Andreas Slominski

"It is not so much the purely visual appeal of the objects -- mostly found -- that inspires Andreas Slominski to create his fantastically absurd sculptures or 'ready-made' constructs. The artist himself says that he is much more fascinated by the histories surrounding the objects of aesthetic focus. As he repeatedly emphasizes, 'Things are not what you see .'"
Karsten Löckemann, excerpted from The Many Tongues of Windmills in Andreas Slominski.

MONOGRAPHS & CATALOGS

Andreas Slominski Artwork by Andreas Slominski. Foreword by Miuccia Prada, Patrizio Bertelli. Edited by Germano Celant. This collection of Andreas Slominski's recent work includes Christmas ornaments and all kinds of constructions, including traps, made in a host of materials and techniques. They range from large, aggressive-looking boxes
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FONDAZIONE PRADA
ISBN: 9788887029345
$85.00 | In stock

Andreas Slominski: Roter Sand und ein Gefundenes Glück Text by Andreas Bee. Spanning the last 20 years, this retrospective catalogue accompanies Andreas Slominski’s recent exhibition at the Museum of Modern Art in Frankfurt, Germany. Works range from early sculptural objects to room-filling installations
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WALTHER KöNIG, KöLN
ISBN: 9783865601780
$94.00 | In stock

Andreas Slominski Edited by Ingvild Goetz, Karsten Löckemann, Stephan Urbaschek. Text by Katharina Vossenkuhl. German artist Andreas Slominski (born 1959) explores the still fertile realm of the readymade, appropriating such functional objects as bicycles, windmills and other found materials which he then reproposes as freestanding
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HATJE CANTZ
ISBN: 9783775726030
$55.00 | In stock

Andreas Slominski

Andreas Slominski

Edited by Ingvild Goetz, Karsten Löckemann, Stephan Urbaschek. Text by Katharina Vossenkuhl.
Published by Hatje Cantz

German artist Andreas Slominski (born 1959) explores the still fertile realm of the readymade, appropriating such functional objects as bicycles, windmills and other found materials which he then reproposes as freestanding sculptures, or which he incorporates, with the use of spray paint, into polystyrene wall reliefs. Slominski always intends his sculptures to elicit the more absurd qualities of the props of everyday life. Though the artist is perhaps best known for his work as an absurdist sculptor, Slominski is also a veteran of absurdist performance: he once famously charged two mimes with the task of carrying an invisible painting from the Royal College of Art to the Serpentine in London. For another similarly wacky work, he had a giraffe in a zoo lick a stamp for a letter he then sent. This monograph surveys the artist's work from 1996 to the present.

Andreas Slominski: Roter Sand und ein Gefundenes Glück

Text by Andreas Bee.
Published by Walther König, Köln

Spanning the last 20 years, this retrospective catalogue accompanies Andreas Slominski’s recent exhibition at the Museum of Modern Art in Frankfurt, Germany. Works range from early sculptural objects to room-filling installations to recent works that directly engage with Frankfurt’s cultural history, as well as Slominski’s hotly debated Styrofoam paintings.

Andreas Slominski

Artwork by Andreas Slominski. Foreword by Miuccia Prada, Patrizio Bertelli. Edited by Germano Celant.
Published by Fondazione Prada

This collection of Andreas Slominski's recent work includes Christmas ornaments and all kinds of constructions, including traps, made in a host of materials and techniques. They range from large, aggressive-looking boxes for fighting dogs to toys, like Van for Mice, that let the underdog off the hook. Once arranged on the floor of an exhibition space, these snares create a bit of a minefield, an environment where visitors tread with care. Some experiential pieces share the traps' lighthearted focus on practical matters and working professions: the hiring of frogmen to rescue keys thrown from a bridge, of a skyscraper painter to work on a high window, and of seamstresses to take apart and put back together viewers' pants--after which they sew in a label marking them as part of a limited edition. With a preface by Miuccia Prada and Patrizio Bertelli.