In her sculptural work, as well as her spatial and light installations, Alicja Kwade (*1979 in Katowice, lives and works in Berlin) realizes formal attempts to explain natural and scientific phenomena, and philosophical questions, throwing light not only on our perception of reality, but also on societal conventions. She works with the specific qualities of materials, modes of representation, and connected expectations, as well as with notions of time and space. The edition Malus Fularum (2019) continues a series of works in which trivial groceries are portrayed in the form of elementary physical models. The apple is pierced so often with an apple corer that there is almost no material left over. The object, once plump, but now fragile, is reminiscent of a futuristic, geometric dome construction by Buckminster Fuller. At the same time, it demonstrates, with its countless “wormholes”, the concept of space-time curvature. Beyond this, the work plays on the homely winter tradition of coring apples, the Biblical “Fall of Man”, and not least the omnipresent status symbol of Apple as a brand.

Alicja Kwade's works have been recently shown at, among others: The Metropolitan Museum, New York (2019); Kunsthal Charlottenborg, Kopenhagen (2018); Neuer Berliner Kunstverein (2018); Kunsthalle zu Kiel (2018); Haus Konstruktiv, Zürich (2018); Venedig Biennale (2017); Whitechapel Gallery, London (2016); Haus am Waldsee, Berlin (2015); Kunsthalle Nürnberg (2015); Schirn Kunsthalle Frankfurt (2015).