The Andreas Slominski exhibition featured objects relating to events that he devised before the exhibition’s opening, as well as a number of his traps and paintings.
The events and people involved were as varied as they were curious, including a skier who repeatedly skied down a ramp, covered with snow, constructed in the park and leading into the gallery. The wax from his skis was used to produce a candle that was displayed in the exhibition. On one day, two mime artists carried an invisible painting from the Royal College of Art to the Serpentine, where it was hung; and on another, the artist used a glider plane within one of the galleries to make a work of art. In addition to these activities, Slominski commissioned a traditional clock maker to design a scheme for a second hand for Big Ben in Westminster.
Also included in the exhibition were a number of Slominski’s traps, which were diverse in scale and form depending on the prey for which they were intended, such as mice, birds, cats and monkeys. These traps were both sculptural forms and functional objects with the potential for brutality. Slominski’s paintings, which had never before been exhibited, revealed some of the recurring themes in his works, including clocks and skiing, as well as a deliberately low-tech aesthetic.
