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- Author Edward Dwurnik
- Date of production 13.03–13.05.1982
- Dimensions height: 250 cm, width: 410 cm
- Author's designation signed
- ID no. MSWK/M/177
- Availability in stock
- Acquired date 2014
- Object copyright Museum of Contemporary Art in Kraków MOCAK, purchase co-financed by the Ministry of Culture and National Heritage (Program Collections)
- Digital images copyright © all rights reserved, MOCAK
- Digitalisation RDW MIC, 2015
The painting was a response to Martial Law in Poland. It shows an imaginary city, which – as is the case with the majority of Dwurnik’s paintings – we view from above. At first glance, everything seems tranquil, stable and safe. Only a searching examination reveals the drama of a city taken over by the army.more
The painting was a response to Martial Law in Poland. It shows an imaginary city, which – as is the case with the majority of Dwurnik’s paintings – we view from above. At first glance, everything seems tranquil, stable and safe. Only a searching examination reveals the drama of a city taken over by the army. The title is clearly ironic; the ‘dangerous villain’ that the military are hunting is the intellectual and pacifist opposition. The painting has wider implications; it is easy to appease one’s conscience by claiming that “nothing is up“, if we don’t bother to take an in-depth look.
Edward Dwurnik (1943–2018)
Painting, drawing, graphics. The work of Nikifor had a very great influence on the shaping of his language of artistic expression. In the 2nd half of the 1960s, he began working on his largest and oldest series, Hitchhiking. The pictures that make it up are contemporary townscapes from a bird’s eye view, with a characteristic drawing form. Aside from the “portraits” of towns, Dwurnik also created images of provincial human types rooted in their everyday reality. Works with political messages appeared in his art and referred to concrete historical events from the communist period.
Elaborated by Museum of Contemporary Art in Kraków MOCAK, © all rights reserved