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(...) ‘I understand everything […] I don’t exist, you don’t exist, we don’t exist, that’s already settled.’ Like Maslowska’s protagonist, Wojciech Gilewicz renders disaffection tragicomic in Aporia Malarstwa (The Aporia of Painting, 2006-07), in which reality is literally indistinguishable from its double, the simulacrum – or, in this case, the painting. Gilewicz paints unassuming urban niches, panels and thresholds from life and then covers the original sources with their painted likenesses.(...)
Transfert, Emily Verla Bovino, Frieze 08.04.08 (fragment)
