Poster de propagande soviétique en 1941 (picorée sur twitter)
« Les pays qui seront victorieux seront ceux où il y a une égalité entre les femmes et les hommes »
#soviétisme #image #poster #propagande #urss #union-soviétique #représentation
Poster de propagande soviétique en 1941 (picorée sur twitter)
« Les pays qui seront victorieux seront ceux où il y a une égalité entre les femmes et les hommes »
#soviétisme #image #poster #propagande #urss #union-soviétique #représentation
WPA Federal Art Project | United States history | Britannica.com
▻https://www.britannica.com/topic/WPA-Federal-Art-Project
Où l’on voit que l’appareil de propagande américain n’avait rien à envier à l’appareil de propagande soviétique !
Ce qui est drôle ici, c’est que, pour la grande exposition internationale de New York en 1939 : d’une part, les américains préparent tout une série de posters de propagande largement inspirés - pour la partie « infographie » - par la méthode des Isotypes d’Otto Neurath, et d’autre part, les soviétiques publient un atlas économique et sociale de l’URSS de la fin des années 1930 - qu’ils présenteront aussi lors de cette exposition - et ce sur la base de la même méthode des Isotypes conceptualisée par le même Otto Neurath ... :)
#marrant de penser que ce philosophe humaniste (et plutôt socialiste) et généreux aient inspiré autant les États-Unis que l’Union soviétique.
Philip Guston, 1939 Feb. 15/David Robbins, photographer. Federal Art Project, Photographic Division …❞
WPA #Federal_Art_Project, first major attempt at government patronage of the visual arts in the United States and the most extensive and influential of the visual arts projects conceived during the Depression of the 1930s by the administration of President Franklin D. Roosevelt. It is often confused with the Department of the Treasury art programs (Treasury Section of Painting and Sculpture, Public Works of Art Project, and Treasury Relief Art Project), but, unlike the Treasury’s endeavours the Works Progress (later Projects) Administration Federal Art Project (WPA/FAP) employed artists with a wide range of experience and styles, sponsored a more varied and experimental body of art, and had a far greater influence on subsequent American movements.
Soviet control rooms
▻http://blog.presentandcorrect.com
En fait à Tchernobyl, ils avaient engagé par erreur des cuisiniers.
collection of Soviet control rooms. Power stations, control towers etc. Posted mainly for aesthetic reasons.
Down With World Fascism, USSR, 1928
▻http://furtho.tumblr.com/post/165064878559/poster-proclaiming-down-with-world-fascism-ussr
Étonnante affiche des débuts de l’URSS
’Democracy was hijacked. It got a bad name’: the death of the post-Soviet dream | World news | The Guardian
▻https://www.theguardian.com/world/2016/dec/08/central-asia-tajikistan-kazakhstan-kyrgyzstan-uzbekistan-turkmenistan
The road out of Kommunizm, a small town in southern Tajikistan, is badly paved and bumpy. Like most things here it was built long ago, when the ruling ideology that gave the settlement its name was still thriving.
Home to just 7,000 inhabitants, Kommunizm was at the very edge of the Russian empire, first tsarist then Soviet; a mere 50 miles from Kunduz in northern Afghanistan.
All around the former collective farm is the once splendid iconography of the Bolshevik order. Busts of Karl Marx and Vladimir Lenin look on to what used to be the main square, while a trio of heroically poised Soviet archetypes have been cast to one side in a car park
Vitali Kanevski - Bouge pas, meurs et ressuscite - vidéo Dailymotion
▻http://www.dailymotion.com/video/x491ok_vitali-kanevski-bouge-pas-meurs-et_creation
Entretien avec Vitali Kanevski à propos du son film : Bouge pas, meurs et ressuscite.
#film #union-soviétique #cinéma soviétique
Vitas Luckus, Once a Luminary of the Soviet Photography Scene - NYTimes.com
▻http://lens.blogs.nytimes.com/2013/04/17/rescuing-a-photo-prince-from-obscurity/?smid=fb-share
signalé par @cie813
Tanya Aldag slips into a closet-size room in her home in suburban Maryland. The door clicks shut. Here, surrounded by thousands of black and white prints, she goes tumbling back to Soviet-era Lithuania.
“It’s like you’re going deep into the water,” she said. “It can be hard to go there.”
Ms. Aldag, 64, is the widow of Vitas Luckus, once a prince — perhaps even a king — of the Soviet photography scene. From the 1960s to the mid-1980s, he traveled throughout the Soviet bloc, capturing peasants, performers, partiers and policemen, as well as a generation of grippingly attractive young artists. He scurried across sloping rooftops (Slide 15), camera swinging from his neck. He worked obsessively, with little care for what others thought. The secret police were a constant presence in his life, burgling his home and beating him in bathrooms and cafes.