The Musée Tomi Ungerer in Strasbourg is currently hosting “Hi – Yo, c’est l’écho,” a retrospective dedicated to the work of French comic artist F’murr, whose satirical and often anarchic style has captivated audiences since the 1970s. The exhibition, running from March 6th to August 30th, 2026, showcases the artist’s distinctive characters and biting commentary on society, religion, and politics. F’murr, born Richard Peyzaret in 1946 and passing away in 2018, left behind a legacy of challenging and humorous work that continues to resonate with readers today.
Known for his subversive approach, F’murr’s comics frequently feature recurring figures like a perpetually hungry wolf, seemingly naive sheep, and portly bishops scaling ladders to trim the hair of Jesus on the cross. These images, far from being simply absurd, are imbued with a critical spirit, addressing contemporary themes with a playful yet pointed edge. As Elisabeth Walter of the F’murrr Foundation Fund notes, his work remains remarkably accessible and funny, with generations continuing to quote and rediscover its layers of meaning. The exhibition promises a deep dive into the artist’s prolific output, spanning newspapers, magazines, and collected albums.
A Legacy of Satire and Absurdity
F’murr’s career began in the early 1970s, and he quickly established himself as a unique voice in the world of French comics. He honed his skills at the École supérieure des arts appliqués Duperré and the workshop of Raymond Poïvet, where he connected with other influential artists. His most famous series, “Le Génie des Alpages” (translated as “Alpträume” in German), features a shepherd, his talking dog, and a flock of eccentric sheep in the Alpine landscape. According to the Lambiek Comiclopedia, this series is characterized by its absurd and philosophical nature.
The exhibition isn’t solely focused on F’murr’s individual work. It also features contributions from artist Camille Potte, who was invited to respond to F’murr’s comics with her own artistic interventions. Potte, a longtime admirer of F’murr’s work, brings a contemporary, female perspective to the exhibition, particularly through a mural that reimagines a series of female figures from F’murr’s earlier work, allowing them to playfully critique the male gaze. Potte particularly admires F’murr’s character Naphtalène, a cynical young woman who lives in a natural history museum and smokes cigars, describing her as a compelling and unconventional figure.
F’murr’s work wasn’t limited to lighthearted satire. He also tackled serious subjects, including environmental destruction, criticism of the clergy, and the horrors of war. In 1987, he published a comic about the Afghanistan War, blending black humor with a sense of gravity – a work that, as noted by the exhibition materials, remains strikingly relevant today.
Animals as Mirrors to Humanity
Anna Sailer, curator of the exhibition and director of the Musée Tomi Ungerer, emphasizes the significant role animals play in F’murr’s work. “But you have to understand that the animals are neither animals nor people,” Sailer explains. “That’s a great freedom. That’s why they have a different humor, a different sarcasm and are sometimes the more interesting protagonists in their entire range of action.” This blurring of lines between animal and human allows F’murr to explore complex themes with a unique and often unsettling perspective.
Visitors to the exhibition are encouraged to examine the intricate details of F’murr’s original artwork, paying particular attention to the sheep with their whimsical names and the hapless shepherd who tends them. The exhibition provides a rare opportunity to appreciate the artistry and intellectual depth of a comic artist who consistently challenged conventions and provoked thought.
As “Hi – Yo, c’est l’écho” continues its run at the Musée Tomi Ungerer, it serves as a reminder of F’murr’s enduring influence on the world of comics and his ability to find humor and meaning in the most unexpected places. The exhibition offers a compelling look at an artist who wasn’t afraid to question authority, challenge norms, and develop people laugh. The ongoing exploration of his work promises to reveal new layers of interpretation for both longtime fans and newcomers alike.
What will be the lasting impact of this retrospective on F’murr’s already significant legacy? Share your thoughts and reactions in the comments below.
