Freedom can be defined in different ways. For some, it is possible to accomplish within the conditions of man, especially erstwhile he is understood as deciding his destiny by making certain life choices. Others, on the another hand, believe that it is just a illusion, a kind of illusion, which itself becomes a kind of enslavement. Disappointed by the thought of freedom, for example, Matylda Salajewska, the author of an installation with a sugar swing hanging from the roof bond of the erstwhile characteristic Šlibu Wilson. In her opinion, man is incapable to make his own choices, due to the fact that he is subject to the influence of the environment: social arrangements, orders, conventions, customs resulting from increasing up in a certain place, raids and habits. In the accompanying explanation, she wrote:
"We don't form ourselves. We are the accidental decisions of another people who have given us life or who have existed in our lives. We are dependent on almost everything: from gravity beginning, through physiological needs, all archetypes, cultural and mass patterns, atavisms, chugs, instincts, and even intuition. So the imagination of freedom, autonomy of choice, self-determination, is simply a utopian.” 1 100 kilograms of sugar utilized to put down a circular substrate and 1,200 cubes from which the swing seat was fixed are intended to express the illusion of pleasance and convince that freedom is simply a “sweet lie”.
Although it is hard to deny that human life is determined by external factors, at the same time it is impossible to pass by the fact that, with all environmental limitations, a man with full intellectual powers makes decisions that form his further existence almost all day. You can feel free to quit the pleasures of eating sugar, but you can besides feel freedom by overcoming bans against eating sugar. Freedom is frequently a certain existential condition, actually felt as a psychophysical state, which can provoke to exceed the limits set by external conditions. It seems that this kind of challenge is faced by day-to-day conquerors of hard mountain peaks, explorers of unknown lands, jumpers balancing on high-stretched ropes, or even the average Kowalski, who, in the tide of courage, abandons the hated workplace by presenting his superiors with the premises. Freedom may prove to be a trivial motion to which we will choose after having a hard fight with ourselves.
Karol Wieczorek referred to this issue in his work. Although any of its installations are historical, as it refers to the 1980s solidarity gap. The 20th century (men with vodka playing cards with portrayals of Christ and Mary – an allusion to the Catholic Church's commitment to fuel anti-communist sentiments; a set of paintings, in which the protesters of workers who were kidnapped by the march of freedom appear to transform into pigs supplied with the content of a trough prepared for them), however, from the position of the Polish “Spring of Peoples” The evening became convinced that freedom is achieved primarily by the improvement of an interior individual, and its basis is changes in consciousness. 1 might fishy that as a yogi spending more time on contemplation than the creation of works of art, the Katowice artist expects to experience complete illumination at the minute erstwhile he will be saying goodbye to his material shell and it will besides be a minute for him to accomplish full freedom. During the beginning of the advanced Silesian Brutist (evenings are preserved in the aesthetics of the Neue Sachlichkeit, due to the kind of deformity of reality utilized by him) he pointed out 1 of the most crucial aspects of human civilization today, explaining the presence of animal depictions in his creation as a reminder of the being to which as humanity we constantly restrict freedom, both by taking their place to life on the planet, and by processing them into food and useful objects serving man. The works of Evening can so be understood as a kind of appeal to viewers to take care of individual improvement and to realize their position in a complex terrestrial ecosystem, guaranteeing freedom for another biological beings sharing habitat with them.
In most of the works exhibited at the Wilson Glass Gallery, the focus was on clarifying the obstacles that make the theoretical ideals of freedom raised only impossible to fulfil the declaration. Monika Swede in this context indicates that she is active in femininity. In vertical scrolls hanging from walls like prayer papyrus, she included pictorial allusions to the conflict of women with desire, even erstwhile they decided to wear a nun's habit (e.g. portrayed on 1 scroll by a nun with the face of St Teresa, copied from the celebrated ecstasy carved by Bernini, she is possessed by a rabbit jumping out of her body). She besides stressed the dependence of female body function on lunar phases, combined female reproductive organs with the pearl uterus, referred straight to the schizophrenic teardrop between the female pursuit of independency and instinctive enslavement by participation in procreation.
While in the works of Poznań the creator of being a female means de facto conducting a constant fight with herself, so much corresponding to her scrolls monumental acrylics by Marek Kamieński, although they fundamentally undertake akin issues – only that seen with the eyes of a man, seem to contain a message diametrically opposite. The fascination of a sensual woman’s body with Kamienski’s paintings is barely a manic nuisance that hinders men’s lives, but it becomes a feature of unrestrained pleasance that can become synonymous with full freedom. His painting seems to propose the anticipation of reversing the poles: Slavery with eroticism can, in effect, bring a man into the spaces where he will open up to him like an unfettered domain of freedom, a planet without any precepts and prohibitions in which there is no ethical dichotomy that makes man choose between good and evil. Although specified freedom can be seen as selfish, due to the fact that the attractive and intractive curves of the model from the canvases of the Katowice Expressionist have been treated alternatively materially (feminists might consider these performances as a reason for public protest against the exploitation of women's nakedness). However, it may be that Kamieński's pastries to the tradition of painting avant-garde from the turn of the 19th and 20th centuries (revocations to Gaugin, Picasso and many another well-known artists, old and contemporary, especially those specialised in the painting of women's acts) were introduced by the artist as a kind of code suggesting any kind of interpretive ambivalence, due to the fact that in the planet of art the usage of quotes besides sustains, but besides undermines and undermines historical contexts.
