What will foreigners see when they look at Ukraine in 2012?

With the passage of time the world changes, as does the visual language; new symbols emerge, while some of the old ones lose relevance. A number of countries have developed a new visual identification system to make themselves and their nations identifiable. Among the graphic examples are Turkey, the Czech Republic, and Poland. These countries have upgraded their national symbols. In 2001, Poland came up with a new national logo that contains the name of the country, in a free-style font, where the letter “k” resembles a man launching a kite. In other words, national symbols are improved to make a given country easier to identify and improve its international image.

Before long, Ukraine will have an opportunity of introducing itself to the world, particularly by offering its symbols. I mean the Euro-2012 project. It will be then, when Ukraine will have a chance of making a worthy appearance on the international arena — among other things, as a tourist attraction. We have our original culture, but we must learn to promote it on the world market. This is where we’re facing difficulties.

Pavlo Hudimov, a noted Ukrainian musician and art gallery curator, believes that “Ukraine’s visual culture is uncultured.” He has a point there, considering that there is actually no creative Ukrainian brand, because no one has bothered to do anything about it. What can Ukraine offer foreign tourists as its own identification symbol?

Design Tomorrow — a junior designers’ competition — was launched on March 24 in order to develop an alternative national identification system for Ukraine. The issue uppermost on the agenda was “Ukraine Brand.” This competition has four nominations: logo; print; New Media (any kind of digital product), and a special standing for the best T-shirt with the logo “I Love Kyiv.” The jury included noted Ukrainian designers and cultural figures. The organizers say they were selected on a work-for-your-national-arts basis. The jury focused on the national idea as the prevalent one in a modern system of Ukrainian national symbols, one that could unite the people.

The winners’ names will be announced on May 1. If need be, their projects will be further elaborated and transferred to the public domain. They will be presented in the upper echelons of power. However, the organizers are afraid that the launching of ready products will be impeded by the red tape (as has often been the case, with creative initiatives being simply lost in the corridors of power). This time the situation promises to be different; there is hope — after all, the drop wears away the stone.

COMMENTARIES

Ivan MALKOVYCH, poet, writer, co-owner of the A-BA-BA-HA-LA-MA-HA Publishers:

“I love the trends of the past couple of years, with people trying to include authentic Ukrainian symbols and folk and primitive art motifs into their clothes and otherwise. Maria Prymachenko is very popular, considering that her works are adopted and alluded to in all possible ways. I can only feel happy about this phenomenon, for this creative domain promises great discoveries.”

Pavlo HUDIMOV, musician, designer, art gallery curator:

“There are no Ukrainian ID symbols. I have seen some of the samples submitted, including those from the Aktsent Group. Such initiatives end up shelved in bureaucratic offices. I am in love with folklore. Fortunately, there are a great many sites and creations preserved in Ukraine, something we can feel proud of! However, folklore is a well-trodden path in many countries, so following it would be mauvais ton. You have to glimpse into the future, instead of looking back at the past. Your design concept must be aimed at the future, not the past. We have to win large audiences, rather than say just look at our gorgeous folk heritage. This concept isn’t categorical. There are elements of folklore that can and should be applied, but only if subtly transformed and refined, so as to defy any comparisons with cheap imitation products crowding the European markets.”