In describing his artistic practice, Laurent Fiorentino uses the term ‘bittersweet narrative’, which recalls Anne Carson’s reflections inspired by a short line from Sappho: ‘Eros struck me and overpowered me, / this bittersweet and ever victorious creature’1. The ancient poet – as Carson emphasizes – was the first to use the epithet ‘glycpicron’ in relation to the experience of love, indicating the simultaneous feeling of pleasure and pain [....] The story presented in Wrocław is called ‘apocryphal’ and let me mention that the author also describes his practice as ‘apocryphal passion’. The Camera Apocrifa may point to a modern discovery of long-known but undisclosed truths, such as that pleasure is essential (!). It is possible that it is about the vague or concealed nature of the space in which the artistic process took place (if not a bedroom, then what?). Another clue concerns the course of work, the elements of which may have been released from the control of the author (a work of dubious authorship). The word apocryphal comes from the Greek ‘apokryphos’ (hidden, counterfeit), which was used to refer to esoteric knowledge not available to the public. Religious understanding has placed the apocrypha outside the rule, the norm (Greek ‘kanón’), hence probably the element of fantasy and humour, which most holy books are deprived of. Non-normative, non-judgmental, open, and sensitive, work of Fiorentino invites us to an ending that is a return to the beginning marked by words of Anne Carson; ‘The theme of this story is the delight we derive from metaphor. Meaning spins while holding vertical...’. [...]