The annual unveiling of the Oktoberfest poster usually generates a buzz of anticipation, but this year, it has sparked a heated debate within Munich’s creative circles. The controversy centers not just on the aesthetic merits of the winning design, but on deeper questions regarding the use of artificial intelligence (AI), diversity within the selection process, and the city’s commitment to its local artistic talent. A recent, deliberately over-the-top AI-generated poster, created by Photo Director Ena Aichinger, Design Director Franziska Goppold, and journalist Pauline Krätzig of the Munich-based Studio of Creative Danger, serves as a humorous yet pointed commentary on these pressing issues.
The AI Question: A Symptom, Not the Cause
The initial uproar surrounding the official Oktoberfest poster, unveiled a fortnight ago by the Department of Labor and Economic Affairs, revolved around suspicions that it might have been AI-generated. While the city has since defended the artist and confirmed its human origin, the debate has served as a potent catalyst for a broader discussion. Ena Aichinger, speaking for the Studio of Creative Danger, reveals that their own AI-generated poster was created in under ten minutes using Elon Musk’s Grok, specifically chosen for its ability to produce overtly clichéd motifs. “Our first impulse was: We’ll make an obviously AI-generated poster, really over the top,” Aichinger explains. This satirical approach, she emphasizes, was intended to be a conversation starter, a means to engage with the city on a more fundamental level.
The question of AI’s involvement, however, is merely the tip of the iceberg. As Aichinger notes, “The decisive factor is whether AI is used as a tool or whether a complete image is created with it.” This distinction is crucial for many creatives who see AI as a potential threat to their livelihoods. The frustration in the creative industry, she suggests, stems from the perception that while AI is displacing jobs, the city’s competition, which offers visibility and recognition, is failing to adequately support and showcase local talent.
Diversity and Representation: A Missed Opportunity?
Beyond the AI debate, the Studio of Creative Danger’s critique extends to the lack of diversity among the winners of the official poster competition. Their Instagram post, which humorously congratulated the “three male winners,” underscores a broader concern within the creative community. Aichinger, while not a proponent of quotas, highlights the irony of an all-male winning team in a contemporary context where many companies are actively pursuing diversity initiatives. “It somehow fits into today’s times that there wasn’t a single woman among the winners,” she observes. The sentiment is that the winning trio does not adequately represent the breadth and talent of Munich’s diverse creative landscape.
This perceived oversight fuels a sense of marginalization among local artists and designers. Aichinger articulates the frustration: “Instead of the city using this [competition] to present and promote the local design and creative community, the feeling arises once again that one is irrelevant.” This suggests a disconnect between the city’s cultural aspirations and its practical support for the very individuals who contribute to its vibrant artistic fabric.
Munich’s Creative Scene: A Cry for Recognition and Support
The core of the Studio of Creative Danger’s message is a plea for Munich to recognize and actively foster its creative scene. Aichinger laments that “we creatives increasingly have to ensure that the city remains livable and creative.” The competition, in her view, represents a “missed opportunity” to affirm Munich’s status as a creative hub. Even those working for tech giants like Meta and Google, she points out, seek out art and culture in their free time, underscoring the intrinsic value of a thriving creative environment.
The criticism extends to the composition of the competition’s expert jury, with Aichinger suggesting a re-evaluation of its members. Furthermore, she questions the very purpose of the Oktoberfest poster competition itself. Given the global recognition of Oktoberfest, she argues, it doesn’t require commercial marketing. Instead, the competition could serve a different, more community-oriented purpose. Her direct appeal to the current mayor, Dieter Reiter, with his campaign slogan “Munich. Reiter. Fits,” is a stark reminder: “Nothing fits, the creative scene is suffering.”
Rebellion, Not Resignation: The Path Forward
Despite the palpable frustration, Aichinger’s tone is one of rebellion rather than resignation. “Munich once had an avant-garde,” she asserts, expressing a desire for more progressive and audacious ideas to re-emerge. Humor, she believes, is the most effective antidote to despair. The Studio of Creative Danger’s AI-generated poster, currently only on Instagram, may soon find its way onto stickers distributed during Oktoberfest, a playful act of defiance. “Whatever happens with it,” Aichinger quips, “we are not the originators, Elon Musk is to blame.”
This entire debate, therefore, transcends a simple discussion about an Oktoberfest poster. It is a microcosm of larger challenges facing creative industries in an era of rapid technological advancement and evolving societal expectations. It highlights the need for cities to engage meaningfully with their creative communities, to foster diversity, and to ensure that technological progress serves as a tool for enhancement rather than displacement. Munich’s creative scene is not merely asking for recognition; it is demanding a seat at the table in shaping the city’s cultural future.
Source: https://www.sueddeutsche.de/muenchen/oktoberfest-muenchen-plakat-ki-frauen-interview-protest-li.3387060
