war

In 1985, three graduates from the Sarajevo faculty of fine arts formed the design team TRIO Sarajevo. The group created designs for bands, theatre companies and art and culture-based magazines.

“In April 1992 the Bosnian war began, and Sarajevo was besieged. Despite the obvious hardships of life in a city under siege for two and a half years, and although they had many opportunities to continue work outside Bosnia-Herzegovina, TRIO opted to remain in Sarajevo throughout the war. Faced with a market suddenly reduced to a 3km wide stretch of a city under siege, TRIO have nonetheless continued to earn a living as commercial designers, receiving payment for their work in food, cigarettes and (occasionally) small amounts of money. During the war TRIO have managed to assemble a computerised design office put together from various components which were borrowed or begged from friends and colleagues in Sarajevo.... In addition to their regular work, TRIO have also invested a great deal of time putting together a collection of graphic art aimed at raising awareness of the plight of their city throughout Europe. The work which has made them famous in western capitals is based on a series of reworkings of well-known advertising and pop-art images, such as the logos for Speilberg’s Jurassic Park, Coca-Cola, Absolut Vodka, Warhol’s famous Campbell’s Soup, and satirical adaptations of famous posters, such as Monroe’s Some Like it Hot, Your Country Needs You, Wake Up America!, Munch’s Scream, and many more.”

From The Design Group - TRIO SARAJEVO. The visual formula is direct and simplistic, but according to “Ironic Postcards from a City at War” the intent is to inject notice of the crisis into Western pop culture, to attach new associations to strongly recognized brands. My favorite is not one that uses the commercial brands, it is the stamp the group designed in 1995 with an image of one of destroyed post office buildings:

Found via OpenDemocracy

“The Israel—Palestine war is not simply a struggle over territory between two national entities. It is driven by Israel’s systematic denial of modern urban life to the Palestinians. One of the lessons of the battle of Jenin is that the bulldozer that demolishes houses is also a weapon in the wider strategy to prevent the Palestinians from creating a modern, normal, urban society.”

See ‘Clean territory’: urbicide in the West Bank by Stephen Graham on OpenDemocracy.

Micah Wright has put together some funny World War II style propaganda posters satirizing the current “war on terrorism” and all the hopped up rhetoric. Some of my favorites: 1, 2, 3, 4, 5, 6, 7, 8, 9.

Found via Dr. Menlo and warbloggerwatch.

“Brain scans on Gulf War veterans in the United States who are suffering from debilitating diseases may have resolved why 130,000 US and British servicemen and women complain of mystery illnesses.... The damage to the brain was likely to have been caused by the use of organophosphate pesticides to kill desert flies and lice at the American and British tented camps in Saudi Arabia; the anti-nerve gas tablets and vaccines given to frontline troops and inhalation of chemicals after the Americans bombed an Iraqi chemical weapons store.”

From The Times of London.

Construction has begun on a “security barrier to separate Israel from the West Bank.” BBC: “As always, it boils down to a question of land: Israel taking Palestinian land to ensure its security.... In the absence of a peace settlement, the fence has raised all the old questions about where Israel ends and the West Bank begins.” Some villages will be split in half, or annexed entirely. VOANews: Yasser Arafat “described the $220 million fence as a ‘sinful assault on our land, an act of racism and apartheid, which we totally reject.’” News24: “Veterans from both sides of the Berlin Wall say Israel’s... plan to erect 110km of fence along the West Bank will fail ultimately, much as the Cold-War divide through Berlin eventually crumbled.”

Update March 23, 2003: While the first wall proceeds apace, Israel is planning a second wall.

Posters of the Spanish Civil War from the University of San Diego Southworth Collection. Read the intro then skip right to the thumbnail index. See also drawings made by Spanish children during the war.

“The ‘Fighting Pencil,’ a group of graphic artists and poets, started as a real fighting unit during the war with Finland in 1939. Artists B. Semyonov, V. Galba and others, together with poet E. Ruzhanski, created the first poster-broadsheet for the troops at the front, targeting their satire against the enemy and its allies. Later, during the Great Patriotic War against Nazi Germany (World War II), more posters were made calling for defense of the Motherland, portraying heroic deeds of soldiers, inspiring courage and encouraging hatred toward the enemy. After the war, the ‘Fighting Pencil’ shifted its satire to ‘opening the boils on the body of Soviet society’ Their targets now were the vices of bureaucracy—negligence and abuse, red tape and indifference to clients, corruption and incompetence. They also addressed ‘negative phenomena’ encountered in the everyday behaviors of ordinary people, such as alcoholism, abuse at the workplace, family violence, and environmental pollution.”

Found via coudal partners.

“The Ribbon Project was created in 1991 by the Visual AIDS Artists Caucus, a group of artists who wished to create a visual symbol to demonstrate compassion for people living with AIDS and their caregivers. Inspired by the yellow ribbons honoring American soldiers serving in the Gulf war, the color red was chosen for its, ‘connection to blood and the idea of passion — not only anger, but love, like a valentine.’ First worn publicly by Jeremy Irons at the 1991 Tony Awards, the ribbon soon became renowned as an international symbol of AIDS awareness, becoming a politically correct fashion accessory on the lapels of celebrities. While this has caused concern to many activists, who worry that its meaning has become trivialized, as well as denigrated by the proliferation of ‘kitsch’ ribbon objects, the Red Ribbon continues to be a powerful force in the fight to increase public awareness of HIV/AIDS and in the lobbying efforts to increase funding for AIDS services and research.”

“For most Americans and Europeans, the Bosnian War was played out in the brief, flickering images of television news. But another set of images, more permanent and more profound, played an active role in this war, molding public sentiment and calling attention to the plight of the Bosnian people. For three hellish years, Bosnians plastered the walls of their towns with messages of anger, frustration, desperation, resistance, and hope. These extraordinary images, the focus of this book, are juxtaposed with the hateful, divisive works of propaganda that served the most vicious practitioners of ‘ethnic cleansing.’ Evil Doesn’t Live Here presents this visual battle ot the rest of the world for the first time.”

From Princeton Architectural Press.

“The deadliest ‘friendly fire’ incident of the war in Afghanistan was triggered in December by the simple act of a U.S. Special Forces air controller changing the battery on a Global Positioning System device he was using to target a Taliban outpost north of Kandaha.... Three Special Forces soldiers were killed and 20 were injured when a 2,000-pound, satellite-guided bomb landed, not on the Taliban outpost, but on a battalion command post occupied by American forces and a group of Afghan allies, including Hamid Karzai, now the interim prime minister.... The Air Force combat controller was using a Precision Lightweight GPS Receiver... to calculate the Taliban’s coordinates for a B-52 attack. The controller did not realize that after he changed the device’s battery, the machine was programmed to automatically come back on displaying coordinates for its own location.”

From the Washington Post.