International Poster Biennale in Warsaw 1966 stannym ruchu, to obecnie nalezatoby dodac: ruch ten ma olbrzymiq prqdkosc. Plakat, skromny przedmiot naszego zaintereso- wania, ma wyrazic to wszystko, co siq zmienia, ma stanowic odbicie chwili biezqcej. Warto wiqc zadac pytanie, czy plakat, jedna ze starszych form masowego przekazu wizualnego wspófczes- nej cywilizacji, nie znalazt siq obecnie na roz- drozu, czy nadqza lub nie nadqza za zyciem? Wrócmy do dwu sprecyzowanych kryteriów wartosci uzytkowej i artystycznej. Konfrontac,a dziet uwzglqdniajqca te kryteria pomoze odpo- wiedziec na postawione pytanie. Konkretna ana- liza pozwoli ocenic, jak plakat wytrzymuje wyscig z czasem i w jaki sposób realizuje i przekazuje zamówienie wciqz zmieniajqcej siq rzeczywistosci. Sqdzq, ze wtasnie potrzeba odpowiedzi na to py tanie, potrzeba oceny miejsca i roli plakatu, zro- dzita mysl zorganizowania I Miqdzynarodowego Biennale Plakatu w Warszawie. Udziaf w I Miqdzynarodowym Biennale Plakatu w Warszawie w czerwcu 1966 roku braty nastq- Puj^ce krajeArgentyna, Austria, Belgia, Bra- zylia, Bulgaria, Chiny, Czechosfowacja, Dania, Finlandia, Francja, Hiszpania, Holandia, Izrael, Japonia, Jugostawia, Kuba, Mongolia, NRD, NRF, "There can be no fine, exploratory poster without a wise and courageous client" Walter Herdeg, Chairman of the Jury of the First International Poster Biennale in Warsaw. The poster is a creature with two souls, or to put it in less poetic terms, it can affect the viewer through its purely functional, advertising quali ties, or its outstanding artistic value, offering a certain artistic experience. Best of all, there are also posters in which both qualities, the functional and the artistic, are present simultaneously and with equal intensity. Two qualities? Then there must also be two criteria for their assessment. It is very difficult to draw up a definite boundary-line here, and even more difficult to state which of the two qualities is the more important in a poster. This is a real difficulty, not an imaginary one. The world of today is being transformed so rapidly and in so many spheres by science and technology that we can hardly keep up with the changes and retain them permanently in our minds. Human society is being transformed no less rapidly, and so deeply that very often the contemporary decade brings more changes than an entire historic period did in the past. The thinkers of antiquity realised that the world was in a state of constant motion; we should now add this motion has a tremendous speed. The poster, the modest object of our interest, is expected to express everything that is changing, to be a reflection of the present moment. It is well worth asking: has the poster, one of the contemporary world's older forms of mass visual communication, reached a crossroads, and is it keeping abreast of modern life? Let us return to the two criteria: of functional and artistic values, mentioned above. A compari son of works according to these criteria will help us to answer this question. A concrete analysis will make it possible to ascertain to what extent the poster is standing up to the race against time and how it is fulfilling and con veying the demands of an ever-changing reality. I feel that it was a need to answer this question, a need to assess the status and role of the poster, that led to the idea of organizing the First International Poster Biennale in Warsaw. Participating in this event in June 1966 were: Argentina, Austria, Belgium, Brazil, Bulgaria, China, Cuba, Czechoslovakia, Denmark, Finland,

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