What can Brussels readers expect from the 20th-anniversary Seuls exhibition?

Brussels is putting a major Franco-Belgian youth-comics success at the centre of its summer museum calendar. The Comic Art Museum, on Rue des Sables in the City of Brussels, opened “Alone: Not even scared (to be scared!)” on 13 June 2026, marking 20 years of the Seuls series by French writer Fabien Vehlmann and Belgian artist Bruno Gazzotti. The exhibition runs until 15 November 2026 and is staged with curator Thierry Bellefroid, exhibition designer Elodie Descoubes, colourist Usagi, and the publishers Rue de Sevres and Dupuis. For a Belgium-based reader, the practical point is simple: this is not just another children’s exhibition in bruxelles. It is a showcase for one of the best-known recent examples of the Franco-Belgian comics ecosystem: a French-language series, drawn by a Belgian artist, shaped through Belgian comics culture, published first by the Charleroi-based Dupuis before its later move to Rue de Sevres, and now displayed inside one of Brussels’ signature cultural institutions. What visitors need to know: the show is at the Comic Art Museum, 20 Rue des Sables, 1000 Brussels; the museum says it is open Tuesday to Sunday from 10:00 to 18:00, with last admission at 17:00; the exhibition dates are 13 June to 15 November 2026. The museum describes the experience as immersive and aimed at both young readers and adults who grew up with the books. The story of Seuls is easy to grasp and difficult to forget: children wake up in a city where the adults have disappeared. That premise allows the series to mix adventure, fear, friendship, survival and moral choice without reducing young readers to passive spectators. The museum’s own framing asks what children would do if left in a world without adults. That is why the exhibition is likely to appeal to families, school groups and adult comics readers, not only to collectors. The broader point is cultural. Belgium often markets comics through Tintin, Spirou, the Smurfs and other heritage names. Seuls gives Brussels a more contemporary bridge: a still-active fantasy-adventure series that speaks to readers who know manga, streaming teen drama and dystopian fiction as much as classic BD albums. It shows how the Belgian comics tradition continues through newer serial worlds rather than only through nostalgia. There is no major federal or EU policy dispute here, and no Belgian ministerial reaction was visible in the checked sources. The institutional angle is instead Brussels as a cultural capital: the Comic Art Museum presents itself as a cultural ambassador for Belgium, its regions and communities, and says it welcomes more than 200,000 visitors a year. In that setting, Seuls becomes both a visitor guide item and a signal of how French-language Belgian-linked comics remain commercially and culturally alive.