![]() ![]() “These posters were different from the Hollywood posters of the same time, which were more narrative in style. “A new visual language was created by these young artists who were trying to find novel ways of advertising the films,” says Chiriac. So there was a surge in both foreign and domestic film production in the 1920s, and an urgent need to promote the films. With the increasing popularity of film, the government realized that the medium was an excellent propaganda tool for the largely illiterate masses. The backstory to this show is fascinating. In keeping with that mission, the gallery’s third show, Kino/Film: Soviet Posters of the Silent Screen, which opens this month, will examine the relatively unknown golden age of Russian film ads. ![]() “What we want to do is bring things over that really haven’t been seen before,” says Chiriac. Its second show, Utopia Ltd., brought to life some of the radical designs and ideas of the Russian constructivist artists. ARTFUL POSTERS SERIESThe gallery’s first exhibition, See USSR-dedicated to a series of Russian posters printed to entice foreign visitors to the former Soviet Union in the 1920s and ’30s-launched last June and saw hundreds of visitors in its final days. Also doing the course with her were Chiriac, who previously worked in Sotheby’s Russian department, and Richard Barling, now a consultant for the gallery but with a long career in academic publishing behind him. Gallery (which specializes in late nineteenth- and twentieth-century works on paper) in Moscow for ten years and opened GRAD after completing an MA in Russian Art at London’s prestigious The Courtauld Institute of Art. The gallery’s director, Elena Sudakova, ran the successful G.O.S.T. The team behind GRAD is well-placed to educate and disseminate. “It means you’ve selected an object because you think someone is going to buy it rather than because it is interesting or says something about Russian art history.” The focus on price tags puts a whole different spin on things, says the gallery’s assistant curator, Alexandra Chiriac. They dictate the taste,” says Aliya Sayakhova, a research assistant at the Gallery for Russian Arts and Design (GRAD), a new not-for-profit space dedicated to a field that its founders feel is under-or even misrepresented. “Most of the Russian art you see in London is very much influenced by the auction houses. ![]()
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