If you happen to occur to be at Belvedere Tragara on the Island of Capri, Italy, Plan X Gallery in collaboration with the Metropolis of Capri have collaborated (together with Tempo Gallery) on Alicja Kwade’s Geologies of the Not possible.
The Belvedere of Tragara opens towards the horizon — a liminal house the place panorama, time, and gaze dissolve into each other. Inside this setting, Alicja Kwade intervenes with a gesture that’s neither ornamental nor practical: three bronze chairs, a part of her Service and Double Service collection, are obstructed by blocks of uncooked stone — archaic matter that dismantles the anticipated relationship between object and goal.
The stone — unrefined, primordial — interrupts usability. A chair, designed to obtain the human physique, turns into the bearer of a weight not its personal. Nature intrudes upon tradition. What stays is a suspended second between kind and resistance — between chance and assertion.
This stress unfolds not solely throughout the object, however in dialogue with its environment. The three sculptures echo the Faraglioni, the long-lasting rock formations off Capri’s coast — as if a mirrored drive had shifted parts from the ocean to land. In these works, two worlds collide: the geological and the manufactured, the everlasting and the designed. Kwade locations stone and chair in direct confrontation — mass towards perform, time towards intention.
Her follow probes the fractures between notion and actuality, between what seems measurable and what resists comprehension. The sculptures don’t passively inhabit house — they alter its that means. They don’t invite us to sit down, however to assume.
Geologies of the Not possible thus turns into a mirrored image on the bounds of inhabiting: not simply locations, however concepts. This isn’t relaxation within the conventional sense, however a psychological suspension — a stillness charged with weight, materials, and relation. The works resist decision, but insist on presence.
