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Alicja Kwade, Etwas Abwesendes, dessen Anwesenheit erwartet wurde (Something Absent Whose Presence Had Been Expected), 2015, marble, dimensions variable.

Alicja Kwade

KÖNIG GALERIE | St. Agnes

Alicja Kwade, Etwas Abwesendes, dessen Anwesenheit erwartet wurde (Something Absent Whose Presence Had Been Expected), 2015, marble, dimensions variable.

Alicja Kwade clearly meant to address some pretty grand concepts in her most recent solo show. Most of the works on view dealt with the materials of an existing system––the hands of a clock, the trade in antique jewelry, this gallery’s lighting fixtures. Their titles referred to ideas as universal as time (Die Zukunft des Vergangenen betrachtend [Contemplating the Future of the Past], all works 2015), value (Relikt und Bedarf [Relic and Demand]), and physical reality (The Heavy Weight of Lively Light). But the results were polite, clunky riffs on product design rather than the lofty experiments pointed to by these phrases.

The work that gave the exhibition its title, Etwas Abwesendes, dessen Anwesenheit erwartet wurde (Something Absent Whose Presence Had Been Expected), consists of pieces of white marble. Several pillars over six feet tall––and each about the width and depth of a

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