Hidden
by Kuba Bąk

 

(…) Wojciech Gilewicz develops his cycle of trompe l’oeil paintings that imitate and cover flat elements of the cityscape. This time, a video was made in China. It features the artist working at a refuse dump. He adjusts his sensitivity to the lowest-level manifestation of urban imagery by veiling the surface details with their painting look-alikes, according to his prior artistic method. The same project repeated in subsequent locations acquires an ethnographic dimension and reveals fractures in the urban tissue; in New York beforehand and now in Shanghai. What’s interesting is that the latest video features a homeless person – a citizen of the Third World hiding within the First: together with the artist, he preys on the same wasteland. Equalising the status of an artist and a member of the underclass was a matter of coincidence and occurred naturally in this particular venue. It was not aimed at achieving the effect that would allow the project to be labeled as socially committed. Thus, it holds so much more beauty than any of Santiago Sierra’s actions and their counterparts. (…)

 

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