From 29 October to 25 December 2026, Pace Gallery in Tokyo will present 'La Pêche miraculeuse', an exhibition of new works by Berlin-based sculptor Alicja Kwade. Shown at the gallery's Azabudai Hills space, the presentation brings together larger and smaller sculptures in an installation conceived specifically for the show, alongside works on paper, and turns toward the unfamiliar spaces within and between objects.

The title itself is a deliberate double game. It refers to Konrad Witz's 1444 painting 'The Miraculous Draught of Fishes', while the French word pêche means both fishing and a peach. Kwade extends that slippage into the works: a peach is caught in the pull of a tunnel, boulders meet their own mirror images, heavy stones appear to float between gleaming funnels, and a clock tries in vain to escape its own course. The familiar stays recognisable, but its certainty comes undone.

At the centre of the exhibition are transitions, the moments when things emerge or disappear and the strategies people use to make sense of them. Emptiness, light and time become the sculptures themselves, while the physicality of things becomes their visible manifestation. Kwade's long-standing interest in what eludes immediate perception runs through the show: what lies between things remains invisible, yet it determines how they are seen.

Kwade, born in Katowice in 1979, has built a practice around stone, bronze, glass and mirrors, staging tensions between visibility and concealment, solidity and permeability. As visitors move around the Tokyo works, objects shift between presence and illusion, offering parallel versions of reality. The exhibition opens with a reception on 29 October, and Kwade will also give a public talk at Tokyo University of the Arts on 30 October.