Recently I was lucky enough to get the opportunity to travel to Bucharest, Romania, for work. The trip was so that I could attend an art and design education fair and to talk at a couple of high schools about our courses. This was my first such recruitment trip abroad, and I’m told you often only get to see a city from a car window and in the evening before flying back the next day. Thankfully though, because of the timings of our itinerary, I managed to get a little time to myself to wander the city and soak up Bucharest’s visual culture.
This was my first visit to Eastern Europe, and one, given the timing of the trip, that was over-shadowed by Brexit. Our host, locals and delegates from other countries all had an opinion, with none of them positive. The majority of Romanians I spoke to about it, (and Romania isn’t a country afraid of change, it could be argued), all thought Britain was putting itself in a ridiculous position.
One of the things that struck me about Bucharest from the outset, was that it is a country that is happy to wear its history on its sleeve—it is there in plain sight for everyone to see. Our hotel was very close to Revolution Square, the site of the uprising that saw Nicolae Ceaușescu toppled from power nearly 30 years ago.
Monuments to these tumultuous times have seen better days, and the local anarchists appear to show little respect for those that lost their lives fighting against the dictator. Some locals said the current government is the most corrupt in 100 years, so it appears a struggle continues. Given we were a week away from national celebrations of 100 years of independence for Romania, this is some claim given their more recent history. Continue reading →
For many, traipsing historic academic cobbles and starring at spires, let alone dreaming of them, would define any visit to Oxford. For me, on a family weekend there recently, it was an opportunity to study its graphic commons.
Looking for its vernacular, I mostly steered clear of high-street parades, and came away finding the city’s contradictions being easy bedfellows; hi and lo culture mix comfortably, on the streets at least. Testament to this are the highbrow events flyposted on chipboard, acting as a temporary hoardings for college concerts where no sacred wall can be damaged.
These sat just around the corner from the usual tattered pastings I more typically photograph. Technically the same in purpose and application, each arguably despoiling/enhancing the streets, depending on your point of view. The only difference being that those on chipboard could be moved out of sight quickly. While on display though, from a visual perspective, they are exactly the same.
I have had a fascination with the Festival of Britain since I came across one of its guidebooks several years ago and wrote an article about it for Eye magazine’s blog. In my day job I have also had the pleasure of hearing Abram Games’ daughter, Naomi Games, talk to students about her father’s work, (for the uninitiated, it was Abram Games that designed the FoB logo). Further to this, I have a keen interest in modernist design principles, and in particular the work of the Design Research Unit who played a key role in the planning and organisation of the 1951 Festival. It is therefore not surprising that when driving through the Lincolnshire village of Barnetby Le Wold while on holiday with my wife recently, that my eye caught sight of the familiar logo. However, the fact it was set into the concrete of a bench by a very busy roundabout was the last place I expected to see it.
The famous logo—the right hand rendering has faired better in the weather than the left
In discussing 2016 election campaigns with a student recently, I mentioned that to have a true understanding of the topic, it was necessary to research publications that they might not agree with—the Daily Mail, the Express et al. It has to be said that most of the critiques I’ve read of both the EU referendum and American Presidential election campaigns do so from a liberal arts perspective.
In considering this I proffered that, unfortunately, we might have to accept that despite any feelings of abhorrence towards the UKIP Breaking Point campaign, it was in fact a brilliant piece of propaganda on their part.
A few years ago I wrote an article for Eye magazine blog after coming across a programme for the 1951 Festival of Britain. At the time I was aware of the existence of a series of small guide-books published to coincide with the festival called About Britain, but it was only recently that I actually came across any.
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.
You could argue the need for yet another publication about punk. The ‘1976 and all that’ narrative has been told so often now that it reads like a dull pantomime with all original relevance of the story bled dry through over telling. There have been some publications in the last few years that have gone beyond this nostalgic rehash, such as 2012’s excellent Punk: An Aesthetic, but recently published The Truth of Revolution, Brother: An Exploration of Punk Philosophy (Situation Press) focusses, as the title says, on an area of the punk phenomenon that has largely been ignored.