2 Wladyslaw Hasior (1928 - 1999) "Saint Racer," 1989 glass, Assembly/Fabric, Fibreboard, Ceramic, 40 x 30 x 7 cm Signed, dated and described on the reverse: '40x30x7 ID: 137860 Taxes and fees - In addition to the hammer price, the successful bidder agrees to pay us a buyer's premium on the hammer prices of each lot sold. On all lots we charge 20 % of the hammer price. - To this lot we apply 'artist&s owe right' (&#xx27;droit de suite&#xi27;) fee. Royalties are calculated using a sliding scale of percentage of the hammer price. Provenance private collection, Poland DESA Unicum, 2023 private collection, Poland Opinions work documented by Władysław Hasior in his Photographic Notebooks, held in the collection of the Tatra Museum in Zakopane, ref. nos. AFDMT_WH0186_021, AFDmont_WWH0343_027. More information THE HOLY THINGS OF THE SOCIETY Władysław Hasior's work is one of the most original phenomena of Polish art in the second half of the 20th century. The artist, considered to be a pioneer of assemblage in Poland, developed a plastic language based on the compilation of everyday objects, waste materials and elements of folk culture. In his compositions things lose their original functions and gain new meanings, and the boundaries between high art and popular culture, sacrum and profanum, sublimeness and kitsch become fluid. Anda Rottenberg described this work as a kind of Polish version of pop art combined with arte povera. Hasior transformed the local trash can into a source of unobvious associations and meanings. He represented Poland at the biennial in São Paulo in 1965 and 1971 and at the Biennale in Venice in 1970. The theme of the chapel occupies a special place in his work. Road objects of worship combine religious need with local tradition and spontaneous plastic invention. Hasior did not only view them as expressions of folklore, but saw them as a form of direct contact with sacrum, which did not require sophisticated means or expensive materials. In his thoughts on the art of Władysław Hasiora, he drew attention to the strength of experiences and feelings associated with religion, which the artist cannot ignore. In his work, then, religiousity remains both the subject of reflection and the source of emotional tension. St. The 1989 racer is one of the chamber, wall assemblages created at the end of the artist's life. At the turn of 1989 and 1990, Hasior was in Brussels in connection with a joint exhibition with Belgian artist Camiel van Breedam. As art historian Marzanna Rainńska mentioned, he then took the whole studio with him and created new objects. From this period comes a group of small compositions referred to as "Housecaps." In St. The racer's form of religious altar is combined with a perverse title that calls for speed, rivalry and secular worship of heroes. This summary does not contradict the sacred dimension of work, but reveals how close one can find the need for faith and mechanisms for building fascination. The irony characteristic of Hasior is not simply rejecting religion, but undermining the obvious boundaries between what is lofty and what is ordinary. The importance of the artist is confirmed both by subsequent exhibitions and by the interest of collectors. After a weakened reception, when Hasior was identified with the past era, his work again became a subject of interest to institutions and critics. In December 2015, at DESA Unicum, the bust was sold for 600 thousand zlotys, and assamblaża (Judasz) from 1963 reached the price of 564 thousand złoty. Against this background, chamber chapels from late work allow us to look at another dimension of his practice: instead of monumental scale and dramatic compilations of materials, they offer a focused, personal statement in which the everyday object becomes a carrier of religious and cultural meanings. The latest questions posed by Hasior confirmed the exhibition "Undressing from sleep." Rycharski. Hasior, presented in 2025 in TRAFO Trafostwacja Sztuki in Szczecin. A summary of his works with the performances of Daniel Rycharski, one of the most important artists of the contemporary Polish scene, allowed us to look at both creators through the prism of folk heritage, religiousity and national myths. Rycharski addresses these issues in the context of contemporary disputes about rurality, identity and exclusion, giving them an up-to-date social dimension. In this ranking St. The racer reveals a special strength: he focuses in a small form the ability to extract new meanings from common materials. The work resembles a house altar, but at the same time leads us to reflect on how symbols are created and why everyday objects can become objects of worship.