AR: Andreas Slominski at Deichtorhallen

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Originally Posted: August 19th, 2016

Note: This entry is part of August Review, our annual look back at this season’s key exhibitions. For more information, see the announcement here.

Past: Andreas Slominski

"...they readily peel divergent threaded reference, until we have handfuls of palmed cheese chasing an artist trying to stay one step ahead in luring the viewer to a mire lost in. The will-o-wisp Slominski not above pulling the rug, or laying slick fluids. Tread carefully."


Click here to read Andreas Slominski at Deichtorhallen
Click here to read Andreas Slominski at Proyectos Monclova & Barbel Graesslin
Click here to read Andreas Slominski at Thaddaeus Ropac

Andreas Slominski at Deichtorhallen

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Passed: Andreas Slominski at Proyectos Monclova & Barbel Graesslin, Andreas Slominski at Thaddaeus Ropac

Andreas Slominski at Proyectos Monclova & Barbel Graesslin

(Proyectos Monclova, Barbel Graesslin)

Looking at dead things, torn from their living context, trapped under ethyle acetate in the kill jar's sterile light and pinned to walls to make a butterfly collection. A collection we understand culturally to hold meaning for the belief in the docents and researchers behind it. But they mean only what we know about them, and the objects sparkle. Like dead butterflies, Monoliths, and signifiers, blank beautiful entrapments.


See too: Andreas Slominski at Thaddaeus Ropac, “Seven Reeds” at Overduin & Co.,

Andreas Slominski at Thaddaeus Ropac

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When speaking about Slominski’s slipperiness, or trap lain for viewers, we refer to a difficulty in choosing frames to enter the work. The uncertainty requires our critical apparatus realigned. Making “sense” of Slominski’s exhibtionary past pulls apart like string cheese, the objects readily peel divergent threaded reference, until we have handfuls of palmed cheese chasing an artist trying to stay one step ahead in luring the viewer to a mire lost in. The will-o-wisp Slominski not above pulling the rug, or laying slick fluids. Tread carefully. Read the signs.


See too : Adriana Lara at Algus Greenspon

Claire Fontaine at Galerie Neu

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Again a blast from the 2000s past, the ever posturing Fontaine today looking winded, having lost of their fighting spirit, instead merely combating the weight of the world with global travel's candy, and presenting an exhibition exchanging their pre-packaged imposter anarchics and poseur declaratives for an ennui, a gentle boredom, looking out of planes and recursive self-questions, nostalgic for a time when this was still fun, or critically acceptable. The melancholia of the palinode is having watched someone look at themselves in a mirror and possibly self-reflect in their vampirism, a good vampire never does.