Beyond Boundaries: Unveiling the artistic tapestry of Alicja Kwade and RMZ Foundation’s vision for contemporary expression in India

Embark on a journey through the intersection of innovation and artistic brilliance as we delve into the world of Alicja Kwade, a trailblazer whose work has enraptured audiences globally, unraveling the intricacies of time, space, and perception. The forthcoming solo exhibition at The Sculpture Park Jaipur, generously supported by the visionary RMZ Foundation under the guidance of Anu Menda, Managing Trustee, marks a pivotal chapter in the evolution of the Indian art scene.

In this exclusive interview, we promise to unravel the layers of contemporary art, offering a profound understanding of Alicja Kwade’s creative process, her wellsprings of inspiration, and the profound significance of showcasing her masterpieces in the vibrant canvas of India. Anu Menda, the driving force behind RMZ Foundation, will illuminate us on the foundation’s visionary stance, their unwavering commitment to propelling art beyond conventional boundaries, and the instrumental role they play in bringing the global art narrative to India’s doorstep. Get ready to immerse yourself in a dialogue that transcends artistic boundaries and explores the dynamic synergy between creativity and public spaces.

Alicja Kwade:

Your portfolio spans sculpture, public installation, film, photography and works on paper. How does each medium contribute to your exploration of time, space and perception? Is there a particular medium you find most expressive?

Alicja Kwade (AK): I’m not just concerned with these scientific phenomena like time and space and perception but with many more aspects that we use to create something like our reality, like social structures and agreements, religion, and philosophy and much more. But to answer the question, it’s quite simple: every concept needs a special language, there is an absolute need for a medium, a concept needs a certain medium, and I always try to choose the straightest one, the one where I have least to add. So, if I want to show something in motion, I have to use video, if I want to draw with traces of light to show a certain passage of time, I have to use photography. Admittedly I’ve stuck more and more to sculpture in recent years because I’m also working more and more outdoors and in public, which for me is in the communication of art has become increasingly important.

Your work often veers towards the absurd, transforming accepted assumptions into open-ended questions. What role does absurdity play in your artistic narrative, and how does it contribute to the viewer’s engagement with your pieces?

AK: Life is absurd, human beings are absurd. The main motivation behind my work is that we are tragic funny creatures who were thrown onto this planet for a brief moment in time and who take themselves extremely seriously, it’s all absurd.

We are asking questions that we cannot ever answer. Everything around and above us is far too big for our homo sapiens brains. That is the beginning of my inquiry which hopefully results in a reflection for the viewer.

Could you elaborate on your installation, Superposition, the centerpiece of the fourth edition of The Sculpture Park? What themes and materials do you explore in this work?

AK: It’s about the human point of view, from which position we look at things and what we believe to be true and untrue. It’s also about our position in the universe. We are trapped on this infinitely fast-spinning ball, playing out the same drama all the time. It’s also about the fact that we just get confused very easily. It is so easy to trick out our senses. We are no longer sure of our point of view. That’s what I’m trying to accomplish here with the mirror, but at the same time I’m catering to the vanity of people who like to look at themselves in the mirror.

In addition, it is addressing our system, the capitalist system. This is why I have chosen a plastic chair, the monobloc, which for me is symbolic of the human system. It is built for our bodies and has been sold over 1 billion times in the world, you can find it everywhere! It stands for us the humans and the position which we cannot leave.

The stone spheres sit enthroned on these chairs, as we try to place ourselves above the earth, to dominate it and often think that we are the center of the universe, which now leads to the absurd again: when you walk past the installation, the stone spheres which remind of different planets different possible beings, seem to be in motion, sometimes it appears to be sitting on the chair, sometimes it lies underneath it or seems to have rolled away.

The installation is about encouraging people to think about who we are, where we are, and what we share, and it’s about adding some uncertainty about our own self-confidence and our own point of view.

In what way do you challenge perceptions of time, space, and reality through your installations, and how does the use of geometry create a unique experience for viewers?

AK: It is very simple, it just depends on mathematics and symmetry, but must be constructed extremely precise: the mirrors are placed in the courtyard in such a way that they repeat the symmetrical structure in the reflection, this way the mirrors almost become invisible.

People seem to appear and disappear behind the mirrors. The objects are also arranged symmetrically to the mirrors, all of them connect with each other in the mirror, which you can see if you walk past them carefully, slowly and attentively, thus creating the effect that the colors of the objects appears to change or the spheres seem to move.

How does RMZ Foundation support contemporary visual artist Alicja Kwade, and what is the foundation’s commitment to promoting art in public spaces?

RMZ Foundation supports Alicja Kwade’s installation at The Sculpture Park in Jaipur as a part of its commitment to enhance public spaces and advancing diversity and gender equality in the arts. Alicja Kwade, a globally acclaimed contemporary visual artist known for exploring time and reality, perfectly aligns with the foundation’s objective to showcase exceptional female artists and empower women in the field of arts. Kwade’s innovative installations challenge perceptions, creating a captivating interplay of reflective surfaces that encourage contemplation on the essence of existence. By presenting Kwade’s largest work in India, the foundation aims to reach a new audience and underscore its dedication to ensuring art is accessible to all. Our Foundation has actively promoted female artists, showcasing their work and integrating it into built environments. Through collaborations with female artists like Kwade, RMZ Foundation continues to break traditional boundaries, integrating art into communities and contributing to the cultural richness of society.  Some of the women artists in our collection including Trupti Patel, Shanthamani M., Shilpa Gupta, Vibha Galhotra, Jaysree Burman, Manish Parekh, Suhasini Kejriwal, Shaikha Al Mazrou.

Anu Menda:

What is the impact of RMZ Foundation’s initiatives, particularly in curating and commissioning large installations in India, and how does it contribute to democratising art and creating a broader audience for various artistic practices?

Anu Menda (AM): RMZ Foundation goes beyond traditional art curation to democratize art and build vibrant communities. The large-scale installations, like Kwade’s at The Sculpture Park, bring art to the public, enriching spaces and engaging a wider audience. The foundation employs a meticulous process to identify artists. It actively curates a collection of sculptural pieces from an artist globally, ensuring diversity and representation. The selection is based on the artists’ ability to positively influence communities through transformative art. Engaging with various art events, such as Frieze Sculpture Park London and Art Mumbai, the foundation keeps a keen eye on emerging talents and established artists alike.

The  Foundation plays a significant emphasis on community engagement in shaping its public art initaitive. With collaborations with local, emerging, and established artists, the foundation incorporates community insights into the selection of artists and the development of art concepts. This approach ensures that public art reflects the unique needs and cultural nuances of the local community. By actively involving residents and incorporating local cultural elements, such as traditional motifs and stories, RMZ Foundation’s public art projects become not only aesthetically pleasing but also socially meaningful and integral to the cultural fabric of the communities they serve.

Could you provide insights into the history and objectives of The Sculpture Park, its previous editions, and the role of curators like Peter Nagy in shaping the contemporary art scene in India?

AM: The Jaipur Sculpture Park, India’s unique public art space, breathes new life into heritage sites through contemporary installations. This collaborative effort between the Government of Rajasthan and Saat Saath Arts Foundation presents thought-provoking works curated by Peter Nagy.

RMZ Foundation’s support aligns with our mission to enhance public spaces and celebrate diversity. Alicja Kwade’s “Superposition,” the centerpiece, reflects our commitment to featuring artists from diverse geographies and introducing a prominent female artist like her to a broader audience. This large-scale installation, featuring mirrors and stone, invites viewers to contemplate existence. The fourth edition of The Sculpture Park, India’s first contemporary public sculpture space at Madhavendra Palace, Nahargarh Fort, Jaipur opened on January 28 and remains on view until December 1, 2024.

What is the historical and cultural significance of Madhavendra Palace in Jaipur as the venue for The Sculpture Park, and how does it reflect Rajasthan’s commitment to fostering contemporary art within its rich cultural heritage?

AM: Jaipur’s Madhavendra Palace, nestled within the majestic Nahargarh Fort, isn’t just a historical gem; it’s a canvas for contemporary expression. The Sculpture Park, a collaboration between the Rajasthan Government and Saat Saath Arts Foundation, breathes new life into this heritage site, weaving a tapestry of tradition and modernity.

Choosing Madhavendra Palace as India’s first public sculpture space wasn’t a random act. It signifies Rajasthan’s commitment to promoting contemporary art within its rich cultural fabric. Curator Peter Nagy guides this mission, infusing heritage properties with a modern edge and boosting cultural tourism.

Each year, the park showcases works by both Indian and international artists such as Subodh Gupta, Thukral and Tagra, and Martand Khosla, making Rajasthan a vibrant hub for artistic expression. These monumental creations, like Thukral and Tagra’s Arrested Image of a Dream now adorning our asset, Skyview in Hyderabad, adds to the cultural tapestry of public life.

The Sculpture Park is a unique blend of past and present, where history whispers and modernity speaks, making Madhavendra Palace a must-visit for anyone seeking a glimpse into contemporary art.

In essence, Madhavendra Palace has transcended its historical role to become a vibrant platform for contemporary expression, showcasing Rajasthan’s commitment to embracing both tradition and innovation.

What’s next for RMZ Foundation?

AM: RMZ Foundation continues its mission to shape a resilient tomorrow through innovative solutions for social and economic challenges, with a specific focus on empowering artists and communities through art and cultural initiatives. RMZ Foundation is positioned to continue shaping the Indian art scene for years to come with impactful and inspiring projects. Furthermore, RMZ Foundation actively champions art and culture in public spaces by curating and commissioning diverse installations, including sculptures, murals, and paintings. Having already adorned over 65 installations across flagship RMZ assets in cities like Delhi, NCR Bengaluru, Chennai, and Hyderabad, and have ambitious plans to expand their art outreach to Mumbai, Pune, and Goa by 2025.