Alicja Kwade made sculptures and object that conveys

Result #1

vernacular architectural details in the manner of a visionary architectural model. She reenacted the spaces of an abandoned house with the aid of a sewing machine and a sewing machine attached to a dollhouse. Her work was not only an appropriation of the early 20th-century architectural imagination, but also an attempt to explain the emergence of an abstract and mechanical figure, which turns out to be a kind of insistent abstraction.

Result #2

vernacular imagery. As she has done before, she combines found materials with sculpture to create a hybrid substance that evokes a particular moment in a society that has lost its identity as an autonomous place of expression. From the 70s on, she has also been involved with a literary avant-garde, making works that address the relationship between literature and art.In her latest work, she combines a formal vocabulary with found objects and found images. She has always been fascinated by the playful and playful dimension of the found object, which is made clear by the fact that she is not using the found object to produce something concrete. It is simply a simple object, a simple thing that can be played with and used as an element in a play. The result is a mix of objects, a mixture of materials and found images that conveys a sense of wonder.Kwades work has always been about creating a kind of space that exists beyond the confines of the gallery. This is how she constructs her sculptures and assemblages. And so it is also the case with her book, which she creates by combining found objects with found drawings and photographs. Although the works are not titled, they share a common title, Song of Memories, 2014, which is a poetic translation of the name of an old song. This time, the piece is an allegory that conveys a sense of transience and loss. The painting is a symbol of the artist and her desire to change the world, as well as of her desire to create a new space that is closer to her heart.

Result #3

vernacular, which is to say a form that has a somewhat schizophrenic life-span. The works in this show were made of clay, mostly from the village of Akerley in the southern French region of Alba. The work was also composed of clay, some of it apparently from the river St. Aubin.The gallery space in which these pieces were exhibited was filled with a variety of materials that, when placed side by side, create a sort of library: pieces of soap, flax, and moss, among others. The installation was in a sense a series of workshops, with the artist as maker, a task that, if carried out, would be difficult. The works that Kwade has made on clay have been described as a playful, "sensual approach to material. But in this case, her project has been interpreted as a critique of the literalism that characterizes much current sculpture. In her sculptures, it is necessary to think of clay as a material that can be used to make objects that take on a material quality of their own. This is what I think of when I think of Kwades work. For me, it is a moment of great resistance, a moment of beauty.

Result #4

vernacular images and physical states of mind. The artists interest in the everyday was also evident in her work, in the objects she placed before photographs of objects from her previous exhibitions. Her series of sculptures in which she placed plastic cylinders of various sizes on a metal pedestal, for instance, is a dance of small objects that become symbolic and the form of a joke, a dramatic reversal of the everyday. Kwon is no longer concerned with the extraordinary; she is interested in everyday objects and their relation to the everyday. Her sculptures are always at the edge of reality, of the mundane, in a zone between everyday appearance and the real, as in an amusement park. It is only when they become extraordinary, as in the cylinder pieces, that she makes the everyday become extraordinary.The exhibition also included a series of pictures from a yearbook. The pictures were taken from the first two years of Kwons life, in the years when she was still a student. Kwon has never been a sentimentalist; she never takes photographs of herself. But she does take pictures of herself, as if they were always latent, always vaguely forlorn. One does not realize how far her work has come, however, in that respect. One wonders how she is approaching the kind of radical individualism that is urgently needed in our society.

Result #5

Alicja Kwade made sculptures and object that conveys vernacular, ethnic, and other forms of cultural experience, but they are also highly refined and elegant. A retro-chic and laconic sculptor, she has a knack for combining individual objects with formal elements, and this show showed her to be a character in her own right.Kwades work is marked by a certain experimental spirit, a sense of experimentation that is paralleled by a certain unapologetic commitment to a particular process of making and an organic, nonlinear way of working. Her signature objects—a wooden sculpture made of wood with a pair of branches for a head, a painting of a religious icon (a giant pewter cross), and an eye-shaped sculpture with two small holes for eyes—are linked by their material quality to the artists personal, often affective, history, and it is precisely this connection to her own history that informs the show.Wade is best known for her participation in the landmark group exhibition Staring At America, held in 1978 at the Museum of Contemporary Art Chicago. The show brought together artists whose work has previously been shown together, but who have never had the chance to share in the same room with her peers. It is fitting that Staring At America was also the name of a series of collaborative photo-sculptures, which Wade created in collaboration with the artists Laura Owens and David Reinfurt. Their concept was to evoke a collective, collective, and visionary response to the recent presidential election, which saw the names of the candidates in the United States read in reverse and for the benefit of the art world. The works included here reflected on the current political climate and the collective response to it, with a particular focus on the art world, the media, and technology.