Olaf Brzeski’s exhibition “Anteroom” was prepared for the gallery of the Polish Institute in Berlin in collaboration with Ory Dessau, a curator from Israel and the artist’s five-year-old son Konstanty. Both presented works are connected through the usage of materials of a rather temporary nature—paper and cardboard—but also the notion of potentiality and fantasticality. The black-cardboard installation taking up most of the space is based on an optical illusion—once you see it from the right angle, it turns out that it’s a monumental and clearly overscaled shadow cast by the artist’s son. Next to it is a collection of expressive superheroes’ masks made out of papier-mâché; they were all made to fit Konstanty’s head and could potentially serve as a child’s toy but they are also a play on a tradition long-existing in sculpture already: creating masks as transcendent objects that have the power of shifting reality. Brzeski is exloring the illusive and delusive nature of the figurative representation yet again, while also developing the self-referential thread in his work by introducing a new protagonist into his art—his own son.