Public poster, originally a 19th century creation, is still relevant today as an effective mass communication device. Current digital production technologies have expanded the poster’s role well beyond the limitations of the printed surface. But on-screen viewing aside, in a live encounter there is no denying the immediacy of a forceful, well-expressed poster. And if the concerned subject is illustrated in the plural, through multiple concepts in as many posters, its impact intensifies. This amplification was central to the ‘Freedom of Movement’ show at The Second Floor, Karachi (Jan 18 – 21). A feature of ‘Posters for Tomorrow’ organisations’ annual exhibition, this 2017 exhibition lobbied for immigrant rights and status.

Today migration is a global crisis. This phenomenon is riddled with important ethical issues which, unfortunately, are not being addressed with the thought and concern they deserve. One of the most significant questions is the question of whether liberal democratic societies have strong moral obligations to admit immigrants or are morally free to restrict immigration. Populists and moderates argue that immigration restrictions are inconsistent with basic liberal democratic values, including freedom and moral equality. The other claim is that affluent, liberal democratic societies are morally obligated to admit immigrants as a partial response to global injustices, such as poverty and human rights violations. While these issues remain unresolved, migrant dehumanisation continues to escalate. Horror stories of discrimination resulting in death, violence and abuse are common tabloid fare today.

The ‘Freedom for Movement’ poster exhibition may appear as a soft reflection on a grave issue but the truth and simplicity in these mixes of colour, image and sentiment, spiked with humour and sensitivity, catch one off-guard. This is political art at its most direct, and brevity of content makes for a focused approach. The usual symbols of protest art — iron cage, barbed wire, chain, white dove, olive branch, flag and clenched fist — all appear in new creative guises.

The ‘Freedom for Movement’ poster exhibition may appear as a soft reflection on a grave issue, but the truth and simplicity in these mixes of colour, image and sentiment, catch one off-guard

A witty poster, ‘Borders of USA’, has the American flag crafted out of barbed wires but even more ingenious is the ‘Refugee’ poster, which sports a travelling suitcase made out of these deadly twines. The flag image variations include a poster from Thailand called ‘Living Separately’. It comprises a composite collection of containers stamped with national flags of different countries housing residents which signals a ‘together yet apart’ message.

Flags have also been used to make a brick wall to give a no-entry indicator.

In one poster the text WALL has its W slashed to read ALL. Another clever play with font appears in the poster containing an extra bold spelling of the word REFUGEE. The tiny script, ‘Nowhere to Go’, is squeezed in the maze-like spaces between the syllables of this word.

The media is full of stories of perilous sea crossings that proved fatal for scores of migrants. This is well captured in posters like ‘Journey to Death’ — a bold red and blue rendition of coffins spread like driftwood on the sea shore. Another poster ‘Lost at Sea’ features hands of drowning bodies crying for help. An evocative poster with a clear sky and a pristine blue sea fringed with mountains at the back is simply titled ‘Medeatherranean Sea’. A paper boat made out of stamped passport papers is simply titled, ‘I Move Therefore I Am’. How do we interpret ‘The Great Escape’ in which a stark grey poster features an open suitcase (with a ladder) discharging a burst of yellow light? A migrant’s plight of doom and despair in this world is evident if the radiating light signifies the ultimate journey towards another world.

The skill sets used to make these posters range from folk art inspired works to hi-tech graphics by professional artists and designers, yet the impact and energy really come from how they are utilised once they leave the artist’s studio. The 4 Tomorrow Association — an independent, non-profit organisation, has built this collection to spark debate around immigration and what lies at its heart: people. As such these marvelously diverse posters are entirely message-oriented but protest art itself does not create change, it can only mobilise people for a cause.

Published in Dawn, EOS, January 28th, 2018