Clara Rivera

流行搖滾紀念品拍賣

Paradiso 的演出海报，1982年10月17日与18日。阿姆斯特丹，Martin Kaye 丝网印刷海报，尺寸约为 43 x 61 cm（17 x 24 英寸）。品相极好。

Martin Kaye，一位英国设计师，自1972年至1983年与 Paradiso 紧密合作，在那里几乎设计了所有海报。Kaye 不仅是设计师，还是印刷者和发行者。他在 Paradiso 的地下室（舞台下方，曾有 Prince、滚石、Blondie、The Stranglers 等乐队演出）亲自丝网印刷海报，并亲自把它们分发到阿姆斯特丹各处，虽只印制约每张海报 120 份，但让整座城市似乎都充满了他的作品。

Kaye 的风格鲜明而强烈，简洁而有目的性：大而清晰的排版，常用虹印（iris printing）实现全彩效果。艺术家的名字必须足够大且易读，信息要传达得清晰直白。有时他会运用改良的照片来突出艺人形象，这成为他海报的一个重要特征。他的海报大胆而醒目，旨在吸引路人注意并把他们带到 Paradiso。这种视觉手法为荷兰的摇滚海报文化奠定了基础，其中清晰的字迹和以艺人为中心的设计成为常态。）

The Jam at Paradiso, 17 & 18 Okt 1982. Amsterdam, Martin Kaye Silk-screened poster , Measures approx 43 x 61 cm (17 x 24" inch). Mint condition. 

Martin Kaye, a British designer, was closely associated with Paradiso from 1972 to 1983, where he designed virtually all the posters. Kaye was not only the designer but also the printer and distributor. He screen-printed the posters in Paradiso's basement (under the stage where Prince, The Stones, Blondie, The Stranglers etc..) were performing) and distributed them personally throughout Amsterdam, making it seem as if the city was filled with his work, despite the limited print run of about 120 copies per poster.

Kaye's style was recognizable and powerful, with a clean and purposeful approach: large, clear typography and frequent use of iris printing for a full-color effect. The artist's name had to be large and legible, and the message had to come across clearly and directly. Sometimes he used manipulated photos to emphasize the artist's appearance, which became a key feature of his posters. His posters were bold and striking, intended to grab the attention of passersby and draw them to Paradiso. This visual approach laid the foundation for the rock 'n' roll poster culture in the Netherlands, in which clear lettering and a central focus on the artist became the norm.

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Martin Kaye - THE JAM - Paradiso The Jam 1982

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