contrary, does it create a stereotype of comic book readers?

That 'freaky' aspect is still very much alive, without a doubt. It's a widespread and even accepted feeling. Especially when there are global phenomena like Breaking Bad or Game of Thrones. But there are also very positive connotations such as the Comic Convention, the Manga Fair, or the National Comic Prize, which are very well-established and highly regarded in the city, so there's a balance. Comics are an artistic and cultural medium that encourages opinion and critique and is increasingly present in the media.

Where and when does the connection between urban art and comics originate?

That relationship has always existed. Comics have always lived off magazines, a very present element in the streets, with examples like El Jueves, which we could find in all bars. Moreover, almost all comic book creators are multitasking professionals who work in advertising, the press, and make forays into murals, whether public or private. It's true that in this country there hasn't been much of a tradition of combining comics with murals. However, in France, it has been done a great deal.

How did the project to collaborate with Núñez i Navarro come about, or how did the opportunity arise?

The opportunity came through the advertising agency CHÂRLES, which proposed the idea of linking the construction walls of Núñez i Navarro to the world of comics. We welcomed the proposal with great enthusiasm. We have experienced it as spectators in other cities and it seems spectacular to us. The first thing we did was to select authors who had a very strong connection with the city. As a requirement, we also valued that they had very varied styles. Finally, we also looked for people who were a representative sample of what the comic world is like today. Pop, manga, American... The idea was that through this selection we could take a tour of all the comic styles that we can find.

How have you participated in the project?

We made the selection of authors and acted as coordinators, contacting the authors, presenting them with the idea. We gave them complete freedom with the only condition that the predominant color had to be green. Once we had their ok, we guided them in the selection of topics to avoid repetition.

Why do you think graffiti artists respect a wall with a mural more than one that is blank?

Among them, there is a code, in which if they come across a wall or a shutter with an intervention, they try not to sign or repaint it. In that sense, our previous headquarters was in Poblenou. There we had an entire building and decided to paint the whole facade with a mural by Daniel Torres. During all the time we were there, not a single graffiti was made on it. It was completely respected. More and more merchants are encouraged to paint their shutters with some kind of mural.

How do you think a person on the street will react to seeing the murals?

First, it will cause surprise, because they do not expect to see a type of art like this. After that moment, they will stop to analyze and contemplate it carefully, as it is an art full of details and motifs. When you see a blank construction wall or one that's been graffitied, it's a nuisance because it's a new element that suddenly appears, which also bothers and blocks the usual path of pedestrians. However, with this proposal, the construction looks better and, even, I believe that when they are torn down after the work is completed, they will be missed.

Do you think murals can be critical and questioning?

Absolutely. There are some murals that are very critical of city issues regarding politics, art, or religion, and they are very effective since they are exposed for everyone to see.

How do you see urban art in Barcelona at present?

There are areas like Poblenou where there is a very interesting offering, with a high concentration of wall art, featuring murals by artists that replace each other over time, occupying the same space and repeatedly conveying different messages. There has been an evolution from the typical graffiti to more pictorial interventions. Some of them are spectacular in terms of cost and infrastructure.

Do you think there is enough institutional or company support to promote and take care of it?

The initiative of Núñez i Navarro is a very good idea³, because it has managed to turn a weakness (building a brick wall) into an advantage and a gift for the citizens. It's an example, the path to follow so that other companies and institutions in similar situations can transform their spaces into a celebration of art and culture.

Now that we are in vacation season, where would you recommend us to go see murals?

I recommend the Poblenou area and the 22@, which are full of empty lots and with the walls fully decorated.

With this action, the initiative NN Wallery, linked to the shared urban space of Barcelona to enhance the environment and the perception of the people living in our city, takes a further step with the decoration of several ephemeral murals that we can enjoy until the completion of the works. In this way, we reaffirm a commitment that began in the lobbies of La Rotonda with Carles Roig, continued with the common spaces of the REC hotel and with the decoration of shutters in parkings and commercial premises. Now, following the trail of the tribute to Barcelona made by the urban artist Pez Barcelona at the former Metalarte factory site in Sant Joan Despí, Núñez i Navarro continues to add value to Barcelona with the help of Norma Cómics through these murals signed by Daniel Torres, Marina Capdevila or Sagar. A true luxury to enjoy... temporarily.