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    Alicja Kwade Reflects the Warped Nature of Time and Reality in Poetic Installations

    Installation view of ‘Telos Tales’ (2025). All photos courtesy of Pace Gallery, shared with permission

    Alicja Kwade Reflects the Warped Nature of Time and Reality in Poetic Installations

    June 25, 2025

    Art

    Grace Ebert

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    Square steel bars give way to knotted branches covered with patina in Alicja Kwade’s monumental meditation on time. Anchoring Telos Tales at Pace Gallery in New York is a sculpture in which architecture and nature converge.

    Mirrored cylinders hang among the structures with distorted clock faces on their ends. Warping further as viewers move around the forms, these timepieces reflect the ways we are all bound up with the passing of the days. Time, Kwade suggests, skews our perceptions and realities and is only partially in our control. Whereas the city conforms to human design, nature doesn’t, and neither wholly does time.

    “In Blur” (2022), powder-coated stainless steel, mirror, stones, objects, 410 x 4,700 x 13,300 centimeters. Photo by Lance Gerber

    Born in Poland and now based in Berlin, Kwade (previously) is known for confronting long-held beliefs through sculptures, installations, film, photography, and more. Her preferred materials are minimal, including stainless steel and stone. Mirrors play an important role, too, and in large-scale works like “Duodecuple Be-Hide,” panels slot between granite and marble spheres and lookalikes of patinated bronze.

    Much like Telos Tales, this sculpture utilizes these sleek reflective surfaces to call our perception into question. Altering the images they reveal depending on the viewer’s position, each mirror becomes a sort of portal in which the organic forms and bronze are replicated again and again, creating a seemingly endless array of alternate realities. A similar phenomenon occurs in “In Blur.” Surrounded by trees and stones in a desert, mirrored panels reflect the environment, while simultaneously hiding what lies behind.

    “It’s very much about human nature, (the) nature of reality, how we understand our own world,” Kwade says about her recent work. “It questions what our position is in the structure of this universe we are kind of thrown into.”

    Telos Tales is on view through August 15. Explore more of Kwade’s work on her website and Instagram.

    Installation view of ‘Telos Tales’ (2025)

    Installation view of ‘Telos Tales’ (2025)

    Installation view of ‘Telos Tales’ (2025)

    Installation view of ‘Telos Tales’ (2025)

    “Duodecuple Be-Hide” (2020), granite, patinated bronze, mirror, marble, 110.4 x 225 x 225 centimeters. Photo by Roman März

    “Duodecuple Be-Hide” (2020), granite, patinated bronze, mirror, marble, 110.4 x 225 x 225 centimeters. Photo by Roman März

    “In Blur” (2022), powder-coated stainless steel, mirror, stones, objects, 410 x 4,700 x 13,300 centimeters. Photo by Lance Gerber

    “Trans-For-Men 6” (2019), mirror, Carrara marble, concrete, granite, patinated bronze, bronze polished, stainless steel, 117 x 77 x 574.3 centimeters. Photo by Roman März, courtesy of the artist and KÖNIG Galerie

    Detail of “Trans-For-Men 6” (2019), mirror, Carrara marble, concrete, granite, patinated bronze, bronze polished, stainless steel, 117 x 77 x 574.3 centimeters. Photo by Roman März, courtesy of the artist and KÖNIG Galerie

    ‘Blues Days Dust, Mennour’ (2024). Photo © Alicja Kwade, courtesy of Archives Mennour and the artist

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    In Saqqara, Archaeologists Uncover the Sumptuous 4,100-Year-Old Tomb of a Royal Physician

    All images courtesy of Mission Archéologique Franco-Suisse de Saqqâra, shared with permission

    In Saqqara, Archaeologists Uncover the Sumptuous 4,100-Year-Old Tomb of a Royal Physician

    January 15, 2025

    ArtHistoryScience

    Kate Mothes

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    For ancient Egyptians, the afterlife—also called Duat, among other names—was a mystical realm overseen by the god Osiris, who personified rebirth and life after death. But entry to Duat was anything but guaranteed; when a person died, their spirit traveled across vast, challenging terrain and deposited them at the Hall of Final Judgment, where their heart was weighed against a feather from Ma’at, the goddess of justice and truth.

    In preparation for the afterlife, royals, dignitaries, and the wealthy elite constructed great tombs. The most elaborate among them were painted with ornamental murals that shared one’s accomplishments, packed with artwork and riches to demonstrate each individual’s status and accompany them to Duat.

    Expansive ancient necropolises complemented large cities, where society’s upper crust commissioned tombs, temples, and pyramids. For the capital of Memphis, the final resting place was typically Saqqara, which contains some of Egypt’s oldest monuments, some of which date back to the First Dynasty around 5,000 years ago.

    Scholars continue to unfurl millennia-old mysteries as archaeological excavations carry on in Saqqara. And sometimes, as researchers from the Mission Archéologique Franco-Suisse de Saqqâra (MAFS) recently found out, marvelous and unexpected discoveries still emerge from the sand.

    During the 2024 season, as the team excavated near a mastaba—a large-scale, rectangular, flat-roofed tomb—they discovered a number of smaller burials, including a “kiln” tomb. Also known as “oven” tombs, these burials are “made of raw bricks that are characterized by their vaulted ceiling,” says a statement from MAFS. “They are built several meters below the ground, and the only way to access them is through the burial shaft, always placed to the north of the entrance.”

    Typically, kiln tombs are “fairly simple mud brick monuments, sometimes with limestone walls, and even less often decorations,” MAFS says. Today, they are also often empty as a result of looting throughout the centuries. But instead of a basic, unadorned room, the team found vibrant wall paintings commemorating a doctor who died around 4,000 years ago.

    Archaeologists uncovered a stone tablet bearing the doctor’s name, Tetinebefou, near the entrance. A stele is a stone slab featuring text, imagery, or both, and in ancient Egypt, a false door stele represented a portal for the deceased’s spirit pass through into the afterlife. As researchers explored farther, the physician’s name was represented in other locations, confirming it to be his tomb.

    As reported in Live Science, Tetinebefou was known as a “dean of the palace physicians,” with inscriptions referring to him also as “conjurer of the goddess Serqet,” who was associated with protection from scorpion stings. He was also prescribed the titles of “director of medicinal plants” and “chief dentist,” both of which are unusual designations in ancient Egypt. It’s unclear which pharaoh he may have served, but MAFS’s lead Egyptologist Philippe Collombert suggests Tetinebefou may have worked under Pepi II, who reigned between approximately 2246 and 2152 B.C.E.

    Inside the tomb, relief carvings of urns, furniture, hieroglyphs, and garments are complemented by colorful patterns and richly textured ceiling. At some point in the past, the doctor’s tomb had indeed been looted, and only tiny fragments of objects remained. The decorations, however, mark an exceptional discovery.

    A documentary slated for 2026, directed by Frédéric Wilner, will take a deeper dive into the details of this excavation. In the meantime, explore more on the MAFS website.

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    Peels and Folds Soften José Manuel Castro López’s Fleshy Stone Sculptures

    Untitled (2017), granite, 26 x 18 x 11 inches. Image courtesy of the artist and Cadogan Gallery, shared with permission

    Peels and Folds Soften José Manuel Castro López’s Fleshy Stone Sculptures

    October 22, 2024

    Art

    Kate Mothes

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    Delicately peeled skin and supple folds appear where we’d least expect them in José Manuel Castro López’s stone sculptures (previously). From small boulders of granite and quartz found near his home in A Coruña, Spain, the artist carves and polishes delicate wrinkles that suggest fabric or the malleability of smashed, wet clay. For example, “Recorte de Piel,” or “Skin Peeling,” resembles an angular slice of potato skin carefully pulled away.

    A few works shown here are part of López’s exhibition at Cadogan Solo in Milan, which continues through October 31. Keep an eye on his Instagram for updates.

    “Dedo de Dios” (2023), granite, 13 x 9 x 4 inches. Image courtesy of Cadogan Gallery

    “Recorte de Piel” (2021), granite, 15 x 12 x 5 inches. Image courtesy of Cadogan Gallery

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