Poster competition
At the Intersection of All Opposites

Finalists announced

Short
    list

  • Adrianna Korszeń, Poland / Польща
  • Agnieszka Dajczak, Poland / Польща
  • Alejandro Rivera-Plata, Colombia / Колумбія
  • Anastasiia Kuzmina / Анастасія Кузьміна, Ukraine / Україна
  • Andrew Polishchuk / Андрій Поліщук, Ukraine / Україна
  • Andrey Podlesnyy / Андрій Підлісний, Ukraine / Україна
  • Anna Shamrai / Анна Шамрай, Ukraine / Україна
  • Artem Novikov / Артем Новіков, Ukraine / Україна
  • Atefeh Biyajiyan, Iran / Іран
  • Chaoqun Wang, США / USA
  • Chen Jie, China / Китай
  • Daniil Nemyrovskyi / Данііл Немировський, Ukraine / Україна
  • Daryna Klochko / Дарина Клочко, Ukraine / Україна
  • Dawid Czajkowski, Poland / Польща
  • Dmytro Bulanov / Буланов Дмитро, Ukraine / Україна
  • Dmytro Kifuliak / Дмитро Кіфуляк, Ukraine / Україна
  • Feng Sha, China / Китай
  • Gholamreza Saffari, Iran / Іран
  • Hanna Klymenko / Ганна Клименко, Ukraine / Україна
  • Hudz Lesia / Гудзь Леся, Ukraine / Україна
  • Igor Nechytailenko / Ігор Нечитайленко, Ukraine / Україна
  • Igor Pavlov / Ігор Павлов, Belarus / Білорусь
  • Jarek Bujny, Poland / Польща
  • Jia-Wei Jian, Taiwan / Тайвань
  • Jian Mengni, China / Китай
  • Jing Xiao, China / Китай
  • José Luis López / Хосе Луїс Лопес, Ecuador / Еквадор
  • Karolina Glanowska, Poland / Польща
  • Khmil Khrystyna / Христина Хміль, Ukraine / Україна
  • Lajos Nagy, Hungary / Угорщина
  • Lera Guevskaya, Ukraine / Україна
  • Liliia Pomelova / Лілія Помелова, Ukraine / Україна
  • Mар'яна Терлецька / Mariana Terletska, Ukraine–Poland / Україна–Польща
  • Maria Olinyk / Марія Олійник, Ukraine / Україна
  • Mariia Husak / Марія Гусак, Ukraine / Україна
  • Mariia Romanchenko / Марія Романченко, Ukraine / Україна
  • Mariya Voronkevich / Марія Воронкевич, Belarus / Білорусь
  • Maryna Odaiska / Марина Одайська, Ukraine / Україна
  • Maryna Zorina (Zevako), Ukraine / Україна
  • Meng Xu, China / Китай
  • Oleksandr Guzeev / Олександр Гузєєв, Ukraine / Україна
  • Oleksandra Shmatko / Олександра Шматко, Ukraine / Україна
  • Olha Bakan / Ольга Бакан, Ukraine / Україна
  • Olha Hordiienko / Ольга Гордієнко, Ukraine / Україна
  • Ostap Yashchuk / Остап Ящук, Spain / Іспанія
  • Patrycja Longawa, Poland / Польща
  • Polina Bakanova and Viktoriia Tymonova / Поліна Баканова та Вікторія Тимонова, Ukraine / Україна
  • Qing Luo, China / Китай
  • Rebeka Köves, Hungary / Угорщина
  • Roman Pavliuk / Роман Павлюк, Ukraine / Україна
  • Sasha Pais / Саша Паіс, Ukraine / Україна
  • Seif Hesham, Egypt / Єгипет
  • Stefan Ilić / Стефан Іліч, Serbia / Сербія
  • Sun Jaegal, South Korea / Південна Корея
  • Tatiana Prysiazhnyuk / Тетяна Присяжнюк, Ukraine / Україна
  • Tau Fei Lew, Malaysia / Малайзія
  • Tumyk Oleksandra / Тумик Олександра, Ukraine / Україна
  • Vika Lopukhina and Vita Lopukhina / Вікторія Лопухіна і Віталіна Лопухіна, Ukraine / Україна
  • Volodymyr Mykhaylov / Володимир Михайлов, Ukraine / Україна
  • Vova Morrow / Вова Морроу, Ukraine / Україна
  • Wan-Hua Peng, Taiwan / Тайвань
  • Wang-Jia-Min, Taiwan / Тайвань
  • Wenjie Huo, China / Китай
  • Wojciech Zabel, Poland / Польща
  • Xu Zihan, China / Китай
  • Yanghua Yao, China / Китай
  • Yunfeng Wang, China / Китай
  • Zhou Yubin, China / Китай
Rodovid Publishing invites designer, artists, and anyone who works in visual media to take part in an international contest and poster exhibition, At the Intersection of All Opposites. The winners’ works will be included in an online exhibition taking place as part of the Narbut XXI project. Participation is free.
August 28, 2020
11:59 p.m.
(Kyiv time, UTC+3)
Submission deadline
August 30—September 2, 2020
Jury
September 8, 2020
Winners announced
September 21, 2020
Exhibition opening
Sasha Bychenko
competition curator

We are encouraging you to reconsider the work of Heorhii Narbut from
perspective of a 21st-century
designer, to speak about continuity
in design, the visual language
of the past, and its aesthetic,
and to raise the issues of today’s
language of the poster.

Theme 1:
Between teachers and students

We stand on the shoulders of giants when we learn something new. The prominent works of our predecessors become such an integral part of our experience that it seems they have always been/existed. The modernists of the early 20th century laid such a strong foundation that it can be called the antiquity of the 21st century. Sometimes the new is just the old that we have forgotten.
Some designs from the past look attractive still today; others provoke little more than a smile. Yet if we take a close look at how our teachers worked, thought, and lived, a new side of things that would seem boring and outmoded can be revealed.
Here we invite you to examine Narbut’s oeuvre from the point of view of a 21st-century designer and interpret the master’s motifs, graphic techniques, and themes in a new way.
Moreover: let’s reflect on a history of design, as swiftrapid as it is short. Where does imitation turn into inheritance? Can stylization become a new form of expression? How can the student surpass the teacher? What would our work look like if we were limited to the technologies of the early 20th century? What about our predecessor’ work if they had the instruments we use today? Or perhaps we should reject any sort of heritage and reinvent the wheel?

Погляньте на нарбутівський доробок з точки зору
дизайнера у 21 столітті
та по-новому інтерпретуйте
мотиви, графічні
прийоми або теми майстра.

Theme 2:
Between the personal
           and the political

The contemporary world could probably not be imagined by even the boldest visionaries from Narbut’s time. Yet, one look at a person in society will show you, that not all that much has changed.
The agenda is set by the struggle for territory and human minds. The struggle for human rights is not only not over, but only just beginning. Free individuals and a strong state are still in opposition. We are likewise sometimes forced to resort to riots, civil disobedience, and revolutions. And, ultimately, we’re still not sure that machines won’t replace people.
In this section, we suggest talking about what bothers us today just as it did before, what we’re ready to fight, and what we will stand up for. Look at design as an instrument of influence, the accumulation of experience, and forming an identity. Or can we still talk about aesthetics apart from politics?

Погляньте на дизайн як
на інструмент впливу, набуття досвіду та формування ідентичності. Що непокоїть нас сьогодні, за що ми ладні боротись і що прагнемо відстояти.

Theme 3:
Between redesign
and innovation

The search for new, fresh, and original solutions is an integral part of a designer’s work. The new version of a product differs from the previous one, artists look for their own style, users seek a new experience—even two black t-shirts don’t look alike. This is natural since design responds to changes just like language does with new words appearing daily.
In this section, we suggest exploring the aesthetics of tomorrow, reflecting on the daily changes around us and how they are reflected in visual language. New times call for new solutions, instruments, and approaches. Designers today face challenges that could not have been imagined yesterday. Now, like never before, the design workshop has become a space for experimentation, searching, successes, and failures.
Or perhaps conversely take a look at the new aesthetics from the perspective of visual ecology: reject the constant meaningless searching and approach design like we approach reusing and recycling raw materials?

Дослідіть естетику завтрашнього дня, поміркуйте
про щоденні зміни навколо
нас і те, як вони
відображаються у візуальній мові.

We are accepting works made specifically for this contest and those done for other projects, commercial or personal, realized or not. Your work can be a formal experiment in typography, form, or technology, as well as an individual expression in the spirit of critical or speculative design.
We gladly welcome artists who use contemporary visual language and new instruments, search for new forms of expression and perception, and interpret well-known themes, techniques, and motifs in a new way. However, we are also completely open to traditional mediums and approaches; our priority is a diversity and polyphony of artists’ voices.

Приймаємо роботи
як створені спеціально для конкурсу
так і для інших проєктів,
як комерційні,
так і створені за власної ініціативи,
як реалізовані, так і нереалізовані

Consideration will be given to the contents, concept, and execution of each work when evaluating the pieces and curating the exhibition.

Aliona Solomadina

Freelance graphic designer, researcher, and curator. →
She has spoken at the Shuba Design Conference (Dnipro, Ukraine), the Summer Publishers’ Academy (organized in Kyiv by the Frankfurt Book Fair), and others.
She lives and works in Kyiv.
A curator of an exhibition of Ukrainian designers Between Tradition and Innovation during the Dutch Design Week and a member of the U,N,A Collective, she is the co-author of the book Sign: Ukrainian Trademarks, 1960–1980.
She studied at the Kharkiv State Academy of Design and Arts and has held residencies at the Fabrica communication research center (Benetton Group, Italy), the Kunsthalle Praha (Czechia), and the Camac Centre d’Art Marnay (France).
She has worked on projects for the PinchukArtCentre, Ukrainian booths at the Frankfurt Book Fair and Berlin International Film Festival, Mystetskyi Arsenal in Kyiv, and the Institute for Human Sciences in Vienna.

AntonIvanov

Designer, co-founder of Crevv Studio, and former design department manager at Banda Agency. →
A curator and instructor of graphic design at the Kyiv Academy of Media Arts, he has worked on brand identities for the National Art Museum of Ukraine, Ukraine Now, Expocenter of Ukraine (VDNH), Eurovision 2016, Goodwine, Comfy, Balbek Bureau, the Shuba Design Conference, and the magazines Bird in Flight and Was
He lives and works in Kyiv.

Dmytro Rastvortsev

Typeface designer, scholar of Ukrainian type design. →
For more than 15 years has been designing new typefaces (especially variable fonts), adapting Cyrillic and Greek versions of Roman typefaces, and digitizing ancient texts.
He developed the typeface Narbutorum based on Heorhii Narbut’s lettering motifs, proprietary typefaces for the National Art Museum of Ukraine, the typeface e-Ukraine for a government services website, Kyiv Type for an alternative branding for the city of Kyiv, and typefaces for the cities of Vinnytsia and Sumy.
He has done typefaces, lettering, and graphic design for the companies Fedoriv Marketing Agency, Banda Agency, Kyivstar, ICTV, Disney Imaginations, Osnovy Publishing, the magazines Esquire, Afisha, and L’Officiel, and the Harvard Business Review.
He has won or been a finalist in typeface contests, specifically the Morisawa Type Design Competition (Japan), Modern Cyrillic (Russia), the Best of Ukrainian Design, and so on. 
He lives and works in Sumy.

Oleksii Salnykov

Design strategist for Numo Team, visual communications designer, production designer, and mentor. →
He studied at the Paris School of Design. For over ten years, has been designing printed and digital materials and interfaces, including both internal-facing and client processes. He taught a web-design course at the Projector school. In teaching he focuses on the principle of lifelong learning, mentor support, and his students’ personal development. 
He lives and works in Kyiv.

AnfiSa

Graphic designer, interdisciplinary artists, and art director at Super an der Spree studio (Berlin). →
She studied speculative design and new media at the Berlin University of the Arts and graphic design at the Lviv National Art Academy. In her work she pays special attention to socially significant projects, for example, the German Trade Union Confederation, the Senate Department for Urban Development Berlin, and the German Federal Ministry for Economic Cooperation and Development. She spoke at the Techfestival conference (Copenhagen) and Creative Loop (Kyiv). For the last five years, she has focused on educational practice and taught a course in speculative design at the Kyiv Projector school.

Oleksandr Trehub

Designer, founder and director of Projector school of design and programing and the Supernova design school for teenagers.  →
Oleksandr publishes the online magazine Telegraf.design and is the curator of Visual Communications Professium. He developed a brand identity for the Ministry of Education and Culture of Ukraine, initiated the creation of an alternative logo for Kyiv, and curated a new brand identity for The Khanenko Museum (Kyiv).
He lives and works in Kyiv.

Myroslava M. Mudrak

Doctor of the history of art, professor emerita The Ohio State University, scholar of Eastern-European and Ukrainian modernism.  →
The author of Nova Generatsiia and Artistic Modernism in Ukraine and Beyond Borders: Modern Ukrainian Book Covers, 1914–1945, Mudrak was the curator of and catalog author for exhibitions The Staging of the Ukrainian Avant-Garde, 1910s–1920s and Borys Kosarev: Kharkiv Modernism, 1915–1931. She has written articles on Oleksandr Bohomazov, Heorhii Narbut, Kazimir Malevich, Davyd Burliuk, and other Ukrainian modernists. She is serving as curator for The Imaginative World of Heorhii Narbut and the Making of a Ukrainian Brand, part of the project Narbut XXI
She lives and works in the US.
Curator

Sasha Bychenko

Visual communications designer, art director for Numo Team, artist. →
He was a co-organizer for the Shuba Design Conference (Dnipro, Ukraine), the curator for the Border Studies poster contest, and the former editor-in-chief of the magazine Telegraf.design.
Sasha primarily works with and for cultural and art projects, such as Rodivid Press, Niice, the PinchukArtCentre, the Shcherbenko Art Center, the MUKhi 2019 young artists contest, the Ukrainian Photography Alternative, the Goethe-Institut Ukraine, Bird in Flight, Friedrich Ebert Stiftung, and others. His books have been nominated and won prizes such as Best Book Design, Ukrainian Design: The Very Best Of, UkrContPhoto, as well as being featured in exhibitions at the Frankfurt Book Fair.
He takes an interdisciplinary approach in his work and also researches Ukrainian vernacular design.
Submit work
Although the main medium will be the classic poster, you are not limited to that. It’s great if it is digital, animated, or contains augmented reality. If you are planning something in the spirit of performative design, that would be just wonderful!
a brief description
up to 1000 words
of the concept
welcome, but not mandatory
your name
in English
and Ukrainian
a preview of your poster
*.jpg or *.png
vertical format
1500 px on the long side
RGB color
a print-ready file
*.pdf, *.tiff, or *.eps bleeds not necessary
А1 format, vertical
300-dpi resolution
CMYK color

Posters

Other media

If you would like to submit works done in other media, send in your animation or video or photo documentation. Please send large files through a service like Dropbox, Google Drive, or WeTransfer.
a brief description
up to 1000 words
of the concept
welcome, but not mandatory
In sending their works, artists
give the contest organizers and their partners the non-exclusive right to either digital or print publication of their works within the project Narbut XXI.
Artists are independently responsible for a third-party use or acquisition of copyrights.
Artists retain their full copyright and can use their works at their own discretion.

The pandemic changed our plans, so the exhibition, which was originally planned to be real and visitable, will now take place online. However, if the situation allows for it, the winners’ works will also be shown offline.

your name
in English
and Ukrainian
оренда шрифтів на будь-який час для Mac чи PC
можливість заробляти на власних шрифтах для шрифтових дизайнерів
накопичувальна знижка на купівлю шрифта після орендного використання
понад 4200 багатомовних шрифтів у настільних і в веб-форматах

Три фіналісти конкурсу отримають річний
преміум-доступ
до сервісу оренди
шрифтів Rentafont ↗

Rentafont
це
український незалежний постачальник шрифтів, який робить шрифти доступними для дизайнерів та зрозумілими для їх клієнтів. Кількість шрифтів в колекції Rentafont постійно зростає завдяки співпраці з провідними словолитнями та шрифтовими дизайнерами з різних країн світу.
Whatabout: Future of Brands is a two day online conference about new digital reality, visual communications, brand communications, design, and future.
Virtual exhibition, Networking channels, Online rooms with moderators, Sport activities, Online bar and DJ Set.
Tickets for the online conference for the three finalists of the competition


     Anthology

A supplemented reproduction of the Narbut Anthology, printed and destroyed in 1933

Compiled and introduced by Dr. Serhii Bilokin


     Exhibition and catalog

Aesthetics of Heorhii Narbut

The Imaginative World of Heorhii Narbut and the Making of a Ukrainian Brand

Ukrainian formalism in the age of Ukrainization and traces its signature brand

Retrospective and Natsprom: myths and stereotypes

Ukraine’s new brand: one hundred years later
Curator: Dr. Myroslava M. Mudrak

30.06 Стрім куратора конкурсу Саші Биченка ↓

Трансляція
на сторінці Родоводу
у фейсбуці ↗︎
Анонс конкурсу плакатів

16————18.06 збір матеріалів, верстаємо тексти.