{"id":775,"date":"2025-05-15T07:46:00","date_gmt":"2025-05-15T11:46:00","guid":{"rendered":"https:\/\/www.bicebebolivia.com\/blog\/?p=775"},"modified":"2025-05-22T19:59:24","modified_gmt":"2025-05-22T23:59:24","slug":"la-bicebe-presenta-a-los-carteles-seleccionados-que-se-formaran-parte-de-la-exhibicion-principal-en-octubre-2025","status":"publish","type":"post","link":"https:\/\/www.bicebebolivia.com\/blog\/sin-categoria\/la-bicebe-presenta-a-los-carteles-seleccionados-que-se-formaran-parte-de-la-exhibicion-principal-en-octubre-2025\/","title":{"rendered":"La BICeB\u00e9 presenta a los carteles seleccionados que se formar\u00e1n parte de la Exhibici\u00f3n Principal en Octubre 2025"},"content":{"rendered":"\n

El Comit\u00e9 Organizador anunci\u00f3 la selecci\u00f3n oficial de la Convocatoria Internacional de Carteles de la Bienal de Dise\u00f1o y Cartel Bolivia BICeB\u00e9 2025

La convocatoria que cerr\u00f3 el pasado 14 de Abril, recibi\u00f3 12.648 carteles de 91 pa\u00edses del mundo.

Afganist\u00e1n, Alemania, Arabia Saudita, Argentina, Armenia, Australia, Austria, Azerbaiy\u00e1n, Bangladesh, Bielorrusia, B\u00e9lgica, Bolivia, Bosnia y Herzegovina, Brasil, Bulgaria, Canad\u00e1, Cabo Verde, Chile, China, Colombia, Costa Rica, Croacia, Cuba, Chipre, Rep\u00fablica Checa, Dinamarca, Ecuador, Egipto, El Salvador, Guatemala, Guinea Ecuatorial, Granada, Estonia, Finlandia, Francia, Georgia, Alemania, Hait\u00ed, Honduras, Hong Kong, Hungr\u00eda, India, Indonesia, Ir\u00e1n, Irak, Italia, Islandia, Jamaica, Jap\u00f3n, Kirguist\u00e1n, Letonia, Libia, Macao, Malasia, M\u00e9xico, Moldavia, Mongolia, Pa\u00edses Bajos, Nicaragua, Nueva Zelanda, Macedonia, Pakist\u00e1n, Panam\u00e1, Paraguay, Per\u00fa, Polonia, Portugal, Rep\u00fablica Dominicana, Rumania, Rusia, Serbia, Singapur, Eslovaquia, Eslovenia, Sud\u00e1frica, Espa\u00f1a, Suecia, Suiza, Surinam, Taiw\u00e1n, Tailandia, Trinidad y Tobago, Las Bahamas, Turqu\u00eda, Ucrania, Reino Unido, Estados Unidos, Uruguay, Uzbekist\u00e1n, Venezuela, Vietnam.<\/em><\/p>\n\n\n\n

Los participantes enviaron sus trabajos en 6 categor\u00edas: Categor\u00eda A. Cartel Cultural, Categoria B Cartel Social, Categor\u00eda C Cartel Publicitario, Categor\u00eda D Cartel in\u00e9dito <\/strong>con la tem\u00e1tica \u00abLa segunda vida de los objetos\u00bb, Categor\u00eda E Cartel Dise\u00f1o en Movimiento y la Categor\u00eda F Cartel In\u00e9dito Estudiantes <\/strong>con la tem\u00e1tica \u00abDesacelera para avanzar\u00bb.

La muestra ser\u00e1 inaugurada en La Paz, Museo Nacional de Arte y en Cochabamba en el Palacio Portales este octubre durante las actividades de la BICeB\u00e9.

EL CARTEL SOCIAL<\/p>\n\n\n\n

\"\"<\/a>
Eric Ginard. CUBA | Dugudus. FRANCIA | Ana Gabriela Huiza. BOLIVIA<\/figcaption><\/figure>\n\n\n\n

A lo largo de la historia, el cartel social ha sido una herramienta poderosa de comunicaci\u00f3n visual que ha reflejado las luchas, aspiraciones y transformaciones de la humanidad. Desde sus or\u00edgenes, ha trascendido el papel informativo para convertirse en una voz gr\u00e1fica que interpela a las masas, despierta conciencias y moviliza emociones. En momentos clave como las revoluciones, las guerras o los movimientos sociales, el cartel ha condensado mensajes urgentes y simb\u00f3licos en im\u00e1genes directas y memorables, convirti\u00e9ndose en una expresi\u00f3n cultural e ideol\u00f3gica de su tiempo.<\/p>\n\n\n\n

Durante el siglo XX, el cartel social se consolid\u00f3 como un veh\u00edculo esencial de protesta y resistencia. En contextos de opresi\u00f3n, dictaduras y crisis humanitarias, muchos dise\u00f1adores y artistas utilizaron esta forma de expresi\u00f3n para denunciar injusticias y defender derechos fundamentales. Movimientos como el Mayo del 68 en Francia, las luchas por los derechos civiles en Estados Unidos o las campa\u00f1as contra el apartheid en Sud\u00e1frica encontraron en el cartel un medio de lucha accesible, multiplicable y capaz de transformar el espacio p\u00fablico en un escenario de confrontaci\u00f3n visual.<\/p>\n\n\n\n

M\u00e1s all\u00e1 de lo pol\u00edtico, el cartel social ha tenido un papel pedag\u00f3gico y cultural fundamental. Ha contribuido a la educaci\u00f3n p\u00fablica en temas de salud, medio ambiente, igualdad de g\u00e9nero y derechos humanos, entre otros. Su capacidad de s\u00edntesis y su lenguaje visual universal lo convierten en un medio eficaz para comunicar mensajes complejos de manera inmediata y emocional. El cartel social no solo informa, sino que tambi\u00e9n invita a reflexionar, empatizar y actuar.<\/p><\/blockquote><\/figure>\n\n\n\n

\"\"<\/a>
Carolina LeQuernec. FRANCIA | Fabi\u00e1n Carreras. ARGENTINA | Wojciech Mazur POLONIA<\/figcaption><\/figure>\n\n\n\n

En la actualidad, pese a la irrupci\u00f3n de los medios digitales, el cartel social sigue vigente y se reinventa como una forma h\u00edbrida entre lo anal\u00f3gico y lo digital. Contin\u00faa siendo un testimonio gr\u00e1fico del esp\u00edritu de cada \u00e9poca y un espejo de los desaf\u00edos contempor\u00e1neos. Ya sea en una marcha callejera, en una red social o en una galer\u00eda de arte, el cartel social mantiene su fuerza disruptiva y su capacidad de conmover, record\u00e1ndonos que el dise\u00f1o tambi\u00e9n puede ser una forma de compromiso y transformaci\u00f3n social.

————————-<\/p>\n\n\n\n

<\/p>\n\n\n\n

BICeB\u00e9 presents the selected posters that will be part of the Main Exhibition in October 2025<\/h2>\n\n\n\n

The Organizing Committee has announced the official selection of the International Poster Call of the Bolivia Design and Poster Biennial BICeB\u00e9 2025.<\/strong><\/p>\n\n\n\n

The call, which closed on April 14, received 12,648 posters from 91 countries around the world.<\/p>\n\n\n\n

Afghanistan, Germany, Saudi Arabia, Argentina, Armenia, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Bolivia, Bosnia and Herzegovina, Brazil, Bulgaria, Canada, Cape Verde, Chile, China, Colombia, Costa Rica, Croatia, Cuba, Cyprus, Czech Republic, Denmark, Ecuador, Egypt, El Salvador, Guatemala, Equatorial Guinea, Grenada, Estonia, Finland, France, Georgia, Germany, Haiti, Honduras, Hong Kong, Hungary, India, Indonesia, Iran, Iraq, Italy, Iceland, Jamaica, Japan, Kyrgyzstan, Latvia, Libya, Macao, Malaysia, Mexico, Moldova, Mongolia, Netherlands, Nicaragua, New Zealand, North Macedonia, Pakistan, Panama, Paraguay, Peru, Poland, Portugal, Dominican Republic, Romania, Russia, Serbia, Singapore, Slovakia, Slovenia, South Africa, Spain, Sweden, Switzerland, Suriname, Taiwan, Thailand, Trinidad and Tobago, The Bahamas, Turkey, Ukraine, United Kingdom, United States, Uruguay, Uzbekistan, Venezuela, Vietnam.<\/em><\/p>\n\n\n\n

Participants submitted their work in six categories:
Category A: Cultural Poster, Category B: Social Poster, Category C: Advertising Poster, Category D: Unpublished Poster<\/strong> on the theme \u201cThe Second Life of Objects,\u201d<\/em>
Category E: Motion Design Poster<\/strong>, and Category F: Unpublished Student Poster<\/strong> on the theme \u201cSlow Down to Move Forward.\u201d<\/em><\/p>\n\n\n\n

The exhibition will be inaugurated in La Paz at the National Museum of Art and in Cochabamba at the Palacio Portales this October, as part of the official activities of BICeB\u00e9.<\/p>\n\n\n\n

SOCIAL POSTER<\/p>\n\n\n\n

\"\"<\/a>
Bartoz Mamak. POLAND| Hyungjoo A Kim. CHINA | Jean Benoit-Levy. UNITED STATES<\/figcaption><\/figure>\n\n\n\n

Throughout history, the social poster has been a powerful tool of visual communication, reflecting the struggles, aspirations, and transformations of humanity. From its origins, it has transcended its informative function to become a graphic voice that addresses the masses, awakens consciousness, and stirs emotions. In key moments such as revolutions, wars, or social movements, the poster has condensed urgent and symbolic messages into direct and memorable images, becoming a cultural and ideological expression of its time.<\/p>\n\n\n\n

During the 20th century, the social poster established itself as an essential vehicle of protest and resistance. In contexts of oppression, dictatorships, and humanitarian crises, many designers and artists used this form of expression to denounce injustices and defend fundamental rights. Movements such as May ’68 in France, the civil rights struggles in the United States, or the anti-apartheid campaigns in South Africa found in the poster an accessible, reproducible medium capable of transforming public space into a stage for visual confrontation.<\/p>\n\n\n\n

\n

Beyond the political realm, the social poster has played a fundamental educational and cultural role. It has contributed to public education on issues such as health, the environment, gender equality, and human rights. Its capacity for synthesis and its universal visual language make it an effective medium for communicating complex messages in an immediate and emotional way. The social poster not only informs but also invites reflection, empathy, and action.<\/p>\n<\/blockquote>\n\n\n\n

\"\"<\/a>
Zhengbo Jia. CHINA | Sofya Zakharova. RUSSIA | Juli\u00f1an Naranjo CHILE<\/figcaption><\/figure>\n\n\n\n

Today, despite the rise of digital media, the social poster remains relevant and reinvents itself as a hybrid form between analog and digital. It continues to serve as a graphic testimony of the spirit of each era and a mirror of contemporary challenges. Whether at a street protest, on social media, or in an art gallery, the social poster retains its disruptive power and its ability to move us, reminding us that design can also be a form of commitment and social transformation.<\/p>\n\n\n\n

CONOCE A LOS SELECCIONADOS | MEET THE SHORLISTED aqu\u00ed | here<\/a>
#bicebe2025 #bicebeepicentrocreativo #vivalabicebe

<\/p>\n\n\n\n

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El Comit\u00e9 Organizador anunci\u00f3 la selecci\u00f3n oficial de la Convocatoria Internacional de Carteles de la Bienal de Dise\u00f1o y Cartel Bolivia BICeB\u00e9 2025 La convocatoria que cerr\u00f3 el pasado 14 de Abril, recibi\u00f3 12.648 carteles de 91 pa\u00edses del mundo. Afganist\u00e1n, Alemania, Arabia Saudita, Argentina, Armenia, Australia, Austria, Azerbaiy\u00e1n, Bangladesh, Bielorrusia, B\u00e9lgica, Bolivia, Bosnia y … Sigue leyendo La BICeB\u00e9 presenta a los carteles seleccionados que se formar\u00e1n parte de la Exhibici\u00f3n Principal en Octubre 2025<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":776,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3,4,1],"tags":[74],"class_list":["post-775","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-convocatoria-internacional","category-exhibiciones","category-sin-categoria","tag-bicebe-2025"],"yoast_head":"\nLa BICeB\u00e9 presenta a los carteles seleccionados que se formar\u00e1n parte de la Exhibici\u00f3n Principal en Octubre 2025 - BICeB\u00e9 Blog<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.bicebebolivia.com\/blog\/sin-categoria\/la-bicebe-presenta-a-los-carteles-seleccionados-que-se-formaran-parte-de-la-exhibicion-principal-en-octubre-2025\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"La BICeB\u00e9 presenta a los carteles seleccionados que se formar\u00e1n parte de la Exhibici\u00f3n Principal en Octubre 2025 - BICeB\u00e9 Blog\" \/>\n<meta property=\"og:description\" content=\"El Comit\u00e9 Organizador anunci\u00f3 la selecci\u00f3n oficial de la Convocatoria Internacional de Carteles de la Bienal de Dise\u00f1o y Cartel Bolivia BICeB\u00e9 2025 La convocatoria que cerr\u00f3 el pasado 14 de Abril, recibi\u00f3 12.648 carteles de 91 pa\u00edses del mundo. 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