Two or three decades ago, poster design was a medium heading rapidly into extinction, and nobody would have imagined the resurgence we have witnessed in recent years. Today, the poster is alive and well; thought-provoking and relevant. Its unlikely comeback could have to do with the fact that it has made itself comfortable online, or maybe because it has evolved into a creative playground, free at last from the shackles of commercialism. But most significantly, it stems from the poster having reasserted itself as a medium that communicates a message more immediately than any other medium. In a split second, a poster can stun, delight, persuade, or even redeem. It has become a new vehicle for thoughtful reflection on events in the private and public spheres. This unbound medium fills the gaps of consciousness and of our lives in general—the very areas responsible for the perpetuation of our culture.

Originally from Minsk, Belarus, a pedigree to which he attributes his intricate familiarity with over twenty varieties of potatoes, Peter Bankov presently divides his time between Moscow and Prague. In 1993, he founded Neuch (roughly translated as Ignoramus), an artist’s book collective in Moscow. He went on to establish, in 1997, both Design Depot, one of Russia’s leading design firms, and kAk magazine, the longest-running and most influential design periodical in the former Soviet Union. Lately, Bankov keeps busy with his Daily Poster project, having created over 500 pieces to date. He has received upwards of 200 design awards, the most recent of which include the Platinum Award from Graphis Poster Annual; First Prize in the World War 1: 100 exhibition in Nizhny Novgorod, Russia; and Grand-Prix from the Asian Graphic Design Invitational Exhibition in Seoul, South Korea.

An exhibition of his work is at the TDC gallery from December 2nd to January 31st, curated by Misha Beletsky.

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