Installation view "Florian Slotawa", Galerie Nordenhake Berlin 2015

Florian Slotawa

Florian Slotawa was born in 1972 in Rosenheim, and currently lives and works in Berlin. His solo exhibitions include „Everyday Life" (mit Paola Pivi und Bojan Šarčević), Hamburger Bahnhof Museum für Gegenwart, Berlin (2014); "Andere Räume", Arp Museum Bahnhof, Remagen (2012); "Local Plants", Artspace, San Antonio (2012); P.S.1, MoMA, New York (2009); “Solothurn aussen“, Kunstverein Solothurn, (2008); “One After the Other“, Arthouse, Austin (2007); “Land gewinnen”, Haus am Waldsee, Berlin (2005); “Bonn ordnen”, Bonner Kunstverein (2004); and “Gesamtbesitz”, Kunsthalle Mannheim (2002). He has taken part in numerous group exhibitions internationally, most recently at  Kunstverein Wolfsburg (2016 and 2006), Guggenheim Bilbao and Haus am Lützowplatz (both 2016), Hamburger Kunsthalle  (2015), MoCA, Taipei, Muzeum Sztuki, Lodz, Vancouver Art Gallery (all 2013), Museum für Moderne Kunst, Frankfurt/Main, Pinakothek der Moderne, München (all 2012), Museum of Contemporary Photography, Chicago (2009), Kunstmuseum Wolfsburg (2008), as well as ZKM Karlsruhe and Sprengel Museum, Hannover (both in 2007). His installation “Ersatzturm” was presented in the 4th Berlin Biennale (2006). In 2013 he participated in the Aichi Triennale 2013, Nagoya. After exhibitions in 2009 and 2015 in Berlin, his first show at Galerie Nordenhake Stockholm opened in february 2017.

Installation view "Florian Slotawa", Galerie Nordenhake Stockholm 2017

Installation view "Florian Slotawa", Galerie Nordenhake Stockholm 2017

Installation view "Florian Slotawa", Galerie Nordenhake Stockholm 2017

Installation view "Florian Slotawa", Galerie Nordenhake Berlin, 2015

Volkswagen C6T (Jadegrün met.), 2015, safety goggles, auto lacquer, aluminium, 26 x 43.5 x 11 cm

NCS S 0585-Y80R, 2015, bicycle frame, acrylic on aluminum, 90 x 104 x 15 cm

Installation view "Florian Slotawa", Galerie Nordenhake Berlin 2015

Toyota 4X0 (Inferno Orange met.) / Toyota 3D7 (Red), 2015, wood, auto lacquer, aluminium, 45 x 76 x 4 cm

Installation view "Everyday Life. Paola Pivi, Bojan Šarčević, Florian Slotawa", Hamburger Bahnhof, Museum für Gegenwart, Berlin 2014

Gesamtbesitz, 2002, installation view, "Everyday Life. Paola Pivi, Bojan Šarčević, Florian Slotawa", Hamburger Bahnhof, Museum für Gegenwart, Berlin 2014

Gesamtbesitz, 2002, installation view, "Everyday Life. Paola Pivi, Bojan Šarčević, Florian Slotawa", Hamburger Bahnhof, Museum für Gegenwart, Berlin 2014

Installation view "Andere Räume", Arp Museum Bahnhof Rolandseck, Ramagen 2012

Photographs of the artist ́s empty studio rooms hang on sections of walls dispersed throughout the exhibition space. The images are part of a black-and-white photo series documenting the location of the studio in a 1960s commercial building in Berlin. The dimensions of the freestanding wall fragments were taken from Haus Esters, a residency in Krefeld designed by Mies van der Rohe, currently functioning as a museum for contemporary art. The exhibition space itself was built in the mid-19th century as an exclusive railway station. Each historic space exemplifies an architectural language – post-war Functionalism, Bauhaus, and Neoclassicism – cast here into a pictorial and spatial confrontation.

Studio, Room 1 (Raum 1/Raum 2, Raum 1/Küche, Raum 1/Eingang), 2009, gelatin silver print on baryta paper, 3 photographs, each 30.8 x 38.5 cm

Installation view "Andere Räume", Arp Museum Bahnhof Rolandseck, Ramagen 2012

Atelier (Raum V, 1), 2009, gelatin silver print, baryta paper, 30.5 x 38.5 cm

Installation view "Andere Räume", Arp Museum Bahnhof Rolandseck, Ramagen 2012

Garden Tools (6), 2011, mixed media, 212 x 178 x 13 cm

Installation view "Local Plants", Artpace, San Antonio 2012

For Artpace, Slotawa endeavored to draw parallels between two cultures and their respective forms by using materials found locally. Struck by Texas’s own role in the history of Minimalism, he was interested in symbolically connecting to an historical European female figure—1930s Russian sculptor Katarzyna Kobro—by creating a co-habitation with the works of Donald Judd and the Texas landscape. Constructivism being one of the important antecedents to Judd’s own sculptural practice (which was only later termed Minimalism by art historians), Slotawa brings these pieces into a kind of a posthumous conversation. His process began in Poland, where he gained permission to make provisional models based on fragments of Kobro’s work out of metal. Upon arrival to Texas, he proceeded to build the metallic models, collect found furniture from around the office at Artpace, and drive back and forth to West Texas in order to view a conversation with the Judd legacy, as well as with the flora and fauna of the area (another local form). The final installation is a merging of these experiences, perspectives, and formal dialogues meant to create more expansive, equivocal parameters for sculpture and the natural environment.

Local Plants 9 (Mountain Laurel), 2012, galvanized steel, steel, tape, 3x (6" terracotta pots, texas mountain laurel), 106.7 x 53.4 x 30.5 cm

Local Plants 8 (Snake Plant), 2012, ceramic and tile stand, steel, paint, 6” terracotta pot, dansevieria assorted, 106.7 x 53.4 x 30.5 cm

Local Plants 5 (Ardisia Crenata), 2012, steel, paint, steel table, mdf, glass, 8” terracotta pot, ardisia crenata, 170 x 45 x 36 cm

Local Plants 2 (Hosta Patriot), 2012, mirror, wood, steel, paint, medicine cabinet, 10” terracotta pot, hosta “patriot”, 152.4 x 50.8 x 64.8 cm

GS 001, 2005, home appliances, 245 x 106 x 93 cm

GS 001, 2005, home appliances, 245 x 106 x 93 cm

Installation view "Besitzarbeit XII: Pier and Ocean", MoMA New York 2009

Ikea (Nordamerkiaversion), 2006, IKEA furniture, 326 x 201 x 202 cm

Mannheimer Bestandsaufnahme (Werkzeugkästen), 2002/2009, Gelatin silver print on baryta paper, 56.6 x 7.0 cm, framed 81.6 x 102 cm

Mannheimer Bestandsaufnahme (Bügelbrett), 2002/2007, Gelatin silver print on baryta paper, framed 120.4 x 139.2 cm

Ersatzturm, 2006, installation view "4th Berlin Biennial", Kunst-Werke Berlin, Foto: Uwe Walter

Installation view "Bonn ordnen", Bonner Kunstverein 2004

During the exhibition, the functions of the administrative offices were exchanged with those of the exhibition spaces: The entire inventory from the administration was moved to the main exhibition hall, thus converting it into a large open office space in which the employees now worked. This area was closed off to visitors, who could however view the space through a window on the first floor. The emptied offices were used to exhibit photographs from the series Mannheimer Bestandsaufnahme. Thus, the artist's preoccupation with his own possessions was on display, whereas the institution was forced to reconsider its own inventory.