The recent work of Michal Moravčík is characterized by the efforts aimed at dismantling the conventions of the traditional understanding of political art and its status in the course of the Slovak history of art (not only fine arts). Moravčík seems to have successfully shed the coating of new figuration that he has been dealing with for some years after he had graduated under the guidance of Jozef Jankovič – one of the most important personalities of the Slovak post-war sculpture.

He continues to resort less and less to figuration as such; body or references to it are not physically present in the latest work, although one can frequently trace allusions to body. On the other hand he has refined his creative apparatus almost beyond the realm of sculpture – his earlier narrative and playful objects have turned to the symbolic and ironic ones that allude rather than give a complex account. They seem to conceal the author`s identity too much, which might in turn shroud the foundation of otherwise clearly conveyed attitudes.

Taking into account the political aspect of his current work it is fitting to mention his continuing social involvement (articles in periodicals), which is important for the correct decoding of his work, as there is a possibility of nationalistic simplification with regard to the work interpretation. His stay in USA has had a unique effect on him – it has become a basis for criticism of the American foreign policy and for critical approach towards the Slovak political representation vis-a-vis USA. Alongside the earlier objects accentuating the repeated statements of Hungarian chauvinists concerning the “Upper land” or installations in which he brilliantly politicized on the socialist aesthetics (decay of socialist design from 70ies onwards), this represents an interesting and open structure.

Apart from a few exceptions there is hardly any Slovak political art (ignoring the agitating social realism). There are some individual initiatives that usually do not have the quality of direct protest. In this “zone without courage” Moravčík speaks maybe all too clearly – that is why some of his work has been greeted with controversy. It is too transparent for the diplomatic and esthetic interpretation that we are used to.

In my opinion though, it spontaneously tackles the delicate topics with the language of a generation whose statements cannot be automatically labeled because of previous political or social record.