Signs and National Ideologies
MASZYNY DO SZYCIA (trans. SEWING MACHINES ), Warsaw, 1960s-2007. Ilona Karwinska 2007©
AS I WAS PREPARING a presentation about the Logo Cities project for the World Design Congress , to be held in Havana in October, it occurred to me that I have done very little to explore the meaning of monumental signs outside of capitalist economies. While we might be tempted to make easy, if entirely understandable, associations between neon signs and Western decadence (for example), a new photographic project challenges even this assumption. Polish Neon , a remarkable project of documentation by Ilona Karwinska, reminds us that monumental neon is not the sole preserve of North American drive-ins, diners, motels and casinos. As Karwinska notes, “With their intense interest in neon signs, the state officials [in Warsaw] would regularly request the engineers from Reklama [the State-owned sign company] to drive them around checking the condition of all the signs in the city and planning new ones”.
The recent, mass removal of signs across São Paulo brought cries of “Stalinism” (and “fascism”), and comparisons with the drab architectural sameness that, for some, typified the Eastern bloc. It’s unclear to me right now whether Warsaw is an exception, but the history of communist (albeit post-Stalinist) Poland clearly holds many surprises. Like the signs of São Paulo, Karwinska reports that most of the signs she photographed in Warsaw have disappeared. (Image courtesy Ilona Karwinska .)
Comments
Commenting is closed for this article.
