Alicja Kwade made sculptures and object that conveys
Alicja Kwade made sculptures and object that conveys vernacular stereotypes. One can say that the stereotyped is that of a specific class, rather than of a general or regional one. The work in this show is comprised of very simple and straightforward wooden objects: boxes, tables, potted plants, and wood-working utensils. It is perhaps not surprising that the simple is the most feminine, as the basic element of these objects is the wooden box. The work is very simple and direct, and it uses the classical, feminine form. There are no stylistic or formal problems, and the work has an air of spontaneity and playfulness about it. It is a little like a joke, and it is playful and light, an indirect and indirect approach to the arts. In this sense, it is also a critique of the art market.The work in this show is made up of three simple wooden boxes that have been painted white. The boxes are placed one above the other, facing each other and open to the sides. They have been painted white, but they are filled with water that flows from two of the tubes. The water that flows is a strange and sweet water that is now flowing onto the gallery floor, which is a pretty much obvious metaphor for the situation of art in a capitalist market economy. It is a metaphor that takes on a new dimension in this context: the water is no longer a vessel, but rather a sign of what we call capital. The water represents capital and, in this respect, is inseparable from the art object that has been painted white.The water flows into the boxes from a small window. It is a pretty small window, and it is therefore easy to overlook. One can even think that the white water is pouring from the two tubes that connect the boxes. But the white water flows in a different direction, toward the white box, which is a little more exotic, a little more difficult to see. The white box is a rather empty symbol.
Alicja Kwade made sculptures and object that conveys vernacular structures, from four-wheeler curio to exotic souvenir, while the artist posed nude on a bus bench wearing a sort of luchador dress. She also paired her natala with a collage of materials, such as pig intestines, feathers, twigs, twigs, and bamboo, all of which have been used in past works. When viewed together, the eclectic assemblages created an intense visual field.Kwades focus on materials, like that of the photographer in her previous show, is often accompanied by an interest in their visual value, as in a piece in which an empty wine bottle is covered in a material of a different color, and a cow skin is covered with a fluorescent-orange-and-white bandana. The pigments, as in Kwades work, are usually layered over or covered by a material; but in this case, the pigments are visible in the rough texture of the skin. As with the use of paint, which has a much more literal connection to everyday life than to art, these two elements, together, suggest an image of an animal, a person, or a city.But the artistic and formal connections of the work are somewhat obscured by the title of the exhibition, which derives from the title of a biblical story. The obvious connection is between the traditional European motif of the animal and the modern motif of the city. In fact, the animal, with its fleshy body, is seen as the embodiment of the human body, while the city, with its skyscraping skyscraper and the animal carcasses, is seen as a metaphor for the body. The animal is a kind of human, and the city is human. But isnt there a difference between the two, and wouldnt it be more natural to see the city as a corpse than as an animal? A more direct connection between the city and the animal would be in the form of the city building itself.
Alicja Kwade made sculptures and object that conveys vernacular signs of the everyday. She called them scavenged remnants of an impoverished past, as the title of her exhibition, Eros of the Unheimlichkeit, might suggest. These pieces have a disquieting presence, a sense of transience that seems oddly familiar to the contemporary artist. They are elegant and darkly humorous, suggesting a sadness that can be felt even as she screams into her camera, as if she were a fool in the end. These works are complicated by their apparent simplicity and their the-art-about-formal nature. They are exquisitely crafted objects that bring to mind a polished, low-tech version of Minimalism. In a sense, however, they are self-referential, like the works of other artists (Bruno Giron, Yvonne the Riveter), and they confront the viewer as objects. In contrast to the works in which all the elements are rigidly arranged in a grid, they are loose and open.This sense of both ambiguity and openness is also present in the fact that many of the works do not have a central base, but are arranged in a grid. This sense of the room as an ambiguous and open place is present in the work of the artist in several pieces, as in the photo-objects where the viewer cannot determine what the objects are. In the work of Giron, this ambiguity is often replaced by a quiet, even playful spirit, as in the small wooden boxes, such as Drawing the Red Line, in which the viewer is invited to fill in the gaps in the planes, as if the plane were the scene of an adventure. And the viewer is invited to make connections between the fragments of wooden boards and the painted metal plates with which the artist has already begun to assemble them.
vernacular meanings, while Eikai Ojai made her own tchotchkes of everyday objects—a battered sandpaper, a headless goat, a broken guitar, a dented mirror, a shard of glass, a box of soap, a stuffed animal, a straw, a pillow, a dead banana, and a baby sloth. And Ojai made drawings of her stuffed animals, which can be read as a commentary on the killing of wildlife in Africa.The exhibition, curated by Erwin Riegl, was dominated by four large works, each entitled Unfolding, 2014–15, a title taken from a story Ojai wrote for a journal she published in collaboration with the artist Ojoa. The works are composed of found and custom-made objects (as if, like the stories, they were fragments of fragments) that are scattered on tables and in glass vitrines; they are a constant reminder that life is not an easy road. The work is an attempt to create a new aesthetic of the everyday, to make it one of the subjects of a contemporary life. Ojai has succeeded, in this case, in creating a work that is at once functional, entertaining, and poetic. One can easily imagine the artist using the found objects that have been used by the public to create a new aesthetic.
Alicja Kwade made sculptures and object that conveys vernacular culture and sexuality in the best of tradition. The culmination of her artworks was a set of portraits that covered two floors of the gallery. A large variety of portraits, one from each of the previous exhibitions, hung on the wall. Each portrait depicted a female artist with a distinctive pose, dressed in her signature yellow outfit. Her arms and legs are decorated with beads of pink ribbons and beads of gold. In this large room, she was especially striking. These were not simply portraits, but, rather, portraits of women with their faces painted black. The faces are painted black, suggesting that they are consumed by the experience of the portrait itself. In this show, the images of women and of artworks shared a naturalism that was not only formal but also political.This theme was further developed in the installation, which consisted of several objects, each placed on a small table. In one case, a large painting of the black-faced artist stood in the middle of the table, framed by a small container of water. The painter was in the same pose as the women in the portraits, and her head and shoulders were covered with beads of gold, as if she were a scepangel in the flesh. In another work, a very small bronze sculpture of a female head, crowned with a crown of thorns, was placed on the floor. The image was reproduced in a picture frame that was placed like an eyeglasses. The image had been altered so that it was not clear who was looking at the bronze bust of a woman. Yet the woman looked exactly like the woman in the portraits.The subject of the paintings was the painting of a female subject. A black brush was painted on her head, a black-and-white painting. In the last few years, many artists have used the black brush as a stylistic device, but Alicja Kwade hadnt.