the Polish Cultural Institute present
POLAND-U.S. ARTISTS-IN-RESIDENCE EXCHANGE PROGRAM
Friday, May 9, 2008 - Monday, May 12, 2008
Opening: Friday, May 9, 7-9 PM, Sat.-Sun., May 10-11, 12-6 PM; Mon., May 12, 2-8 PM
International Studio & Curatorial Program (ISCP)
1040 Metropolitan Avenue, 3rd Fl., Brooklyn, NY
Wojciech Gilewicz is best known for creating illusions that make his paintings almost imperceptible to the viewer - though that is not, for him, the real goal. It seems that through these deceptive appearances he attempts to capture the essence of his medium and uncover truths about perception in general. His attempts include "repairing" with his paintings neglected fragments of the urban tissue, from Warsaw's airport approaches to a street in Manhattan's Soho district. "Facsimiles" of the surfaces they cover, the works are left in public space so that passers-by and the weather can interact with them, and they eventually blend in completely with their surroundings - completely unnoticed. Gilewicz's actions constitute a wry statement about the mythologization of public space and the mass viewer, and expose the utopian nature of artistic interventions.
Wojciech Gilewicz (b. 1974) won a Master's Degree with Honors in 1999 from the Painting Department at Warsaw's Academy of Fine Arts, where he also took a minor in Photography. His solo exhibitions include: Museum of Fine Arts, Iwano-Frankiwsk, Ukraine (2007); TR Warszawa, Foksal Gallery, and WAA (Warsaw Artists' Action), (all in Warsaw, 2005); Fondation Deutsch de la Meurthe, Paris, France (2004); CCA "Zamek Ujazdowski", Warsaw (2001). His works were shown in many group exhibitions: at the Museum of Art, Lodz, Poland; Paul Robeson Gallery, Newark, USA; Zacheta National Gallery of Art, Warsaw (all 2007); Real Art Ways, Hartford, USA; CCA "Laznia", Gdansk, Poland; LiveBox at Ravenswood, Chicago, USA (all 2006); National Museum / Krolikarnia, Warsaw (2003).
Wojciech Gilewicz's residency at the ISCP is proudly supported by the Polish Cultural Institute in New York.
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