Unit24 Gallery, London, UK
Internet Lies, Dyndo’s latest series, refers to the circulation of images depicting recent events and global issues. In the book The Information Bomb, Paul Virilio paraphrases Francis Fukuyama’s well-known statement about the end of history and presents a thesis about the end of geography. Distances ceased to bear relevance and the information along with the photographs which illustrate the news are nowadays instantly available.
Wiktor Dyndo situates global events depicted in the mass media in new contexts. Real objects are presented in a simplified way: one has an impression of looking at excerpts of televisions news or photographs taken from daily newspapers. The artist makes use of dichotomies and antagonisms, which manifest themselves both in variety of subject matters and extreme colour schemes. Each painting relates to simultaneousness of media images occurrence as well as their readiness to be perceived on the same footing, regardless if they touch on the issue of murder committed by ISIS, the Ebola epidemic, or global warming. In the series, Dyndo poses questions about the credibility of photography as well as the influence images have on viewers’ perception and interpretations of particular events. ‘Internet Lies’ evokes concerns about the effects of both information chaos and visual intrusion which may lead to generalisations and superficial thinking.
Flags, Dyndo’s other series, explores historic and cultural usage of symbols and imagery of flags. By employing flat colours, Dyndo transforms a real object into its conceptual image, simultaneously exploring the tension of lines, light and contrast. He focuses on colours and shapes which are commonly used as tools of politics and identification and links pure colours to current social and political situations. Each move of a brush, each layer of a paint, an error in relation to photographic image which inspired the artist are the elements that broaden the field of interpretation and avert trivial answers.
Simplicity and literalism stand in stark contrast to the questions of media manipulation, aesthetics of power, political division of the world. Dyndo situates himself on the sidelines rather than directly engaging in the presented issues. By avoiding explicit comments, he leaves room for the audience to explore the works through the prism of their personal experience. His works form an interpretive challenge relating to the state of current consciousness dominated by a row of political, ethnical and social anxieties.
Conference, 2014, oil/canvas, 160 x 200 cm
Collapse, 2014, oil/canvas, 150 x 200 cm
Wire Entanglements, 2014, oil on canvas, 130 x 170 cm
THE TRUTH IS OUT THERE, 2015, oil on canvas, 150 x 200 cm
Stairs, 2015, oil/canvas, 120 x 180 cm
GAME OVER, 2013, oil/canvas, 140 x 200 cm
KEEP OUR SECRETS SECRET, 2013, oil/canvas, 150 x 200 cm
FIRE, 2014, oil/canvas, 110 x 170 cm
Historic Breakthrough , 2015, oil on canvas, 140 x 190 cm
New Order, 2015, oil/canvas, 130 x 200 cm
Primary Colors, 2014, oil/canvas, 130 x 200 cm
Internet Lies is a series of works, in which I refer to the photos we can see on the web, illustrating the events and problems of the modern world. I wonder how the images (both the standalone and those supplementing articles) affect the viewer and his/her perception. Do we ever question the genuineness of those images, and the emotions built upon them? Are visually striking images from war fronts or catastrophes not leading to even greater superficial treatment of the subject than it has already been presented in the text describing the event? The problem consists in the fact that we have stopped asking ourselves these kind of questions, and the failure to pose certain questions - including those about the images that are depicted on the Internet, is far more dangerous than the inability to provide answers to them.
In the book entitled “The information bomb”, Paul Virilio formulates an argument for the end of geography, paraphrasing the well-known statement by Francis Fukuyama about the end of history. Geography and distance ceased to be relevant. The information, and the photography supplementing it are, theoretically and practically, available simultaneously, at the same moment. Images that we see over the Internet are on an equal footing; video recorders and cameras are present almost everywhere in the world. Therefore, in my works, I treat each of the images in the same way, whether it raises the problem of a murdered committed against a journalist by terrorists of the Islamic State (which turned out to be a staged execution, and not, as initially thought, a first-hand account), or an ice float drifting somewhere on the coast of Antarctica. The images on the Internet are parallel and simultaneous. Hence, the text string arrangement of INTERNET LIES, the dominant element, is identical in all images - only the colors change. The subject matter of these works is very diverse and presents my answer to the remarkable abundance of information, and the resulting chaos. As Zygmunt Bauman writes in “Globalization”, cheap communication - the ceaseless inflow of news, means that the previously acquired information is quickly suppressed, superseded or flooded by the torrent of information. Quoting the author, this barrage of information: “more likely floods the mind and limits it rather than feed and perpetuate it”.
The Internet Lies series was created deliberately in the traditional medium of painting. This technique allows you to keep a proper distance, refrain from explicitness. In addition, it was my intention to choose a vertical format instead of horizontal, which would seem natural to this subject matter, and which would refer to a tablet or a laptop. Such a composition refers to the covers of weekly magazines (i.e. the “former” medium, which provided recipients with images properly selected for a given situation). Painting creates a distance to reality, provides a formal meaning, which is of great significance to me, happening on the surface of the canvas, with equally important subject matter referring closely to the political or social reality surrounding us. Each stroke of the brush, “error” in relation to the photographic image, constitute an element expanding the interpretation, moving the recipient away from simple answers which, in the subjects I bring up, are, unfortunately, very easy to obtain. Too easy.
Pictures from the exhibition, "PROPAGANDA", Unit24 Gallery, London, April-May, 2015