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Andreas Slominski: XYT at Böhm Chapel    Dec 8, 2013 - Apr 17, 2014

Installation View XYT Böhm Chapel
Andreas Slominski
Installation View XYT Böhm Chapel, 2014
 
  
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Andreas Slominski: XYT, Böhm Chapel
8 December 2013 to 17 April 2014
Opening times: Sat/Sun, 11 a.m. to 2 p.m. Opening: 8 December 2013, 12 noon
Harald Falckenberg will be speaking


Jablonka Galerie is pleased to present new works by Andreas Slominski in the Böhm Chapel.

Seven years after being profaned, the Böhm Chapel is to become “a church” again. Under the title XYT, Andreas Slominski is presenting a “church exhibition”, retrieving the erstwhile liturgical objects and restoring them to their original location with modified forms and a new context. For instance, the holy-­‐water font – now The Sink – is positioned near the former altar area, complete with a polystyrene foam coffee cup, which at first glance looks as if it had been placed there temporarily to be retrieved by its owner at any time. Does the coffee cup symbolise a coffee break or is it rather a metaphor for an “interruption”, a “pause” or a “coming to rest”? The colour and material of the cup match those of a little angel on the apse directly opposite. The Angel, who appears to be holding a plate, is positioned at a height that tempts people to touch him. This contrasts with the Christ on the opposite apse, who towers over the angel not only in size but also due to his higher position on the wall. The focal point of the exhibition, aside from the three polystyrene foam figures, are three bunk beds set up in the side apses and a sofa bed in the main apse. While the three bunk beds – bearing the names Ikea, Two Refugees and Disco Bed – represent a mass of people, the folded-­‐out sofa bed in the main apse calls to mind an Altarpiece. Even the title of the exhibition draws on various cross symbols such as the St. Andrew’s Cross (X), forked cross (Y) and the St. Anthony’s Cross (T). The beams of the Altarpiece also reveal crosses of many different shapes and types. There is no “one type of cross” in the same way as there is no “one type of person”. Andreas Slominski provides “Access for everyone”. Access for unknown disco-­‐goers, an extra-­‐large Disco Bed for “party people” who desperately need to lay their head somewhere; for asylum-­‐seekers with their “own” saviour watching over them; or for all those nameless people for whom the beds have been set up – beds in which everyone is “visible”.

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