Wonder Valley (29 Palms, CA) - analog, mounted, installation, music, video, text

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Stefanie Schneider
Wonder Valley (29 Palms, CA) - analog, mounted, installation, music, video, text
2008

About the Item

Wonder Valley (29 Palms, CA) Installation by Stefanie Schneider. Dimensions: 250x400cm Video by Camille Waldorf. Song written & performed by Camille Waldorf. Text, song and video included. Dimension photograph: Wonder Valley - 2008 125x154cm, Edition of 5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid, signed on verso, artist inventory number: 3648.02, Mounted on Aluminum with matte UV-Protection. Production time is 3 weeks. Professional install is recommended published in: STRANGER THAN PARADISE published by Hatje Cantz Verlag, Ostfildern, 2006, (monograph) exhibition: 2008: Les Rencontres d'Arles - Photo Festival South of France (G), nominated for the Discovery Award / 29 Palms, CA, Galerie Spesshardt-Klein, Berlin (S) & Forum Expanded / Berlinale Presentation / 2009: 29 Palms, CA, Moravian Gallery, (Museum of Applied Arts), Brno, Czech Republic (S) / 2010: Mapping Worlds: Welten verstehen – Aufbruch in die Gegenwart, 8. Internationale Foto -Triennale Esslingen, Germany, curated by Andreas Baur (G) with Shirana Shahbazi, Roselyne Titaud, Olaf Unverzart, Lidwien van de Ven, Stephen Wilks (catalog) / 2011 Mirror of broken Dreams, Galerie Robert Drees, Hannover, Germany, (S) Stefanie Schneider: A German view of the American West The works of Stefanie Schneider evoke Ed Ruscha's obsession with the American experience, the richness of Georgia O'Keefe's deserts and the loneliness of Edward Hopper's haunting paintings. So how exactly did this German photographer become one of the most important artists of the American narrative of the 20th and 21st century? Born in Germany in 1968, photographer/artist Schneider divided her time between Berlin and Los Angeles from the mid 1990's until she moved her complete analog laboratory permanently to where her process begins in the American West in 2020. in locations such as the planes and deserts of Southern California, where she photographs her subjects. In Berlin, Schneider developed and enlarged her works by hand. What is initially striking about Schneider's images is perhaps simply the color of her expired Polaroids. Schneider's role in preserving the use of Polaroid film is one aspect of her work that has gained great respect from her contemporaries and the critics, as her work came about during a time when the Polaroid, a symbol of American photography, was on the road to extinction. First taking the medium to it's limits and then resurrecting it from the dead. This theme of preservation and deterioration is a core part of Schneider's oeuvre. In an interview in October 2014 with Artnet, the artist explained how her own experiences of pain and loss inspire her. ''My work resembles my life: Love, lost and unrequited, leaves its mark in our lives as a senseless pain that has no place in the present.'' Schneider's subjects are often featured in apocalyptic settings: desert planes, trailer parks, oilfields, run-down motels and empty beaches, alone, or if not, not connected with one another. ''It is the tangible experience of ''absence'' that has inspired my work,'' explained Schneider. (Barnebys UK, May 3, 2017) Stefanie Schneider's new photographic works tell fantastic stories about her adopted Californian home. She seeks out faded American myths and distils auratically charged reality in a very personal and surprising way. She uses out-of-date Polaroid film, and the blemishes caused by the degenerated film stock, - are included in the composition in a painterly way. Exposure mistakes and low budget movie effects are combined to alienating effect. Everything shimmers and flickers before our eyes. The artist plays with the authentic poetry of the amateur, mixing strangely dreamy staging with random photochemical events. In the 16-part work Frozen, which is characterized by a strangely transcendent mood in the lighting, film-still-like pictorial clusters come together to form a mysterious story, with the artist herself as the lonely protagonist. the aesthetic is reminiscent of early Lynch films. The components of the elliptically choreographed events are scenes from an enchanted, gleaming winter landscape, together with "staged snapshots" of a pale young woman in her underskirts, who radiates the troubled reality of a mirage with her sleep walking presence. The story is presented in the manner of cinematic flashbacks or dream sequences. Stage blood and a knife are used to evoke a crime of passion whose surreal attractiveness is derived from the scenic openess of what is shown. The deliberate use of old instant picture stock establishes in a richly faceted way the ephemeral quality of vulnerability and transience within a reality that is brittle from the outset. The American Stars and Stripes, recently updated as the absolute epitome of a patriotic signifier, is the subject of the 9-part work Primary Colors (2001). Schneider's reassuringly European view, free of undue emotion, presents the Stars and Stripes motif in a strangley alienated form: she shows stills with phases of fluttering violently in the wind, even torn in some cases, and the poor film stock emphazises the fragility of the icon even more. FlashART - Sabine Dorothee Lehner (translated from German by Michael Robinson)

Creator:
Stefanie Schneider (1968, German)
Creation Year:
2008
Dimensions:
Height: 98.43 in (250 cm)Width: 157.49 in (400 cm)Depth: 0.79 in (2 cm)
Medium:
Metal,Video,Archival Paper,Photographic Paper,C Print,Polaroid
Movement & Style:
Contemporary
Period:
2000-2009
Condition:
Gallery Location:
Morongo Valley, CA
Reference Number:
1stDibs: LU652310456902

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