Sin móvil aparente

/ 23 February, 2015

Without Apparent Motive


Graphic design in our Island was earlier linked to techniques such as lithography and printing. The latter was serving the cigar brand labels, whose excellence distinguish, as its high commercial value and relevance as the reason for collection. Moreover, the first newspaper ads with pictures date back from the nineteenth century and since then the path opened for developing the visual image, and then it flourished through fashion illustrated magazines.

With the boost in business and progress of urban society, the practice of graphic activity as a means of visual communication intensified. As registered in history, it determined that the display of actual products can be replaced by their painted or silhouetted picture at a higher than normal level, causing artists and lithographers generated a wide range of letters and ornaments, characterized by beauty, polychrome, and novelty. Thereafter, one of the graphic elements of special importance in the design world seemed to be privileged: poster, which was taken with more artistic approach, depending on the aesthetic values ​​of the visual image.

In the course of graphic production, posters have undeniable importance especially for their socio-cultural function. In particular those created for the cinema that hold relevant and recognized proposals, they have transcended their visual impact, effective communication skills, and the assimilation of different artistic movements such as Art Nouveau, Art Deco, Russian Constructivism, Pop art, among others.

Many of the strengths which distinguish the Cuban design today are due to the undeniable talent of our creators, who have coherently integrated records of multiple artistic trends, the lifeblood offered by our graphic tradition and the richness of Cuban culture.

Sin móvil aparente (Without Apparent Motive) is the opening exhibit at Gallery Arte-Facto. This gallery is the spot is dedicated to design, in order to stimulate and make visible all what concerns this discipline. Under the apparent absence of conceptual reason, this exhibition is accredited by an unquestionable right: the privilege of bringing together prominent graphic designers, such as José (Pepe) Menéndez, Nelson Ponce, Idania River, Laura Llópiz, Raul Valdes (Raupa ), R 10 Alejandro Rodríguez Fornes (Alucho), Erick Silva, Fabian Munoz, Eduardo Marin and Angel Rivero (Andy).

These posters stand out for their diversity and for summarizing the contributions of design during the so called “golden era” in the sixties and the air of renewal of graphic work, in tune with the times of urgent changes. The twenty eight selected pieces allured by the well achieved aesthetic solutions, attracted by the prominence of color and boldness of their compositions; however one of its core functions has not been abandoned: to communicate and deliver a message. But something else identifies them: the prevalence of cultural theme. Then more than one motive has given meaning to this exhibition, which transcends what is apparent.



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