'Amor' by Daiana Santana / Ednaira Mendes / Leonardo Dias, from Oi Kabum! Escola de Arte e Tecnologia, Salvador

Brazilian graphic designer Felipe Taborda has curated an exhibition of posters at Warsaw’s Rampa Art Gallery and Poster Museum as part of Poland’s 22nd International Poster Biennale.

Titled ‘Kabum! Mix’, the exhibition is the culmination of a two-year project with the Brazilian Oi Kabum! schools of Art and Technology in Rio de Janeiro, Recife, Salvador and Belo Horizonte, sponsored by Oi Futuro.

The nine posters for 2008 series, produced by the students, in conjunction with French designer, Alain Le Quernec, were exhibited throughout the world to great acclaim. For the 2009 series, the students worked with local tutors and Mexican graphic designer, Alejandro Magallanes, creating posters based on the themes of ‘love’, ‘the future’ and ‘Aids’.

The 2009 posters were spread throughout Rio by Clear Channel, the company who administrates urban advertisement in the city.

via Kabum! Mix poster exhibition, Warsaw – Art – Wallpaper.com – International Design Interiors Fashion Travel.

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Rogério Duarte's poster for Glauber Rocha's movie "Deus e o Diabo na Terra do Sol", 1964

Rogério Duarte started his career as a graphic designer in the 1960s. He had begun his formation in this area by taking the experimental course offered by Museu de Arte Moderna do Rio de Janeiro MAM-RJ (‘Rio de Janeiro’s Modern Arte Museum’).

He worked with Aloísio Magalhães between 1961 and 1962. He was the art director of the Maurício Vilela Laboratory (1963), coordinator of the Visual Arts Department of União Nacional dos Estudades – UNE (‘National Students Union’) and director of the Editora Vozes (‘Vozes Publishing House’) from 1966 to 1968, director of DIA Desenho Industrial Audiovisuais –(‘Audiovisual Industrial Design’) (1972-1975), art director of Designio (1976 – 1978), and art director of Salvador’s City Hall (1985 – 1989).

Rogério is a multi-disciplinary artist. He is a poet, a musician and a graphic artist. He is famous for his collaborations with the musicians of the Tropicália movement, especially Caetano Veloso and Gilberto Gil, his book covers and movie posters. In the latter field, he designed the poster of the movie “Deus e o Diabo na Terra do Sol” (1965) of Glauber Rocha, one of his most famous works.

Holding convictions that went fervently against the dogmatism of the School of Ulm, Rogério Duarte skillfully joined constructive principles acquired during his studies of design with elements of Brazilian popular culture, making a real visual anthropophagy during the period of military dictatorship in Brazil.

Rogério Duarte also holds two titles of Notório Saber em Artes Gráficas e Desenho Industrial (‘Notorious Knowledge in Graphic Arts and Industrial Design’) awarded by the Universidade de Brasília – UNB [ National University of Brasília] and by the Federal Education Council of MEC.

Currently, Duarte teaches in the School of Communications at UFBA (the Federal University in the state of Bahia).

via :: REDE DESIGN BRASIL ::.

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• Roots: Wollner, Alexandre (1928)
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Escola Superior de Desenho Industrial (ESDI)

The Escola Superior de Desenho Industrial (ESDI) [Superior School of Industrial Design] was the first school of higher education in industrial design was created in 1963 and is the oldest design college in both Brazil and in South America. Karl Heinz Bergmiller, Alexandre Wollner, Aloísio Magalhães and Goebel Weyne were some of the names involved in the project. Besides these, some important names in world design took part in its conception, such as Max Bill (1908-1994), Tomás Maldonado (1922), Max Bense (1910-1990) and Walter Gropius (1883-1969), who founded and directed Bauhaus for almost 10 years.

The first director of ESDI was Mauricio Roberto, who, at the time, was the president of Instituto de Arquitetos do Brasil (Brazil’s Institute of Architects). In the administrative structure of the school, he was a member of the Advisory Council, along with teachers and student representatives.

The school of Ulm was the original model that ESDI followed to form its first teachers. In 1968, the first re-organization in the school’s curriculum occurred, aiming to adapt it to the economic and technological conditions of Brazilian industry, and also to reconsider foreign influence exerted on the school.

The intention of joining technical, scientific, artistic, and cultural knowledge in the perspective of theoretical and practical teaching, together with the fact that the school had been recognized by the State Education Council, made the curriculum adopted by ESDI become the official model to be implemented in other courses of Industrial Design in Brazil.

Since 1975, ESDI has been a part of the Universidade Estadual do Rio de Janeiro (UERJ- the State University of Rio de Janeiro) and it is located in Lapa, Rio de Janeiro.

via :: REDE DESIGN BRASIL ::.

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Alexandre Wollner

Alexandre Wollner (São Paulo, 1928- ). Graphic designer. Began his studies with the visual design course at the Institute of Contemporary Design (IAC), created at the São Paulo Assis Chateaubriand Museum of Art (Masp), in 1950, where he studied with Lina Bo Bardi (1914-1992), Poty (1924-1998) and Sambonet (1924-1995). Collaborated with Pietro Maria Bardi (1900-1999) in staging the retrospective exhibition of Max Bill (1908-1994), at the Masp, in 1951.

Interested in the Concretist movement, in 1953, he joined the Grupo Ruptura [Rupture Group], presenting his constructivist works at the 2nd São Paulo International Biennial. Also in 1953, he was chosen by Max Bill to study at the Hochschule für Gestaltung [Superior School of Form] in Ulm, Germany, where he remained from 1954 to 1958. Upon returning to Brazil, together with Geraldo de Barros (1923-1998) and others he inaugurated Form-Inform, the first design consultancy in the country.

In 1963, he took part in the structuring and creation of the Escola Superior de Desenho Industrial (ESDI) [Superior School of Industrial Design], in Rio de Janeiro, the first higher level design institution in the country. During the 1960s, he opened his own visual programming office, where he developed logotypes for major companies. He exhibited his projects at the Masp and at the Museum of Modern Art of Rio de Janeiro (MAM/RJ) in 1980, opting for a show that emphasized the process of creation, execution and implementation of visual identity systems. In 1999, the Centre of Communication and Arts of Senac, in São Paulo, held his second individual exhibition.

In 2003, Wollner celebrated 50 years of design with his book Design Visual 50 Anos, and a photography exhibition at the Maria Antônia University Centre, in São Paulo.

via Wollner, Alexandre (1928).

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