This article is an attempt to define the ambiguous specificity of artistic deflation in the sculpture of the Wroclavian artist Leon Podsiadły. At the outset, the author describes the principle of deflationist art and proposes a method of approach. She then discusses the “imperfections” within Podsiadły’s sculpture, the main manifestations of which include the use of common materials and mundane objects, secondary anti-mastery, and dememorization. These features coexist with well-thought-out composition, the inventiveness of the choice-making artist, and the creative fascination of unconventional artistic qualities, to which deflationist unlearning adds a unique slant. Seen from this perspective, Podsiadły’s deflationist caprice persuasively affirms the elasticity of the oscillation between the optics of modernism and postmodernism that defines his art. This oscillation can be seen, for instance, in those among his sculptures that were inspired by his stay in Africa in 1960s; in his “erotic” compositions; and in his installations of the 2010s in which he used the ready made. His “reductive” artistic experiments testify to a need for ironic distance; they individually gravitate toward the transgressive avant-garde and at the same time respond to the current trend of deskilling in art.

中文翻译：

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通货紧缩的随想：Leon Podsiadły 雕塑中的“缺陷”

本文试图定义弗罗克拉维亚艺术家 Leon Podsiadły 雕塑中艺术通缩的模棱两可的特殊性。一开始，作者描述了紧缩艺术的原理，并提出了一种处理方法。然后她讨论了 Podsiadły 雕塑中的“缺陷”，其主要表现包括使用普通材料和世俗物品、二次反掌握和背诵。这些特征与深思熟虑的构图、选择艺术家的创造性以及非常规艺术品质的创造性魅力共存，紧缩主义的忘却主义为这些特质增添了独特的倾向。从这个角度看，Podsiadły 的通货紧缩主义的反复无常令人信服地肯定了定义他的艺术的现代主义和后现代主义之间的振荡的弹性。例如，他在 1960 年代在非洲逗留期间受到启发的雕塑作品中可以看到这种振荡；在他的“情色”作品中；在他 2010 年代的装置作品中，他使用了准备好了。他的“还原”艺术实验证明了对讽刺距离的需要；他们个人倾向于越界前卫，同时回应当前艺术去技能化的趋势。