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Posters de James Victore
y Seymour Chwast.
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Josh MacPhee nos acaba de enviar un ejemplar del proyecto "MAY68". Es un periódico de 14 páginas editado para celebrar el 40 aniversario de las protestas de mayo del 68, que recoge 12 carteles y un texto de
Carol Wells (CSPG). Han participado Jody Barton, Scott Boylston, Seymour Chwast, Sun Dawang, Gwenaëlle Gobé, Josh MacPhee, Finn Nygaard, UG Sato, Chris Stain, James Victore, Brett Yasko, John Yates.
Texto introductorio:68 was an explosive, creative and legendary year. Many student activists believed that 1968 was the start of a world wide revolution. Almost four decades before 2003, when the Internet helped coordinate the participation of between 10 and 40 million people in simultaneous world wide demonstrations against the Iraq War, there was 1968, the year that student-led protests erupted around the world. Whether protesting the Viet Nam War or domestic repression—and often linking the two—protestors in Chicago, Mexico City, Paris, Prague, Tokyo and many other cities were tear gassed, clubbed and shot. The death tolls in Mexico City are still disputed. The one thing is not disputed, is the importance of graphics to publicize the demands and grievances. Hundreds of posters anonymously produced by artists and students were plastered all over Paris and other cities. Those produced through the Atelier Populaire were the most widely distributed and are the best known today. Their power, simplicity and directness communicated the students’ demands, and helped forge solidarity with French workers. The brief but almost mythical French student-worker alliance led to a general strike throughout France by ten million French workers, roughly two-thirds of the French workforce.
The posters of Paris 1968 inspired—and in some cases were directly copied—by students and artists across the world. Forty years later they continue to inspire. Forty years later, there is another unpopular and devastating war, countless workers are still exploited, human rights abuses abound and many governments are more powerful and repressive than ever. The posters in this portfolio make direct reference to the rawness and forcefulness of the posters of Paris ’68. They also speak directly to contemporary issues. If a poster makes you think about the world, it has achieved its goal. If a poster makes you think about the world a little differently, inspires action, moves you to publicly post them or makes you want to design your own poster, it has exceeded its goal.
There has never been a movement for social change without the arts—music, poetry, theater, posters— being central to that movement. Posters are one of the most accessible and democratic art forms. They can educate, agitate and inspire. We need powerful graphics now more than ever, as a weapon in the ongoing struggle for peace with justice.
—Carol A. Wells
Puedes ver las imágenes en el blog
BIG TREE de Brian Ponto.
