Alicja Kwade made sculptures and object that conveys

Result #1

vernacular art sensibility. In her work, the object or surface, regardless of its function, is still an active part of the art, and the artist is able to engage it in a way that is both internal and external, in the process of constructing a cultural identity. And the question of identity is raised again in the present situation: The rise of right-wing populisms in the region and of right-wing politics in Western society have led to an unprecedented situation of globalization: The political and economic problems of a capitalist society are made all the more acute by the disappearance of the cultural identity of the West. The question of the selfhood of the West is raised again, as it was in the past, in relation to the otherness of the other, with a particular reference to the work of art.

Result #2

vernacular origins, ancient, and current in ways that would seem foreign to the viewer. Her work often has a folkish quality, recalling the kitsch and kitschiness of fairy tales. In the series of Manatees, 1992, which also included an armless figure of a man with a giant hook, it is also the small scale that conveys the meaning of the shapes. These sculptures have a certain pop sensibility that is characteristic of many of Kwadees works. These figures are charmingly archaic, but they are not, as a pop figure would be, a parody of popular culture.They are almost comically pathetic in their simplicity—they look like the tiny remains of giant hammer blows. In contrast to the masses, which all seem to have been reduced to their roots, the figures have the power to change the world.

Result #3

Alicja Kwade made sculptures and object that conveys vernacular perception. With only a few exceptions, she had the time and means to create sculptures that were simply sculptural. They are made of various materials, including cardboard, metal, paper, wood, and paper. Some are slightly larger than others, and the most commonly used is a kind of paper that has been broken and combined with other materials in a collage. In other works, the artist seems to have been interested in the parallel between collage and collage art. The first collage work, a pentagonal wall piece in the style of Willem de Kooning, consisted of papers piled up to the top of the wall. This work also seemed to refer to a similar constructions that the artist made in 1991 in which she cut up pieces of paper and reassembled them, so that they looked like twisted, zigzag lines, and printed them as canvas. The pentagonals were then assembled like the zigzag lines.The sculptures also refer to collage, although they are more complicated. In some pieces, paper pieces are mixed with collage paper and printed in a colored pencil, while in others the artist cut up the paper and then mixed collage material with paper. In all cases, however, the collage material is plastic and plastic. This gives the works a visual richness and a materiality that the collage pieces do not possess. The formal complexity of the pieces seems to be their most significant attribute. The artist uses collage as a material and as a means of combining materials, but it is not enough to simply create collages. The artist also uses collage as a means of staging the act of collage, which is, in the end, a form of processing. The way that the collage material is cut and reassembled suggests the process of production.

Result #4

Alicja Kwade made sculptures and object that conveys vernacular and quotidian experiences. They are not actually objects, but rather mere snippets of everyday life that have been appropriated by a professional artist to create art. The Polish artist is best known for her large wooden and wood sculptures made of wood. But she has also made blocky wooden figures. The work shown here consists of two large cast-iron structures, the upper one of which stands somewhat erect and the lower one of which is a bent, or twisted, version of the top. Each is covered with strips of paper glued to the surface, resulting in a pile of paper, held up by a thread, which is then pulled tautly. The paper is then peeled and torn, revealing the chisel marks in a variety of kinds. The chisel marks are clearly expressive, and are not limited to the removal of a skin. However, because the paper has been removed and the chisel marks are on the verge of disappearing, the marks can be read as other than the work of the artist. The work evokes a range of meanings, from the familial to the literal.The works are also made of paper, which is covered with a thin layer of paper glued over the paper. The paper acts as a material support for the piece, giving it a material presence. Paper is also the physical support for a series of smaller cast-iron structures. One of these, installed in the gallery, consists of two small, wooden blocks and a large, triangular paper circle that forms the base of the piece. The paper has been pulled apart, revealing the spiral of the paper. The paper is at the same time a surface and a support, a fragile and fragile support that is broken and torn and that is therefore alive and a part of the work. In other works, the paper is not a support but rather a small, rounded black hole, a hole that can be read as a surface or a hole, both reading as the construction of a surface.

Result #5

vernacular moments of a banal world, like those of the street: a sign of a tongue, a cigarette lighter, a knife, a door. In an interview, she says, She had no idea what was going on in the gallery, which was completely covered in concrete and barred from the street, and she wanted to find something to show the public. I want to show the public what was happening in the gallery and then put it in a different context. The artist became aware that she was creating a work of art, but couldnt explain what it was. In this way, she created a dialogue with the architecture of the gallery, with the architecture of the city. The work is about a discussion of the power of nonverbal communication, about the capacity of communication to reveal the invisible, to appear on the outside as an enigmatic presence in the hidden. This is what made the show a very moving one.