Magazine task is to bring issues related to graphic and industrial design from a Central European perspective (Czech Republic, Slovakia, Poland, and Hungary) to a wider audience.
We are taking part in the movements that are sweeping across Europe, while constantly searching for our own identity to set us apart. This is why attempts to find references to local history are particularly vital in our part of Europe. The revival of forgotten designers and their work and the republication of classics in the literature have even become fashionable (a problem described in the article Restoring Memory). The interest in the 1950s has encouraged many design historians in our part of Europe to dig up the hidden “treasures” of their cultures. Article Catching Up and Passing recalls design in Czechoslovakia, a country behind the Iron Curtain. The younger generation with no experience of the socialist times is beginning to find interesting ideas in those days. This entails more than an attractive piece of graphic design, an interior, or a work of architecture that is worth discovering and protecting. This is a search for a remedy to social inequality, examples of which can be seen in the increasingly popular cooperatives or collectivization movements (see: The Past Continuous). The reader will find another interesting link to the past in the text describing the concept of Briefcase – a type foundry that aims to save Czech typefaces from before the digital era, and in the article about folk inspiration in Hungarian fashion (The Past for the Future).
Drawing from one’s own history means more than discovering one’s roots. It means searching for the shape of the future, in which one needs to see oneself as a part of a global society, while appreciating the value of being distinct – and forever beginning the search all over again.
Readers will also find critical texts, presentations, interviews, and reports on events.