1938, heliograph, photographic paper
- private collection Gallery Piekary, signed l.r.: K. H. / 38, 40 x 30 cm
- There is a similar composition in the MAL (inv. No. MS/SN/GR/121)
- Negative of the composition in the form of a celluloid film (signed), from the collection of the MAL (MS/SN/GR/89, gift of Jadwiga Hiller)
- Exhibitions: Łódź 1967 (item 82); Rome-Venice 1979 (item 141); London 1982 (p. 108); Łódź 1991 (item 32); Brussels 2001/2002 (item 25); Warsaw 2010 (item 75)
- Reproductions: Rubczyńska 1967 (p. unp. ); Bauer, Ojrzyński 2002 (cat. III.35)
Here Karol Hiller uses a range of abstract forms (consisting of circles and stretches of parallel lines) to create a monumentalised constellation of springs, rivets and connectors. In many respects, this composition is reminiscent of Stanisław Notariusz’s linocut Machines. In his work, Notariusz showed both the industrial landscape of Łódź and details of industrial structures themselves (works in the collection of the MAL). In Hiller as well, hinges can be both construction elements of measuring devices and joints in strongly deformed human figures. Seen against other, definitely disturbing works, this composition cannot be interpreted as an apologetic hymn to industrialisation. The mysterious cosmogony of the machine is rather inauspicious in nature, like the well-known canon by Raoul Hausmann, The Mechanical Head (Spirit of Our Times). Hiller’s work is ideologically closer to that of artists from the first decades of the 20th century who were very much immersed in social and political unrest (Francis Picabia, Morton Schamberg). The surviving positives were printed in various ways, and thus appear in several variants.