Nous sommes tous indesirables 1970

Editor: Right, next up, we have a poster from 1970, "Nous sommes tous indesirables", or "We are all undesirable". It's attributed to Times Change Press of New York and the dominant colours are blue and tan. It really strikes me with its bold simplicity; almost a challenge to the viewer. What stands out to you? Curator: It's funny you say "challenge", because it does put one on the spot. I think immediately of the '68 uprising in France, that's the spark that set this ablaze. It isn’t just about political activism; it's a powerful reminder that identity and belonging can be complicated things, don't you think? What is 'desirable' anyway? What makes it so? Editor: That's a really good point! The question of what constitutes 'desirability' feels particularly relevant, given its origins in a time of social upheaval. Was this poster created in direct response to Cohn-Bendit's exile? Curator: Indeed. It’s saying that anyone challenging the established order – in this case, Cohn-Bendit – gets labelled “undesirable.” The poster tries to reclaim the label, turn it into a badge of honor, something to rally behind. And, given that the artist collective hails from New York, the poster is as much a comment on the U.S.’s socio-political climate as France’s, wouldn't you say? Editor: It definitely has universal echoes. I guess I hadn't fully appreciated how the sentiment translates so readily across borders. Curator: Posters are great that way. They speak in a visual language that’s often instantly understood. The power of typography in a print cannot be understated. Plus, look at the raw emotion in the portrait, it echoes something like Warhol, no? What's your takeaway after this brief encounter? Editor: It really made me consider how words and images can be used to unite people in a cause and the subtle, yet strong commentary they offer on identity and acceptance. Thank you. Curator: A good poster makes us think and feel, and perhaps most importantly, question. It was my pleasure.