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Art D'Egypte Dyndo
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Natalia Bażowska ,Martyna Czech, Wiktor Dyndo, Magda Hueckel, Bartosz Kokosiński, Krzysztof Maniak
Paweł Matyszewski, Jana Shostak, Małgorzata Wielek 


Opening and panel discussion with artists

11.01.2024 / 6pm
The Centre for Creative Activity in Ustka


11.01 – 29.03. 2024
Witch’ Tower in Słupsk
Small Gallery in Słupsk
The Centre for Creative Activity in Ustka 


Curator / Roman Lewandowski


Painting Breaking News 04, joined The Museum of Warsaw Collection

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Wiktor Dyndo - Nina Haab 

Galeria Szydłowski

ul. Nowolipie 13/15 , 00-150 Warsaw

30.9 - 19.11.21

Revolving about the concept of wait and its role in public and private narratives, the two artists of the exhibition Post-History investigate dimensions of time and storytelling. 

Swiss artist Nina Haab explores the mechanisms of temporal suspension, the construction of memories and the act of remembering. The installation Peppy Wrecks (2021) celebrates embracing the unknown and the ability of existing in contradictions as acts of resilience while overcoming adversities. Two parts of one unique piece of furniture appear to us standing on sand, carrying on their surfaces mysterious drawings and the sentence: “You wouldn’t have guessed”. Along with Peppy Wrecks, Haab’s new series Locus Amoenus (2020) deals with the topos of an idyllic place capable to heal the body and the mind, while her drawings from Vue sur Jersey (2018-2020), remind us of the impossibility to have the totality of the picture where private and global narratives intertwine.

Questions connected to notions of reality and their representations are also related to Wiktor Dyndo’s practice. The Warsaw-based painter works with a realist style to increase the un-easiness of a world that, through an overwhelming and ubiquitous media-apparatus, has become “too real, too frightening”: too close and too ungraspable. His series Breaking News (2019-2020) presents the homonymous’ caption superposed on still lives, seashores, or baroque interiors. This heightens the effect of waiting for an event, for something to “happen”, to manifest, while using for these estheticized images the typical square format of the Instagram feed. Questioning the role of information and meaning in contemporary societies, Dyndo produces visual breaks that are both static and frantic, reflecting on notions of anxiety and wait.

The Album accompanying the exhibition with reproductions of works and an essay by Elisa Rusca

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8 lNovember – 29 December 2019

Paricipating artists: Yui Akiyama, Karolina Balcer, Paweł Baśnik, Natalia Bażowska, Włodzimierz Betleja, Bezimienny, Daria Bidzińska, Martyna Borowiecka-Mikuszewska, Ireneusz Botor, Sławomir Brzoska, Robert Bubel, Grzegorz Bugaj, Michał Chudzicki, Maria Cichoń, Michał Cygan, Bartosz Czarnecki, Dawid Czerniejewski, Dawid Czycz, Paweł Jan Dunal, Wiktor Dyndo, Michał Gątarek, Beata Grim, Krzysztof Grzybacz, Paula Kaniewska, Pavlo Kazmin, Karol Kędzierski, Karolina Konopka, Radim Koros, Piotr C. Kowalski, Kamil Kukla, Tomasz Kulka, Anna Kunka-Kawełczyk, Agnieszka Łapka, Małgorzata Mirga-Tas, Magda Morczerw, Jan Możdżyński, Adam Nehring, Paweł Olszczyński, Bartłomiej Otocki, Karol Palczak, Zofia Pałucha, Wojciech Pietrasz, Krzysztof Piętka, Julia Pilecka, Dominik Podsiadły, Cyryl Polaczek, Igor Jerzy Przybylski, Małgorzata Rozenau, Mateusz Sarzyński, Radosław Szlęzak, Agata Szymanek, Jan Eustachy Wolski, Marcin Zawicki, Konrad Żukowski.

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"11603: una exposición en una maleta"






Maess Anand, Teodor Ajder, Bettina Bereś, Agata Borowa, Izabela Chamczyk, Wiktor Dyndo, Katarzyna Górna, Maja Kitajewska, Jan Lubicz Przyluski, Jan Mioduszewski, Eliza Proszczuk, Luka Rajski, Piotr Szpilski


Album from the Exhibition


Ahmed Naji

Wiktor Dyndo’s uncut impressions



An overwhelming sense of excitement and familiarity arises the moment the viewer’s eye falls on Wiktor Dyndo’s work. Familiarity is caused by the flag-burning image, which has become a political fetish crowding the Internet and television. 


On the other hand, excitement is associated with the intense appearance of symbols in an extraordinary atmosphere. However, Dyndo’s flag-burning image, which frequents television coverage of mass demonstrations, does not propagandise a message. The exception is, nonetheless,  his lampoons of ‘the liar Internet’ in several paintings. Perhaps, Dyndo’s paintings on display in this exhibition carry eluding messages; the artist has probably shifted this task to the viewer.  


Initially, the viewer has the impression that there is a kind of communication between him/her and the paintings. Although contemporary art has become more complicated, nebulous and  intriguing,  Dyndo’s introduced stereotyped images and symbols, such as the national flags, politicians popular on television, and controversial images recurring in the media.  


However, familiarity and excitement quickly subside, creating a perplexing atmosphere. The viewer feels that the ground is moving as s/he searches the painting for a keyword(s).  


Although Dyndo’s symbols and images are not extraordinary, they do not display signs, which could draw our attention to the artist’s political leanings. He must be inviting the viewer to examine his technique and colour so closely and attentively that s/he could come across the artist’s eluding message therein.  


Dyndo must be aware that visitors, while touring his exhibition, would not stop browsing through their mobile phones. He has concerns that the visitors would do likewise by mistaking his paintings for being downloads. Therefore, the artist seeks a technique of intrigue, which could appeal to the visual language of the contemporary Internet captives. He cleverly treated  his images to produce new values, which could persuade the viewers to associate them with images recurring day and night, such as the images downloaded on the Internet’s, news highlights on television, [YouTube] uncut videos, images associated with political propaganda or the visual icons of nationalist regimes.  


Despite the vogue for the conceptual art, Dyndo keenly sought a conventional medium—the canvas—to express his ideas. He deliberately sought oil colours—not acrylic—to create a sense of a halo around the image.  


Dyndo named his oeuvre in this exhibition “Internet Lies”. His oil paintings are vertical; their dimensions are equal to the laptop’s or the dimensions of the book cover. As a result, the viewers find these paintings familiar, reminding them of the contemporary man’s first sources of images. 

Nonetheless, Dyndo’s oil paintings and his isolated symbols reveal the vast distance between the work and the political meaning the symbol could bear. The artist is fully aware that symbols bear different meanings in different environments. For example, Eastern and Western cultures would appreciate the same symbol differently. 


Dyndo’s artistic experiment is the product of two different cultures. The artist (b.1983) studied art in Poland and Egypt. He also exhibited his impressions in several Arab and Western countries.  An image of intersected Polish and Saudi flags gives an impression in Poland different from that, which an Arab culture would stir up.  The portrait of the Pope of the Vatican surmounting the statement “Internet Lies” must be stirring up a multitude of interesting interpretations. 


Dyndo’s art provokes suspicions. Open-minded visitors should not close their eyes. They should pay close attention to the whirlwind of images and paintings. That Dyndo is maintaining that the Internet is telling lies should draw our attention to the fact that reality is not a mansion built in the middle of a garden; perhaps, reality is concealed under a brushstroke in the surface of the canvas.             


Modern Art from Krzysztof Musial Collection, Centre del Carme , Valencia, Spain

mori info:·leccio-k-musial/

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Rozmowa o wystawie "Niepokój" w Galerii CONTRAST​

audycja Kultura Osobista, TOK fm

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Notes na 6 tygodni Magazine

about the upcoming exhibition "Anxiety", Cantrast Gallery, Warsaw

"Manhattan Gallery 25 years of activity"

editor Magdalena Milewska

©Poleski Ośrodek Sztuki

Łódź 2017

Nagłówek 1

"Game Over" painting joins the collection of the National Museum in Gdansk


Wywiad dla "Magazynu Świątecznego" Gazety Wyborczej (13/14 Maja 2017)


Opening: 17 June 2017, 4 pm

Exhibition continues : 17 June‒20 August 2017 

The MODEM Center for Modern and Contemporary Arts

Baltazár Dezső tér 1, Debrecen, Hungary






Opening: 12.05.2017

Exhibition continues 15.05‒02.06. 2017 (MON‒FRI 12pm‒6pm)

Galeria Salon Akademii

Academy of Fine Arts in Warsaw

Krakowskie Przedmieście Str. 5

The exhibition analyzes the way in which media, and the Internet in particular, influence the construction of contemporary identities. Becoming part of our personalities, they enable us to incorporate elements of the foreign into ourselves.

In the rooms of the Salon Akademii gallery in Warsaw, eight selected artists present their new, hitherto unexhibited works. Some of them refer to different ‘tribes’ inhabiting the Internet, focusing on the phenomenon of celebrities and their psychofans (Aleksandra Natalia Koper, Sonja Orlewicz), or the culture of the so-called squatting Slavs (Princ Polo, Rafał Dominik). Others analyze the way in which digital media create ‘facts’ and represent politicians, in an incessant and infinite circulation of images (Bean Gilsdorf, Wiktor Dyndo). Finally, works by Izabella Bryzek and Barbara Łuczkowiak bring to the limelight the need to travel, with all the curiosity, first-hand experience and ‘xenophilia’ involved – an idea still valid in the times when even the most remote corners of land (and the universe) are just ‘one click away.’

The title of the exhibition refers to the positive energy of ‘hugs and kisses’ we send in Internet conversations. This optimistic connotation also plays with the sonic aspects of the prefixes ‘exo’ and ‘xeno’ – denoting the things that are different, strange, and exotic, suggesting our attitude towards them.

Participating artists: Izabella Bryzek, Rafał Dominik, Wiktor Dyndo, Bean Gilsdorf, Aleksandra Natalia Koper, Barbara Łuczkowiak, Sonja Orlewicz, Princ Polo

Curator: Klara Czerniewska-Andryszczyk

The catalogue of the exhibition

Part of a panting "Boom", on a poster to a play "Quay West" by Bernard-Marie Koltès

directed by Kuba Kowalski, Żeromski Theatre, Kielce, Poland


01.09-15.09 2016

Kasia Michalski Gallery 

ul. Poznańska 16, Warszawa

©Kasia Michalski Gallery

©Kasia Michalski Gallery

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