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Stefanie Schneider
Guns ´n Roses - Sidewinder - Diptychon - 2 vintage hand-prints, mounted

2005

About the Item

Guns ´n Roses (Sidewinder), diptych - 2005, 98x97cm each, 100x200cm installed, Edition 1/5. 2 analog C-Prints, printed on Fuji Crystal Archive paper (matte), hand-printed by the artist, based on the 2 expired Polaroids. Artist Inventory #3035.01 & 3034.01. Mounted on Aluminum with matte UV-Protection. Signed on verso. The two works will fit nicely together in a wooden box for shipping. Curator Mark Gisbourne about the project Sidewinder : In the case of Sidewinder the scenario was created by internet where she met J.D. Rudometkin, an ex-theologian, who agreed to her idea to live with her for five weeks in the scrubland desert environment of Southern California. The dynamics and unfolding of their relationship, both sexually and emotionally, became the primary subject matter of this series of photographs. The relative isolation and their close proximity, the interactive tensions, conflicts and submissions, are thus recorded to reveal the day-to-day evolution of their relationship. That a time limit was set on this relation-based experiment was not the least important aspect of the project. The text and music accompanying the DVD were written by the American Rudometkin, who speaks poetically of “Torn Stevie. Scars from the weapon to her toes an accidental act of God her father said. On Vaness at California.” The mix of hip reverie and fantasy-based language of his text, echoes the chaotic unfolding of their daily life in this period, and is evident in the almost sun-bleached Polaroid images like Whiskey Dance, where the two abandon themselves to the frenetic circumstances of the moment. Thus Sidewinder, a euphemism for both a missile and a rattlesnake, hints at the libidinal and emotional dangers that were risked by Schneider and Rudometkin. Perhaps, more than any other of her photo-novels it was the most spontaneous and immediate, since Schneider’s direct participation mitigated against and narrowed down the space between her life and the art work. The explicit and direct character of their relationship at this time, opens up the question as to the biographical role Schneider plays in all her work. She both makes and directs the work while simultaneously dwelling within the artistic processes as they unfold. Hence she is both author and character, conceiving the frame within which things will take place, and yet still subject to the same unpredictable outcomes that emerge in the process. (Mark Gisbourne, Stranger than Paradise, 2006, page 12-14)
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