14 Ryszard Winiarski (1936 - 2006) "Penetration of real space," 1974 acrylic, pencil, relief/board, 50 x 50 cm == sync, corrected by elderman == @elder_man on the reverse the paper sticker with the description of the work: 'Pentration of real space of equal probability to black and white colour appearance. Mutable flight - dice.' ID: 135063 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 institutional collection, Poland DESA Unicum, 2023 private collection, Poland Opinions The authenticity consulted with the artist's heirs More information The author's activities begin in the 1960s, i.e. the period of the greatest popularity of conceptual art, but also the scientistic attitude dominated by ideas of civilization myth, belief in science, which is able not only to improve human existence but also to align sensitivity with cold calculation and transform art into science. Of course, this way of thinking divided the fate of all utopia and soon became erosion, and in the calculated world there was room for reflection on human nature and its motives. Winiarski's attitude does not exclude the recognition of art as a reality governed by his own laws, even though he admitted that it took him almost two decades to reach this conclusion. The breakthrough moment in his thinking about the painting was 1983, in which he fully realized that even his work, which grew with interest in science, could also be an object of contemplation and admitted: "After all these years I believe that my paintings have a load in them, which could be called mathematical mysticism." non-transparent (Conversation of Zbigniew Taranienko with Ryszard Winiarski in 1990 [in:] Ryzzard Winiarski, exhibition catalogue, Opera Gallery, Warsaw 2017, p. 9). The '60s and '70s. The 20th century is a time when visual performances related to such events, inventions and fields of science, such as space flights, first computers and extremely popular cybernetics appeared in the art. The latter was considered a general science of systems and information: its broadcasting, processing and management. Cybernetics was to become a general field of knowledge to be drawn from both designers of thinking machines and all those who worked with a variety of data-using systems whose processing needs to be improved. Although these two decades can be regarded as the time of the end of modernism, these issues and their interest among artists seem to be a further positive, progressive thinking, so characteristic of the first avant-garde of the 20th century. It penetrated the artistic circles quite quickly. Mieczysław Porębski, an art historian and critic who had been closely involved with avant-garde artists since the beginning of his career. Porębski held a seminar at the Warsaw Academy of Fine Arts, which Ryszard Winiarski had the opportunity to attend. The artist himself described this experience as follows: "The decisive importance for my work was to participate in seminars devoted to individual culture conducted by Professor Mieczysław Porębski connected with my interest in the theory of information and certain departments of mathematics. My ambition is to attempt visual listing of events and visual presentation of their statistical distributions. I am fascinated by the many possibilities offered by such a treatment of the image (for: Ryszard Winiarski, [ed.] Ania Muszyńska, Magdalena Marczak-Cerońska - Warszawa 2017, p. 32). For many years, Vinierski was interested in statistics and probability. His paintings were a record of subsequent statistical experiments undertaken over and over again, the subject of which was a series of coin or bone flips. The artist used a matrix in his work, usually in the form of a two-colour grid, which he then covered with color depending on the results of the experiment in subsequent repetitions. The results of his experience were translated into binary language of two colors: black and white. For example, painting a single field inside a black grid could mean a shell in the flip of a coin when the eagle was marked by leaving the field unpainted. This is only an example of the simplest action, which took much more complex forms in Winiarski. The artist randomly decided, for example, where the corner of the composition to start the record, then, according to the corresponding key, he wrote the results not only with his own dice or coin, but also with the finished data, for instance, from the statistical tables found. He sometimes wrote down the results of Winiarski's experiences using the appropriate algorithms, each of the values by calculating according to the formula initially established. As the artist himself admitted, in such practice the intellectual process was crucial. The visual work remained for the artist simply a record of an intellectual process, operations on data and numbers. This does not, of course, deprive them of their inalienable visual value, but points out that their achievement was not the primary objective of their author.