Neuer Berliner Kunstverein (n.b.k.)

Andreas Slominski

30 Nov 2013 - 26 Jan 2014

Über die Freundschaft (About Friendship)
Hannah-Höch-Preis 2013
30 November 2013 – 26 January 2014

Curated by Marius Babias

Speakers on occasion of the Hannah Höch Prize 2013 being awarded to Andreas Slominski:
André Schmitz (State Secretary for Cultural Affairs) and Marius Babias (Director n.b.k.)

The exhibition of Andreas Slominski takes place at Neuer Berliner Kunstverein and at the Brecht Weigel memorial rooms, as well as on the sidewalk along the walls of the Französischer and Dorotheenstädtischer cemetery.

Andreas Slominski (b. 1959 in Meppen, living in Werder an der Havel), from 1983 to 1986, studied at the University of Fine Arts of Hamburg. From 1997 to 2004, he was professor of painting at the Academy of Fine Arts in Karlsruhe, since 2004 he is professor of sculpture at the University of Fine Arts of Hamburg. Slominski received numerous awards, including the Karl Ströher Prize (1991), the Sprengel Prize (1995), the Aachen Art Prize (2004) and the Lichtwark Prize (2013). Recently his works were shown, among others, at MOCA Los Angeles (2013), at Hamburger Kunsthalle (2012), Kunstmuseum Winterthur (2012), Kunsthalle Zurich (2012), Museum Ludwig, Cologne (2011), Museum für Moderne Kunst, Frankfurt/Main (2011), Stedelijk Museum voor Actuele Kunst, Ghent (2010), Suntory Museum, Osaka (2010) and at the Witte de With Center for Contemporary Art, Rotterdam (2010).

By being awarded the Hannah Höch Prize 2013 by the State of Berlin, Andreas Slominski is honored for his extensive work. Slominski became internationally known with his traps, which — effectively being placed in the exhibition space — are expanding the concept of sculpture. His conceptual works reflect social, historical and economic coherences and explore social conditions and conventions.

Comprising sculptures, objects and interventions, the exhibition project forms a complex reference system between art, the institution, the topographical context and the historical figure Brecht. Andreas Slominski developed several groups of works, connecting both the exhibition venues and the cemeteries, topographically located in between, in an overall ensemble. As a reference to the automobile lover Brecht, the artist installed several towing signs on the sidewalk between Neuer Berliner Kunstverein, at the gates of Französischer and Dorotheenstädtischer cemetery, up to the garage in the courtyard of the Brecht Weigel memorial rooms. Where there were signs missing, they were added. Brecht’s former bedroom is located directly above his garage, in which once his ENW convertible was parked. Again, at Neuer Berliner Kunstverein, Slominski exhibits a sculptural ensemble made of two galvanized flat roof garages, inside of which exhibits from the Brecht memorial rooms can be seen, including personal items and a showcase with the eponymous Brecht poem Die Freunde (The Friends). Furthermore, a piece of stonework made of stones specially imported from China was built at Neuer Berliner Kunstverein — an allusion both to Brecht’s affinity for Chinese culture as well as to the tombs of the neighboring Dorotheenstädtischer cemetery, where Brecht is buried. The admission ticket to both venues represents a two-part object — one each at each venue — which the visitors are welcome to take home as a work of art after visiting the exhibition.

Tags: Marius Babias, Hannah Höch, Andreas Slominski