Andreas Slominski. Red Sand and a Happy New Year

7 July - 2 September 2007

Museum Boijmans Van Beuningen presents the first major exhibition in the Netherlands of the German artist Andreas Slominski (1959). His works from the last twenty years comprise objects, installations and paintings that reflects on current trends in art: animal traps, bicycles laden with shopping bags and paintings on polystyrene foam are typical examples of Slominski’s art. One of his polystyrene foam paintings from 2005, has recently been acquired for the museum’s collection of contemporary art.

Andreas Slominski lives and works in Werder (Havel) near Berlin and in Hamburg. His oeuvre is a dictionary on art and contemporary culture, full of biting humour and veiled satire. His recent kitsch polystyrene paintings, full of shrill colour contrasts, are a subtle ironic comment on the recent boom in German painting. Their generous framing gives the works an almost misplaced cachet. In the 1990s Andreas Slominski achieved considerable fame for his extensive array of animal traps, which he continues to make. In every conceivable shape and size, they range from traps for earthworms to traps for large game animals. These ingeniously constructed, humorous objects serve as a metaphor for human pitfalls, a recurring theme in Slominski’s art.
Alongside the traps Museum Boijmans Van Beuningen is showing installations including a children’s bicycle heavily laden with plastic carrier bags, a scaffold tower upon which a female artist draws a naked but unseen model, a special furnace for burning Y-shaped branches and much more.

Exaggerated and literal
Andreas Slominski’s work is often very literal, even exaggeratedly so. The aforementioned furnace for burning Y-shaped branches must, according to Slominski’s logic, also be Y-shaped, otherwise the branches would not fit. A cupboard for lovers using a wheelchair is naturally fitted with a wheelchair lift. And it transpires that an artistic metal sculpture was welded according to a complicated process under water. In other works, Slominski gets under the skin of the conceptual artist, for example when he exhibits the cans of paint required to paint the ‘Roter Sand’ lighthouse or a Swiss-army Leopard tank. Or he parodies performance art with an art student standing on a scaffold tower drawing a nude who remains out of our sight.

The exhibition at Museum Boijmans Van Beuningen is based upon a recent exhibition at MMK Museum für Moderne Kunst, Frankfurt am Main, which has collected a large number of works by the artist. In recent years Slominski has had solo exhibitions at important museums and galleries including the Serpentine Gallery in London, the Fondazione Prada in Milan and the Deutsche Guggenheim in Berlin.

The exhibition Red Sand and a Happy New Year will be opened on Friday 6 July at 17.30 by Ranti Tjan, director of Museum GoudA. Slominski has been commissioned by Museum GoudA to make a work by for a public space in Gouda, which will be completed later this year.