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'Anti-Masonic posters' exhibition consists of the Nazi propaganda posters which were made in Serbia during WWII., and its owner is a world-renowned designer and illustrator Mirko Ilić
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Visitors of the 7th Festival of Tolerance at the 'Anti-Masonic posters' exhibition
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'Anti-Masonic posters' as a thematic exhibition of the 7th Festival of Tolerance
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The exhibition of pupils' works, "Poster Project", was displayed in the Europa cinema from May 20th to 26th, 2012
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"Two Faces of Roma Reality", the exhibition of Nevenka Lukin's photos, was held in the Europa cinema from May 20th to 26th, 2012
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The exhibition named "Power and Powerlessness" of exceptional Seiji Kimoto was held in the Karas Gallery from May 14th to 31st, 2012
"Anti-Masonic posters"
Memorial Gallery 11/07/95, October 24th - November 4th, 2013
"Anti-Masonic posters" is a thematic exhibition of Nazi propaganda posters in Serbia during the World War II. The posters are owned by world-renowned designer Mirko Ilic. The exhibition is being held as an additional program of the Festival of Tolerance and can be seen from October 24th to November 4th in the Memorial Gallery 11/07/95, Trg fra Grge Martica 2/III. The exhibition has already been presented from May 19th to 25th in Europa cinema in Zagreb and from June 2nd to 8th in Mali salon in Rijeka.
Until April 1941, Nazis have occupied most part of the Yugoslavian territory. After the Uprising in Serbia that was initiated in July 1941, Milan Nedic was appointed the prime minister of Serbian marionette government. Under his auspice, the "Grand Anti-Masonic Exhibition" (a code for anti-semitism) opened in occupied Belgrade on October 22nd, 1941, and ended on January 19th, 1942. It was funded by the Germans to fan the flames of an already virulent hatred against the Jews. These posters are from that exhibition.
The most significant review of the exhibition was given by Steven Heller, the most prominent American graphic designer, theorist, critic and renowned lecturer at the New York School of Visual Arts. According to him, the central theme of the exhibition was based on the traditional blood libel, an alleged Jewish – and, in this case, Jewish-Communist-Masonic plot for world domination. In addition to the exhibition, a huge amount of propaganda materials was created: over 200 000 different brochures, 60 000 posters, 100 000 flyers, 108 000 samples of nine different types of illustrated envelopes, 176 movie clips, four postage stamps, and more. The big lie was more believable when it was everywhere and on everything.
The posters proclaimed that the Jews were the ancient enemies of the Serbian people and that Serbs should not wait for the Germans to begin with their extermination. Judaism, portrayed in stereotypical orthodox guise, was presented as the source of evil in the world. Furthermore, the posters advocated the "humiliation and violent subjugation" of Jews. Particularly interesting is the material showing the alleged Jewish domination over the American press and finances, and, especially, the control of The New York Times. This routine type of anti-semitic propaganda conflated Jews into both capitalists and communists – the deceptive Zionist force that dominated all aspects of European (indeed, world) economic life. The imagery was produced by graphic artists and designers who drew from templates produced in Germany at the Nazi Propaganda Atelier in Berlin.
The "Anti-Masonic posters" exhibition consists of 17 original and 3 replicated (newly printed) posters with the same dimensions of the original ones. The exhibition is organized in collaboration with:
Mirko Ilić Corp.
La Benevolencija
Gallery 11/07/95
SOS Design Festival
IHRA
AIC Foundation Inc.
