ARTISTS
People
Chocho艂贸w, S艂awoszyno, Ch臋ciny, Celej贸w 鈥� the exhibition takes place far from art cen颅tres, and its protagonists are not artists but the titular People 鈥� residents of Polish vil颅lages and small towns. The nar颅rative unfolds over three decades, from the 1960s to the early 1990s. During that time, indepen颅den颅tly of each other and out颅side the framework of official artistic policy, Edward Dwur颅nik and Zofia Rydet embar颅ked on their own unique, per颅sonal jour颅neys deep into the country.
Their goal was to encoun颅ter the people living there 鈥� to talk to them and document their lives: por颅traits set against their homes and daily activities. The prac颅tice of both artists took on an unusual charac颅ter 鈥� empathetic and filled with existen颅tial emotion, yet also a pur颅suit of unmediated truth within the reality of sys颅temic social engineering and political oppression.
Con颅trary to official slogans of class advan颅cement, Dwur颅nik and Rydet 鈥� the son of a lock颅smith and the daugh颅ter of a lawyer 鈥� created an empowered, humanistic image of Polish society, woven from individual stories, names, and faces.
The exhibition, for the first time on such a scale, brings together the pain颅tings, drawings, and photographs of these two key figures of Polish art of the second half of the 20th cen颅tury into a cohesive nar颅rative, revealing the intuitive kin颅ship of their interests and their uncom颅promising pas颅sion for humanising art.
To extend these two historical bodies of work 鈥� and in belief of their deep relevance today 鈥� we have invited Pawe艂 Althamer, an artist who for years has been developing his own vision of spiritual social sculpture.
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Chocho艂贸w, S艂awoszyno, Ch臋ciny, Celej贸w 鈥� the exhibition takes place far from art cen颅tres, and its protagonists are not artists but the titular People 鈥� residents of Polish vil颅lages and small towns. The nar颅rative unfolds over three decades, from the 1960s to the early 1990s. During that time, indepen颅den颅tly of each other and out颅side the framework of official artistic policy, Edward Dwur颅nik and Zofia Rydet embar颅ked on their own unique, per颅sonal jour颅neys deep into the country.
Their goal was to encoun颅ter the people living there 鈥� to talk to them and document their lives: por颅traits set against their homes and daily activities. The prac颅tice of both artists took on an unusual charac颅ter 鈥� empathetic and filled with existen颅tial emotion, yet also a pur颅suit of unmediated truth within the reality of sys颅temic social engineering and political oppression.
Con颅trary to official slogans of class advan颅cement, Dwur颅nik and Rydet 鈥� the son of a lock颅smith and the daugh颅ter of a lawyer 鈥� created an empowered, humanistic image of Polish society, woven from individual stories, names, and faces.
The exhibition, for the first time on such a scale, brings together the pain颅tings, drawings, and photographs of these two key figures of Polish art of the second half of the 20th cen颅tury into a cohesive nar颅rative, revealing the intuitive kin颅ship of their interests and their uncom颅promising pas颅sion for humanising art.
To extend these two historical bodies of work 鈥� and in belief of their deep relevance today 鈥� we have invited Pawe艂 Althamer, an artist who for years has been developing his own vision of spiritual social sculpture.
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