It seems somewhat ironic that a journal called Signal should pass me by as it did with issue 1 and 2, (see previous post). But now that Signal:03 sits in my hands, I’m once again genuinely impressed with this publication is its breadth.
The level of research done by the contributors is impressive and there is a sense of importance given to documenting/archiving social design stories that otherwise would be lost in the midst of time. For example, the image above is from a comical anarchist publication from Brussels in the 1930s. Titled: Game of Massacre: 12 Figures Looking for a Ball, the article explains this Aunt Sally type parlour game, created by Fred Deltor, (aka Frederico Antonio Carasso, 1899–1969), that enables you to cut-out various puppet figures, such as The Military, Property, Fascism, Religion etc, in order that you can throw balls at them. Included in the game was a mock cut-out theatre to set the figures in, and a ball, along with descriptions of the puppets. The above were described thus: (3) “Philanthropy has a chest in the form of a bank vault full of cash and tosses a single coin toward a cadaverous figure (lacking an arm and a leg) in from of a hospital”; and (4) “Social democracy is a two-faced figure who wields the attributes of both royalty and communism”. In uncovering the original publication, Stephen Goddard says: “Stylistically Carasso’s figures betray a knowledge of many of the important international impulses associated with progressive art organisations, periodicals, and movements of the 1920s, such as DeStijl, Het Oversight, Constructivism, and…Agit-prop.”
Signal reprints the preface to the game with a translation which states: “This is the game of massacre. Come! … Here it is, the opulent collection of royal, imperial, and devine puppets, that control you as they wish, you poor crowd, and who, by tragic reversal of roles, pull, from one to the other, the strings of your poor destiny.” Who says that anarchists don’t have a sense of humour?
Like the previous two editions of Signal, issue three mixes historical and contemporary struggles and their associated graphics. So alongside an article on student led strikes in Québec in September 2012, you find the story of the incredible Barbara Dane, co-founder of Paredon Records. Between 1969 and 1985 Dane tried to document revolutionary music being made around the world and in an interview with Alec Dunn and Eric Yanke, she describes how she’d go from country to country recording different musicians and singers and return to the States to release them. In the space of 16 years, Paredon Records, with very little budget, released recordings from Vietnam, Salvador, Puerto Rico, Cuba, Northern Ireland, Ecuador, Italy, Britain, Angola, Chile, Greece, Thailand and a host of other countries. Of the sleeves, she says: “If you look at the records, they’re 12″ x 12″ on the front and then fold around about 5 inches on the back. It was done this way so they could print four at once, four-up on a single sheet of paper…At this printer, what dictated what you could do was economics… And so you figure out things like one color has read, the other blue, so then third cover can have purple. You figure out how to work with two colors, matte paper, that size.”
Asking Dane about working with the designer Ronald Clyne, she says: ” If you caught him at the right time of day, before he drank too much wine, he was very very clever about what he did. You can see that he could take any kind of photo, work with it, and make it meaningful and not destroy the meaning of it. And always, his forte was selection of type and layout and all that. I’d bring him basic tools, the basic elements, photos and also drawings from artists I’d met.”
If Barbara Dane wasn’t inspirational enough, Signal:03 publishes an article by Ropbert Burghardt and Gal Kirn on the former Yugoslavia monuments to anti-fascism and revolution. These impressive and often modernist brutal memorials, built between 1945 and 1990, litter what is now split into seven different nations. The authors state: “These monuments are not only modernist, but contain as unique typology: monumental, symbolic (fists, stars, hands, wings, flowers, rocks), bold (and often structurally daring), otherworldly and fantastic. … Instead of formally addressing suffering, these memorial sites incite universal gestures of reconciliation, resistance, and progress…for those that encounter them, they remain highly imaginative objects: they could be ambassadors from far-away stars, witnesses of an unrealised future, historical spectres that haunt the present.”
Some have been landscaped and provide opportunities for family days out with cafes and play areas. Some are more formal monuments that you can enter, such as the one above in Kozara, while others you happen upon in the middle of nowhere. Started as a way of remembering the second world war, they were initially built spontaneously by local artisans. And if the guidebook to them printed in Signal is anything to go by, there is a vast amount of these monuments dotted around the region, with a map stating over 200 locations, (although many have been destroyed or decayed).
Once again I am truly impressed by Signal. Its historical importance stretches across many areas including art, design, architecture, music, politics, protest and social history. And although this could be seen as a research journal, it is easily accessible for those who are just generally interested in the topics it covers, students, scholars and armchair revolutionaries alike. I’m already looking forward to the forth edition due in May.