Cuban Posters: Revolution and Cinema, 1959-2019 proposes to explore this effervescent

graphic production through 250 posters, mainly from the museum's collections. It allows to
discover and understand the hatching of this great poster design school and to follow,
through it, the history of the island state.

60 years after the Revolution in Cuba, the Museum of Decorative Arts unveils the golden age of
the Cuban poster of the 1960s and 1970s in a cultural and political context that the artists have
seized.

The Cuban posters appears on the island at the end of the 19 th century, but was necessary to wait
until the revolution so that it becomes a school in its own right.

Until 1959, when the arrival of fidel in power, it was essentially commercial and boasts the
consumption of imported goods, modelled on American advertising. During the revolutionary
period and with the ban on commercial advertising by che, the poster becomes political and
cultural.

Cuban political posters find their inspiration in the historical events of the revolution an highlight
his heroic figures.

The MAD Cuban poster fund, finally unveiled at the exhibition “cuban posters: revolution ad\nd
cinema, 1959 – 2019”

During the press visit, Commissioner Amelie Gastaut explained that in 1979 a lady name Gisele
Michelin donated nearly four hundred Cuban posters dated since 1959.

The donor, has made her collection by monographic and thematic corpus, and it is thanks to the
heritage of this set that the exhibition could take place. Unfortunately, no information was found
on the donor. The posters are in a good shape so there are a lot of questions to be answered
about it.. how did she get them? She brought them from cuba, she meet the artist, how where
they hung??

Large and dark central corridor, revealing on e ach side two large spaces presenting posters
exposed on walls without coatings and updating pipes and marks of time. As if the
walls were those of exterior facades and the posters were stuck on them. The
scenography opens with a subdued and relaxing lighting, immediately drawing the eye
on the first posters. On either side of the large central corridor are smaller spaces to
observe the different aesthetics and especially the diversity of expressions worked by
a single artist.

he great interest of the event is that it highlights the diversity of Cuban productions on
the poster stage. Posters are really works of art and not just tools for commercial
purposes. 
testifies to this variation of aesthetics, either through the highlighting of a single artist,
Félix Beltràn, working with kinds of pictograms in compositions with reduced
chromatic scale, is exposed next to Félix René Medecos, which uses black outlines or
darker shades to identify bright, sparkling, pink, green, purple, or red colored areas!
The poster also appears as a means of cultural affirmation. Indeed, Amélie Gastaut
explained that international films arriving in Cuba were accompanied by posters. The
classic model of the movie poster wants to present the main character or a scene from
the feature film. However, to promote independence from foreign aesthetic codes,
Cuban posters were recreated by artists, who could let their imagination run wild. 

carteles impresos con la técnica de la serigrafía (Silk Screen), su signo

distintivo

El cartel estuvo dirigido a promocionar filmes nacionales y extranjeros,

semanas de cine cubano en otras latitudes, ciclos, muestras,
retrospectivas, aniversarios, homenajes a directores,  actrices, actores y
festivales en los que el mensaje gráfico llegó por diversas vías, con una
impronta visual de gran belleza y eficacia comunicativa y no
esquemáticamente como interpretación pura de la esencia de los filmes.

Nelson Herrera Ysla, crítico de arte, afirma en el prólogo del libro citado: «el
cartel cinematográfico se convirtió en la cara más visible del arte cubano
en las primeras décadas de la segunda mitad del siglo pasado (…).  Luego
declinó (…) y hasta se temió por su existencia. Pero no. Como buena Ave
Fénix, resurgió de entre las manos entusiastas de jóvenes creadores en los
albores del siglo XXI para salir airoso nuevamente hacia el cielo azul de la
Isla, sus cines y ciudades…».

Cartel político y social, el COR y la OSPAAAL

Epica revolucionaria creo una estética revolucionaria. Los carteles de la

década del 60 y 70 nacieron con una estética muy particular marcada por la
impronta de la inmediatez y su tarea mas importante: la comunicaicon.

El cartel cultural tuvo entre sus principales emisores al CNC, el ICAIC, la

UNEAC y la casa de as americas.

El decenio considerado como la época de oro del cartel cubano, debido a la

gran cantidad y calidad de afiches que se producían de manera sistemática
y a impacto social de los mismos.

Metáforas visuales, infleuncia de estilos y tendencias internacioanesl, como

la escuela polaca de diceno y el arte pop.

Se constituyo una tradición en el cartel de cine.