Elena Chirila and Ana Gurdis

Authors’ Vision: “Plombir flavour” brings into focus an exploration of the subtleties of the influence of communist propaganda on children in the post-Soviet space, using cartoons, children’s music, and even everyday items such as ice cream as an artistic vehicle.

This installation offers viewers a glimpse into the world of childhood and how cartoon sequences, presented as fragments in the collective memory, blend harmoniously with everyday reality. The central element of the installation is a classic cartoon, transposed from a slide into an artistic form that symbolises the power of propaganda and its subtle influence on young minds. The children’s song that accompanies the installation is an audible reminder of how the communist regime cultivated its ideology in the minds of young people. The cartoons feature children as heroes and heroines who face adventures and trials, subtly conveying values such as unity, equality and collectivism, which were fundamental to the communist regime. “Plombir flavour” invites viewers to reflect on the power of propaganda in shaping children’s consciences and ideals and to explore the deep connection between art, ideology and collective memory. This work transcends the limits of an art installation and becomes a window into a historical period full of meanings and influences on contemporary culture and society.

Animation: “Why fish don’t talk” – Sofia Prokofieva, M. Jerebchevenskii, 1975

Slide scan: Camera Lucida Lab

Color grading: Alex Smiricinschi

The first impression after watching this cartoon/reinterpretation installation is that its creators feel a real connection to the art and craft of the soviet artists that were employed by the governement to spread the propaganda ideals of the communist regime. Through juxapositions and colorization of the main characters form the “Why fish don’t talk” soviet animation, the two film-makers bring into the contemporary scene beautiful characters form the old cartoon, characters that the younger generation is unable to associate with the underlying propaganda attached to them. There is instead the powerful element of music that captivates and fixes the setting into the right era. The sound is specific, the melody clicheistic, the realization of the balance between soloist and choir agnificent and the voices exquisite. The use of the minor tonality and the bombastic rythms are specific to soviet propaganda music, being used by Dmitri Schostakovich in all of hs symphnic works aswell, of course, with a different meaning. The title of the work is also intriguing. Plombir is a type of cecream, much beloved in the era. Therefore, the contrast between the excellent taste of the icecream, the perfect drawings in the cartoons and the magistrally crafted music on one side, and the communist messages brought to the children through art, sweets and everyday life is one that will continue to interest the younger generations and one that is highly worthy of artistic exploration. – Sabina Ulubeanu, curator