Signal is an ongoing book series dedicated to documenting and sharing compelling graphics, art projects, and cultural movements of international resistance and liberation struggles. It is edited by Josh MacPhee and Alec Dunn and published by PM Press.

Signal:01 covered anarchist graphic designer Rufus Segar, Dutch squatter comic Red Rat, the Bay Area graphics collective Taller Tupac Amaru, an interview with a veteran of the Mexico City 1968 Poster Brigades, graffiti writer Impeach, and a photo essay on adventure playgrounds.

Signal:02 featured the Danish art collective Røde Mor, Japanese Esperantist manga from the early 20th century, Oaxacan street art, murals from the Carnation Revolution, underground Bay Area presses from the 60s, and a feature on Mozambique artist Malangatana.

Signal:03 has articles on the Partisan memorials of former Yugoslavia, an interview with Barbara Dane/Paredon Records, graphics of the Quebec student strike, mastheads of Spanish Republican exile, the Medu Arts Ensemble of South Africa, and an anti-imperialist carnival game/portfolio from the 1930s.

Signal:04 has features on the cover art of Palestinian Affairs magazine, nautical protest actions, New Zealand's Kotare Poster Archive, Berlin Kommune 1, art actions in Juarez, Toronto's Punchclock Print Collective, and the illustrator and designer Max Winkler.

Signal 01, 02, and 03 are available from PM Press.

We can be contacted at editors@s1gnal.org
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More incredible work from the seemingly inexhaustible history of illustrations by Cliff Harper.

More incredible work from the seemingly inexhaustible history of illustrations by Cliff Harper.

It’s been a while since we’ve added anything here. Signal:04 is almost complete! Features on the Punchclock Collective, Palestinian Affairs, nautical protest actions, Berlin’s Kommune 1, posters from New Zealand, actions in Juarez,  the illustration work of Max Winkler, and more!

For your enjoyment today, the incredible opening sequence of Chris Marker’s A Grin Without A Cat. A thrilling evocation of the power of political art, Eisenstein’s Potemkin montaged in with images of the new left.

The opening narration (translated from the French)

“I’m not among those who saw Potemkin when it first came out, I was too young.

But I remember clearly the shot of the meat, with the maggots.

And the small tent where the dead lay and in front of which the first man stops…

And when the other soldier’s take aim at the battleship’s bridge.

And, when the officer gives the order to fire,

A tall sailor with a big mustache shouts out a word that covers the entire screen in big letters:

Brothers!” 

kane-photos:

South Baton Rouge, Louisiana

(via majsaleh)

Odd sticker of a riot cop from the CNT (Spain) from 1985. Found at KSL.
More info from fuckyeahanarchopunk:  former spanish socialist president Felipe Gonzalez as a riot cop
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Odd sticker of a riot cop from the CNT (Spain) from 1985. Found at KSL.

More info from fuckyeahanarchopunk:  former spanish socialist president Felipe Gonzalez as a riot cop

Freedom Press, fighting the good fight early on. Pamphlet by Mary Louise Berneri, 1944.

More from the KSL, sticker from Germany, 1985: “Workers’ Self-Government Against….”

Poster by the See Red Women’s Workshop, a socialist feminist poster collective that existed in London between 1974-1990.

"The battle of Sutjeska was one of the most hazardous and fragile moments during the war, a turning point for the whole partisan movement. Trapped in the high mountains on the edge of Montenegro and Herzegovina, the partisan general command barely escaped from German and collaborationist troops while thousands were killed in the forests close to the village of Tjentište…

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From Signal:03, some of the headers from a short feature we had on the illegal newspapers of the Spanish anarchist movement. Mostly produced in exile from France and smuggled back into Spain. Epoca clandestina!

radicalarchive:

'Working Women and the Struggle for Women's Liberation', Organization For Revolutionary Unity, Oakland, California, 1984.

stainitd:

Justice. 2010. #stencils #streetart #justice #oakland

from comrade chris stain!

radicalarchive:

‘Join Us At The Giant Anti-War March’, Attica Brigade, United States, early 1970’s. Attica Brigade was associated with Revolutionary Union (RU). Poster depicts a Black prisoner in the US and a Vietnamese guerilla. Special thanks to Dennis O’Neill.

Loving the wealth of material being put up by Radical Archive!

image

"Second, working in ways similar to Medu might relieve us of the burden of being politically effective as individuals. It is as a group, an ensemble, even a class, that we can potentially find political power. This simple idea is so easily lost within the contemporary context, especially in the United States, where the primacy of our individuality is celebrated and reified not only by the mainstream, but by counter culture as well… 

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