{"id":19897,"title":"Wheelchair to cross the stairs in Odessa","dimensions":"","date_begin":"2000-01-01","material":"Rolstoel","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Privécollectie","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"wheelchair-to-cross-the-stairs-in-odessa","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/422/medium_500/AndreasSlominski_Wheelchair.JPG?1532512395","cached_actor_names":"Andreas Slominski","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"category":{"en":"Installation","nl":"Installatie","fr":"Installation"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/422/large/AndreasSlominski_Wheelchair.JPG?1532512395","poster_credits":"Privécollectie, image: (c) Luc Vuegen","translations":[{"locale":"en","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eEarly on in his works, Andreas Slominski started the sculptural possibilities of a trap (\u003cem\u003eFalle, Wasp trap\u003c/em\u003e). He sees a large complex structure with many variations, but calls it a metaphor for today\u0026rsquo;s reception of art. Slominski\u0026rsquo;s trap are not set up to catch unwanted rodents, but rather to make the viewers conscious of the dangers of perceiving images. Today\u0026rsquo;s image culture seduces and misleads, and this is also the case for today\u0026rsquo;s art world. To this day, Slominski uses the concept of traps in most of his installations. His work is filled with a healthy dose of irony, but also playful creativity.\u0026nbsp; His work \u003cem\u003eWheelchair to cross the stairs in Odessa \u003c/em\u003edepicts a strange obstacle for viewers trying to use the stairs. They are confronted with an object that they do not expect to see there. Slominski tries to get into direct contact with the viewer.\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eReeds vroeg in zijn oeuvre begon Andreas Slominski onderzoek te voeren naar de sculpturale mogelijkheden van een val (\u003cem\u003eFalle, Wasp trap\u003c/em\u003e). Hij ziet hierin een groot aantal complexe structuren en variaties, maar benoemt het ook als metafoor voor de receptie van kunst. Slominski\u0026rsquo;s vallen zijn niet opgezet om ongewenste knaagdieren te vangen, maar moeten de toeschouwer bewust maken van de gevaren die schuilen in de perceptie van beelden. De hedendaagse beeldcultuur verleidt en misleidt immers, en dit geldt net zo goed voor de hedendaagse kunstwereld. Het concept van de val past Slominski tot op vandaag op een speelse manier toe in de meeste van zijn installaties. Zijn werk kent een gezonde portie ironie, maar ook een speelse creativiteit. Zo betekent \u003cem\u003eWheelchair to cross the stairs in Odessa\u003c/em\u003e een vreemde hindernis voor de bezoeker die de trap wil gebruiken, en geconfronteerd wordt met een object dat men niet op die plaats verwacht. Slominski zoekt op die manier een direct contact met de kijker.\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":""},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[]}