• Hope to nope — Design Museum di Londra - Foto Pietro Lazzaris
  • Hope to nope — Design Museum di Londra - Foto Pietro Lazzaris
  • Hope to nope — Design Museum di Londra - Foto Pietro Lazzaris
  • Hope to nope — Design Museum di Londra - Foto Pietro Lazzaris
  • Hope to nope — Design Museum di Londra - Foto Pietro Lazzaris
  • Hope to nope — Design Museum di Londra - Foto Pietro Lazzaris

Il Design Museum di Londra dal 28 marzo 2018 al 12 agosto ospita l’esposizione Hope to Nope: Graphics and Politics 2008-18.
L’esposizione esamina l’applicazione del graphic design alla turbolenta politica di questo ultimo decennio. Nell’analisi di questo periodo, accanto a poster e grafiche tradizionali, per la prima volta con questa mostra si prende in considerazione la costante crescita dei media digitali e dei social networking, ‘responsabili’ dall’aver portato il graphic design a livelli completamente nuovi.
I contenuti principali dell’esposizione sono: il crollo finanziario del 2008; la campagna presidenziale Barack Obama; la primavera araba; le occupazioni di protesta; il disastro ambientale della piattaforma petrolifera Deepwater Horizon; l’attacco terroristico Charlie Hebdo; Brexit e la campagna presidenziale Donald Trump. Il progetto esplora le dinamiche che ci hanno portato da Hope a Nope, rappresentata dall’iconica immagine di Barack Obama ‘Hope’ di Shepard Fairely, attraverso le innumerevoli imitazioni seguenti, fino all’ultimo Donald Trump ‘Nope’ meme.

Hope to nope — Design Museum di Londra - Foto Pietro Lazzaris

Hope to nope — Design Museum di Londra – Foto Pietro Lazzaris

L’intento dell’esposizione è di dimostrare come la tecnologia e il graphic design sono strumenti utilizzati – in modo spesso massimalista – sia dai potenti che dalle persone comuni (marginalizzati?). Il ruolo del graphic design nell’opinione pubblica – provocatore e compagno di dibattiti e attivismo – in mostra è stato suddiviso in temi: Potere, protesta e personalità.
Nella sezione dedicata al “Potere”, a dimostrazione della funzione del graphic design sono stati portati come esempi la propaganda nordcoreana, la campagna presidenziale Hillary Clinton e iposter sovietici tramutai in campagne per i diritti gay.
Per quanto riguarda la “Protesta” – il tema più ampio dell’esposizione – lo spettro di esempi e casi da analizzare, si va dai fogli di giornali 2011-2012 riguardanti ‘Occupy London Camp’, un ombrello utilizzato durante la 2014 Hong Kong ‘umbrella revolution’, la papera di plastica alta due metri utilizzata nelle proteste contro la presidente brasiliana Dilma Rousseff, per giungere al 2015 Je Suis Charlie.
“Personalita”, l’ultima sezione dell’esposizione, abbraccia delle opere che hanno costruito le figure politiche di spicco degli ultimi decenni. Esempio ne sono le 50 e più caricature di Donald Trump pubblicate su testate come The Economist, TIME e Der Spiegel.

Materiale raccolto da  Pietro Lazzaris

Hope to nope — Design Museum di Londra - Foto Pietro Lazzaris

Hope to nope — Design Museum di Londra – Foto Pietro Lazzaris

Hope to nope — Design Museum di Londra - Foto Pietro Lazzaris

Hope to nope — Design Museum di Londra – Foto Pietro Lazzaris

Hope to Nope: Graphics and Politics 2008–18
28 March 2018 – 12 August 2018 the Design Museum

The exhibition examines the political graphic design of a turbulent decade.
Alongside traditional posters and banners, it charts the rise of digital media and social networking, which have given graphic iconography an extraordinary new reach.
The political events featured include: the 2008 financial crash; the Barack Obama presidency; the Arab Spring; the Occupy movement; the Deepwater Horizon oil spill; the Charlie Hebdo attacks; Brexit and Donald Trump’s presidency.

The global financial crash of 2008 ushered in a politically volatile decade. At the same time, the rise of social media has changed the way graphic political messages are made and disseminated. As traditional media rubs shoulders with hashtags and memes, the influence and impact of graphic design has never been greater. Hope to Nope: Graphics and Politics 2008-18 examines the pivotal role of graphics in milestone events such as the election of Barack Obama, the worldwide Occupy movement, the Arab Spring, Brexit and Donald Trump’s presidency.
Taking a politically impartial view of such events, the exhibition demonstrates graphic design’s role in influencing opinion, provoking debate and driving activism. It explores the trajectory from ‘Hope’ to ‘Nope’, as represented by the iconic Barack Obama ‘Hope’ poster by Shepard Fairey and the many imitations that followed, including the Donald Trump ‘Nope’ meme. The exhibition demonstrates how technology and graphic design are weapons wielded by the powerful and the marginalised alike.

Hope to Nope comprises three main sections: Power, Protest and Personality. A large graphic timeline dissects the gallery, charting the role of new communication technologies such as Facebook and Twitter in global events of the last decade.

Power explores how graphic design is used by the establishment to assert national and political authority, and how that iconography can be subverted by activists and opponents. Examples include North Korean propaganda, the Hillary Clinton presidential campaign, Soviet posters turned into a gay rights campaign and Dread Scott’s flag in support of the Black Lives Matter movement. Also featuring is a 3m-high replica of the letter ‘N’ from the ‘Newborn’ sculpture that marked Kosovo’s independence from Serbia in 2008.

Protest displays graphic design by activists and demonstrators. The largest section in the exhibition, it includes newspapers from the 2011-12 Occupy London camp, an umbrella used during the 2014 Hong Kong ‘Umbrella Revolution’ and a 2m-high replica of the inflatable duck from the 2016 protests against Brazilian president Dilma Rousseff. This section also looks at the 2015 Je Suis Charlie and Peace for Paris marches, as well as responses to the 2017 Grenfell Tower disaster, demonstrating the important role played by graphic design in channelling anger and creating solidarity.

The final section, Personality, examines the graphic representation of leading political figures. Grassroots support for Jeremy Corbyn is typified by an unofficial Nike t-shirt and an independently published comic book that portrays the Labour Party leader as a super-hero. Meanwhile, Donald Trump’s trademark features are caricatured across the covers of more than 50 international magazines, including The Economist, TIME and Der Spiegel.