LA LOUVIERE, BELGIUM.- The Centre de la Gravure et de L’Image Imprimée presents Cuban Posters 1960-2000 - José Lambert Collection, on view through December 17, 2006. The exhibition presents 180 political and cinema posters, an illustrated journey through Cuba’s history with works high in colour and vibrant with energy. The exhibition was curated by Catherine de Braekeleer.

The most memorable images of the island’s history and its regime appear on the country’s walls. Given the government’s determination to use posters as a tool in education and political propaganda, the street became the preferred location for communication. Contrary to what happened in other communist states, artists were granted the greatest artistic freedom of _expression. Consequently we have the privilege of seeing images that are both aesthetically very emotional and truly convincing, in the cultural as well as in the political field. ICAIC (Cuban Institute for Art and the Cinematographic Industry, 1960) and OSPAAL (Organisation for the Solidarity between Asian, African and Latin American Peoples, 1966) produced most of the Cuban posters. Those on show are rare or unique examples, which adds to the historical and aesthetic value of the exhibition. They bear witness to the enormous cultural heritage of the island. Amongst the artists on show are Azcuy, Bachs, Morante, Ñiko, Reboiro, Rostgaard… The 180 posters exhibited here all come from José Lambert’s collection, which currently numbers more than 700 pieces. These are original silkscreen prints, whereas most current posters are reprints published to keep the legendary image of Cuban cinema alive.

The revolutionary posters - In 1959, the actors of the Cuban revolution wanted to reach out to the population: the masses were to be mobilised and slogans carried in the street. Oil paintings – aside from their bourgeois character - could not be quickly reproduced. Posters on the other hand, far from all elitist culture, appeared to be better adapted as a means of _expression. They allowed for wide distribution on the walls of the city and their design evolved freely according to the changing political messages. Fidel Castro had a strong and positive interest in the political and cultural posters that served to promote the revolution. In 1960, El Comandante declared the right of intellectuals, artists and scientists to fight for a better world through their work. All styles could be used, all themes could be treated ...as long as the Revolution was not criticized.

Politics and movies - At first the political poster drew its inspiration from Soviet socialist realism, then later from the international avant-garde – with expressionist drawings, a surrealist tendency, graphic symbols, collages, wood engravings. The language remained stereotyped and conventional. Then it found a new language, based on synthesis. But the graphic simplicity was compensated by a remarkable explosion of colours, with a strong relation between text end picture. The poster used the iconic reference, the graphic idea, expressive colour and the power of the slogan.
As early as 1959, the cinema industry was nationalised and experienced a golden age. Each year it produced more than de 300 feature films and a great number of documentaries. Movies became an instrument of literacy and education of the masses. Graphic artists believed they could both give pleasure and educate people to art. Design was figurative, the techniques varied - assemblies, coll ages, multiplication of images. It was a true explosion of styles, of forms, of colours. Metaphors, visual jokes and symbols gave the spectator new subjects to think about. American pop art and European expressionism were integrated.