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A dla niepoznaki, żeby temat trochę zuniwersalizować i rozmydlić, do dania głównego dodano problemy różnych innych apartheidów, opresji, represji, traum, holocaustów, klęsk i ogólnoludzkich nieszczęść.
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I couldn't resist the impression that it was yet another manifestation suggesting that Israel is a fully democratic state that, go ahead, please, permits critical statements about the most controversial issue - Israeli apartheid. And as a disguise, to universalise the problem and blur it, the main course was accompanied by hors d'oeuvres in the form of all kinds of other apartheids, oppressions, reprisals, traumas, holocausts, disasters and general misfortunes. Art sometimes works despite, and sometimes instead. I experienced half an hour of genuine joy there. And that was thanks to Wilhelm Sasnal and several other artists. I didn't notice Sasnal's name on the list of the participating artists. From the corner of my eye I saw I beautiful painting on the wall. I fixed my gaze on it and was transfixed. Black-and-white, simple, incredible. Four or five women going through a mountain pass, the time is twilight. The women are shown from the back, the light is in front, ahead of them, mountains in the distance. They have scarves on their heads and carry some bags, handbags, stuff, though not too much. They are kind of walking, kind of standing. Everything was in that picture - trauma and fear of the unknown, uncertainty, femininity, weakness. They could have been Arab women at a checkpoint as well as lost tourists in the Tatras. The painting was untitled and that was nice, the question mark - who and what and why. Wilhelm, if you read this blog, please accept my best compliments. I had shivers down my spine.
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