It is 23.30 o’clock. A Friday evening. Bremen’s central station is slowly emptying, only a few travelers and restless people are still on the road. Suddenly unrest breaks out and a monumental lifting platform pushes itself into the hall. With just a few grips it is installed in front of the train display board. It is now five to twelve and the train to Paris North has just departed, when two people enter the cabin of the lifting platform and are slowly lifted up to the scoreboard. They stretch a tarpaulin and start drawing. But what do they draw? And why? Passers-by stop and ask themselves what is going on there: An advertising campaign by the German Federal Railroad? One thing is clear: a welcome change! A lot of time passes until the cabin finally moves to the ground. The lift is rolled back and the two actors disappear into the darkness. It is 0.30 a.m. and peace has returned to Bremen’s main station, as if nothing strange had ever happened. The train to Paris North rattles through the quiet night?
By means of a slide showing the recorded time 23.55, a fingerprint and two enclosed documentary photographs, Andreas Slominski (*1959 in Meppen, lives in Berlin and Hamburg) confronts us with the absurdity of everyday life. Slominski reacts to the human striving for efficient action by choosing a very circumstantial staging, yet his result– the work of art– is simply structured. He also addresses the discrepancy between the interchangeability of digital sizes and individual handwriting.
Der letzte Zug, 2005
construction foil, Edding, 2 photographs
construction foil: 82 x 70 cm
Photographs: 13 x 10 cm / 10 x 15 cm
Produced for the Künstlerhaus Bremen