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Urban Pop Art Projects is Margarita Korol's brand of fresh design. The art studio is headquartered in New York City with bases in Chicago and Los Angeles. Her mark has been made in the design, publishing, music, and nonprofit industries. Named Best New Visual Artist of 2013 by the Chicago Reader, Margarita's exhibits with her signature humanitarian angle aimed at doing social work have put Urban Pop Art Projects on the map. Updating the Soviet Jewish immigrant experience in the contemporary public eye, her award-winning Spoils of War: Ode to a Refusenik Mother project, featuring a poster exhibit, published poem, produced musical track, video, and book available on Amazon is a multimedia experience covered by the media as doing important social work. Explore her other social propaganda exhibits and more.
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Die, Mauer (2009)

Originally commissioned by Harper College, this installation titled "Die, Mauer," commemorates the 20th anniversary of the fall of the Berlin Wall in 1989. It is currently housed at Chicago's DANK-Haus German Cultural Center.

Currently housed at Chicago's DANK-Haus German Cultural Center, the Wall measures 30 feet across and 7 feet high. At each panel is a hinge that allows the wall to "accordian." So, when looking East at the Wall, right, at a certain vantage point, one sees only East Berlin. Looking West, left, shows solely West Berlin. Head on, the two sides of the wall intermingle as one Berlin.

Read Margarita's speech presented at the opening of the exhibit at Chicagoland's Harper College.

The East Berlin side features a continuous row of communist architecture with barbed wire at top, recalling the Death Strip separating East Berlin life from the wall (from which snipers had a vantage of citizens trying to escape to the West).Shards of glass in each communist style building allows viewers to see themselves and to identify with the broken Private vs. Public life of the East Berliner.In the barbed wire is a sort of electric schematic featuring the deadly combination of Communism, violence and force. The imminently setting sun of Communism centers the East Berlin side of the wall, hovering over every fragment of the East Berliner's life. Repetition in the shards of mirror remind of the industrial tone of the environment that clashed profoundly with the landscape of the West. One city with two radically different systems is a true rarity in contemporary history. Overpowering mass of gray exists throughout the East Berlin side, which contrasts heavily with the free expression attacking the Western side of the of speech in the West. Meanwhile, splatters of paint of a limited palette suggest chaos in an overly controlled system.