Wiele / Niewiele. Dwie drogi myślenia w projektowaniu graficznym
Wiele / Niewiele. Dwie drogi myślenia w projektowaniu graficznym
Wiele / Niewiele. Dwie drogi myślenia w projektowaniu graficznym
Wiele / Niewiele. Dwie drogi myślenia w projektowaniu graficznym
Wiele / Niewiele. Dwie drogi myślenia w projektowaniu graficznym
Wiele / Niewiele. Dwie drogi myślenia w projektowaniu graficznym
Wiele / Niewiele. Dwie drogi myślenia w projektowaniu graficznym

Wiele / Niewiele. Dwie drogi myślenia w projektowaniu graficznym

Štítky
Vstupné
0–20 PLN
Kurátor
Barbara Górecka

The premise of the presented exhibition of objects from the collection of the Poster and Design Gallery of the National Museum in Poznan is to compare contrasting compositions based on a deliberate concentration of detail with those of a minimalist nature. The concept of horror vacui (the tendency to completely fill the surface area of an object with a multitude of ornamental motifs) contrasts strongly with amor vacui (the handling of large, flat surfaces without ornament). Both categories can be linked not only to architectural decoration or the ornamentation of objects with which they are customarily associated - their various facets can be successfully found in graphic design. The opposing paths of thought evoked, intense expression contrasted with tranquillity with an intellectual tinge, have many shades, stemming from both the traditions of the artists' country of origin and their creative temperaments.

The first part of the exhibition consists of compositions based on a conscious reduction of elements and clarity of image. One of the procedures used to achieve this effect is the use of a large expanse of white on which is superimposed a skilfully balanced typography, symbol or minimalist drawing. Another is strong geometrisation in various colour variants.

Works with rich compositions, whether written in a light painterly form or framed by strict symmetry, are different. The presented posters include, among others, works from the current of intensified painterly expression and peculiar graphic nonchalance of the Polish poster school, strongly affecting psychedelic posters of the second half of the 1960s or examples representing various styles of contemporary Swiss design.

Both groups of posters have been enriched with examples of editorial graphics (magazine covers, book illustration), which allow us to broaden the spectrum of perception of graphic design and show the richness and complexity of the collection of the Poster and Design Gallery of the National Museum in Poznan, built up over nearly 55 years.

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