Sitting at the fascinating intersection of fine art and mass communication, posters wield the power to condense intricate societal messages into compelling visual stories. Throughout history, they've mirrored the zeitgeist of eras while also steering them. Whether through vibrant illustrations, bespoke typefaces, or poignant imagery, posters have imprinted themselves on the collective consciousness, spearheading social and political revolutions and etching into our shared cultural legacy. The allure of this ostensibly straightforward medium lies in its duality: it's both a societal mirror and an agent of change.
From 8 to 17 September 2023, Bucharest, renowned for its architectural grandeur and flourishing arts community, will unfurl the second &NowEast Poster Festival. Orchestrated by Andrei Grosu and the Local Design Circle collective, the event taking place across Piata Amzei is an ode to the rich legacy of poster design and a deep dive into its ongoing evolution in Eastern Europe. At the heart of this exploration pulses a pivotal question: "Is there an Eastern European visual genius loci?"
Rewinding to the early 20th century provides some context. According to Grosu, this era heralded a "visual revolution" that emerged from a dominant monochromatic palette. As the mid-century neared, the narrative transformed, imbibing the "artistry of the French and the technical prowess of the Germans." Such shifts in design were more than mere artistic whims. They echoed the broader geopolitical and cultural currents swirling through Eastern Europe. "Romania's first true design faculty was established only in 1969. We didn't have established rules, so we broke boundaries and tried new things. This experimental approach can also be seen in film and cinema, where Eastern European animation is more avant-garde than its Western counterparts."
Yet, &NowEast aspires for more than aesthetic accolades. Grosu envisions it as a broader canvas that positions Romanian poster design within the vast mosaic of Eastern European artistry. He delves into diverse design ethos, citing the boldness of Polish posters in contrast to those early Romanian subdued palettes, albeit observing palpable imprints of the Cold War in both. Despite the apparent diversity, Grosu perceives harmony, celebrating the "shared narratives of a region shaped by its tumultuous history."
Distinguishing the philosophical divide between Western and Eastern designs, Grosu remarks on the former's established techniques, "Western countries like Germany, France, and the UK had a more structured approach to design due to their long history in the field". Eastern designs, meanwhile, weave intricate "reflections of our history, our dreams, our moments of dissent." They serve as epochal mirrors, capturing both overt tales and subtle undertones of their times in a profound dialogue between art and society. The festival aims to spotlight these narratives, intending to "ignite conversations around the intertwined elements that define Eastern European poster art". Grosu's perspective is both nuanced and thought-provoking. His emphasis on countries bound by the tendrils of communism highlights a collective history filled with challenges, societal shifts, and a fierce spirit of artistic endurance.
Thus, the conscious decision to exclude Russia, a significant player in the communist narrative, is a profound statement. The decision does not come from its infliction of war with Ukraine. Instead, it suggests that while Russia's vast and distinct artistry undeniably holds merit, its representation often overshadows the narratives of smaller Eastern European nations. On the topic, Grosu states, "Russia has its own poster festivals, while the countries we focus on lack unified representation."
Looking forward, Grosu acknowledges the emerging role of AI in design. "We are acutely aware of the horizon ahead," he concedes. Yet, his vision is clear. AI might enhance designs, but its essence lies in "complementing human intuition, not replacing it." He is not an AI sceptic or hater, as he states, "While I prefer genuine photographs or illustrations, AI tools are invaluable."
Grosu's commitment to illuminating Eastern Europe's design genius doesn't end with historical retrospection or future prognostication. He emphasizes that the poster is "a living canvas that continually evolves." This canvas absorbs the heartbeat of a society, reflects its ethos, and then throws it back to the world, communicating sentiments in a visually magnetic language. "When you see a poster from a specific era," Grosu muses, "you're essentially peeling back layers of that time's sociopolitical landscape, its hopes, its fears, and its aspirations."
In fostering dialogue about Eastern European poster art, Grosu acknowledges the challenges. The region's diversity is both a boon and a maze; its multitude of languages, histories, and sensibilities mean a rich palette of inspiration, but it also demands a delicate touch to ensure that each country's unique voice is heard and appreciated. "It's about recognizing individual brilliance within a shared context," Grosu explains. "&NowEast is as much a celebration of shared heritage as it is a testament to individual national identities."
As a city, steeped in both history and modernity and constantly in architectural and design flux, Bucharest becomes the backdrop for this event, underscoring the region's readiness to declare its design identity despite "budget constraints and limited support for cultural events." Grosu insists, "Bucharest is not just a venue; it's a protagonist in this narrative. It exemplifies the marriage of tradition and modernity that we see in contemporary Eastern European design while offering several unique challenges for public space exhibitions.”
Moreover, the festival is a beacon for budding designers across Eastern Europe, offering a unique platform to showcase their talent and engage with peers from Albania, Belarus, Bosnia and Herzegovina, Bulgaria, Croatia, Estonia, Greece, Hungary, Kosovo, Latvia, Lithuania, Moldova, Montenegro, North Macedonia, Poland, Serbia, Slovakia, Slovenia, The Czech Republic, and Ukraine. As Grosu fondly states, "We're not just looking back; we're setting the stage for the future." This sentiment resonates with the festival's underlying theme — a continuum of artistry, where the bygones inspire today and set the direction for tomorrow.
As the festival is now upon us, the excitement isn't just about the designs on display. It's about the stories they tell, the dialogues they foster, and the future they hint at. For organizers and attendees, it's more than an event; it's an experience where the soul of Eastern Europe comes alive through its posters.
