Henry watching Athena Dance (Stay) - with Ryan Gosling - 21st Century, Polaroid

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Stefanie Schneider
Henry watching Athena Dance (Stay) - with Ryan Gosling - 21st Century, Polaroid
2006

Name: Henry watching Athena Dance (Stay) - with Ryan Gosling - 21st Century, Polaroid
Brand: Stefanie Schneider
Rating: 4.9 (36 reviews)

About the Item

Henry watching Athena Dance (Stay) III - with Ryan Gosling - 2006 20x20cm, Edition of 10, Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 5065. Not mounted. featuring Ryan Gosling. Stefanie Schneider's art work was used for the Marc Forster movie 'Stay'. featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie's art was the art both created during the movie. Stefanie's images were also used for Ryan Gosling's memory sequence, for the end titles, for edits in between and as art paintings hanging in several scenes within the movie. Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13   Photography Art Cinema. Revisited Stay (USA, 2005) could have fitted in seamlessly here. Considering that the films High Art and Pecker establish photography as an ideal art form at the end of the millennium, director Marc Forster (Monster’s Ball, Finding Neverland) takes a step backward; he revives an anti-technical, intuitive concept of art, including the customary clichés about madness and genius. This choice documents less an anachronistic notion of art (especially considering that painting is currently experiencing a Renaissance) than instead the appraisal that paintings are more suitable for representing the free objectification of the mind. Stay is not an artist-film but rather a psycho-thriller in which the borders between dream and reality become blurred.  The psychiatrist Sam Foster (Ewan McGregor) has saved his girlfriend, the artist Lila (played by Naomi Watts) from committing suicide. Now he is attempting to keep another patient, the art student Henry Letham (Ryan Gosling) from killing himself, but succumbs in that endeavor more and more to a whirlpool of inexplicable events. Any further words would already be interpretation and would reduce the significatory potential of the film. The film is loaded with meaning down to the tiniest details―including the notoriously short pants of the protagonist―or it willingly offers itself as a projection screen for speculations. Line-crossings, subjective camera-views of utterly strange figures, and pan-shots in which space and time shift abruptly all serve to confuse the viewer. One scene switches with no transition into paper photography; other scenes hesitate, repeat themselves. The temporal continuum of the film is caught in loops. Figures merge into each other. Miracles occur: blind people regain their sight, the dead are reawakened to life. If it is the continuity of events which distinguishes dream from reality, then everything which the psychiatrist Sam experiences is a dream.  It is precisely here, in this intermediate world of imagination and reality, that the film brings paintings into play, and with them the Polaroid photographs of Stefanie Schneider. For even if the paintress Lila drips paint all over herself in the film, in fact her paintings are without exception based on photographic models which―thanks to modern technology―have been printed onto canvas.   Bizarre Dream-Worlds Stefanie Schneider’s vague and evanescent Polaroids work towards a painterly impact. The artist, who resides alternately in Berlin and Los Angeles, exclusively uses out-of-date film material. She takes into account chance occurrence, the scarcely predictable waywardness of damaged emulsions. Her associative Polaroids portray a bizarre, film-like world which further enhances the irrealism of Stay. Independently of each other, but not without reason, both Marc Forster and Stefanie Schneider are repeatedly compared with David Lynch. Stranger than Paradise is the title of Schneider’s new photographic volume which, punctually with the start of the film, has been published by Hatje Cantz. The title borrowed from Jim Jarmusch is no accident: Cinema, not artistic photography, is the world from which the former cutter draws her visual models. And whoever has carefully studied the jazzy photographer of her series 29 Palms, CA can recognize beneath the orange-red wigs the cinematic actress Radha Mitchell (Finding Neverland, High Art).  A few motifs from this series, which was presented in an extensive edition by the Lumas gallery, are already sold out. The popularity of the artist is rising. But even if Schneider’s gallery makes this claim, her photography does not in fact play a major role in the film Stay. Instead the presence of the Polaroid photographs onscreen is limited to short photographic sequences, to the―admittedly magical―end credits, and to a few paintings on the set. It is precisely here at the periphery, on the symbolical level, however, that the film unfolds its central meaning―for example, when in Lila’s studio photographs of walruses may be seen, a motif which is familiar to the viewer from a previous scene with the art student Henry. In this new context, the images acquire an impact like the visualization of a strange memory. The pictures do not seem to belong to Lila and already anticipate in an allusive manner the peculiar transformation which her paintings undergo at the end of the film.  The overlapping of the protagonists has a correspondence in the interpenetration of inner and outer worlds: In another scene, in which Henry visits a table-dance bar, there is a photographic sequence. The flood of sharply highlighted, ever-changing images cannot be unambiguously situated, however. On the one hand, it can be read as a projection in the depicted space; and on the other hand, it presents itself as the stream of consciousness of the protagonist, whose blurred scraps of memory it portrays.   Art as Key The photographs do not function in Stay as props for the plot, but instead they are metaphors for the interpenetration of dream and reality. They are not so much motifs as rather means of representation. On the one hand, they are almost seamlessly integrated into the portrayal, but on the other hand―as works of art―they play a key role in the reception of the film. Whoever considers the cinema to be simply an escapist pleasure must have the impression, with regard to Stay, of being in the wrong film. Stay repudiates all expectations regarding genre and demands a fundamental shift of attitude. One can argue about whether this claim is justified, but the film demands to be viewed as a work of art. Not in the sense of contemplative immersion, but in terms of an active reception. Meaning cannot be derived directly from the film. Meaning is an addition made by the viewer. If Stay has a special message, then it is this: Everyone constructs his or her own film. In fact, in Stay there is a short scene which takes place in the art academy and may be understood as an interpretative instruction. On the basis of a painting, the professor offers a lesson which can be expressed in two simple formulas. First, everything is significant. And second, everything is somehow connected with everything else. The individual elements of the film must be decoded and set into relationship with each other.   After the Film is Before the Film With director Marc Forster and photographic artist Stefanie Schneider, two coequal partners are at work. The photographer brings her style-generating aesthetic into the cinematic representation. She appears as the author of her images, not as the executor of instructions from the director. This status is also evident in the participation of the artist in the press conference and in the fact that the premiere party took place in Stefanie Schneider’s gallery Lumas. Whoever came early or stayed late could here take an unobstructed look at the pictures and review the film at leisure. With regard to the photographs, one is inclined to see the film a second time. But also in the retrospective photographs after the film, the puzzle-game continues. “This is the way it was,” each photograph seems to say. But were things really that way? In fact, the poetically blurred Polaroid photographs do not provide a documentation, but rather an interpretation of the film from an artistic perspective which is lost in reverie. On the one hand, they make selections from the cinematic plot, and on the other hand, they transcend these happenings.   The film photos become autonomous and make reference, not to filmic “facts,” but to other possibilities―to that which might have been, to the inherent fictionality of the film. 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:
2006
Dimensions:
Height: 7.88 in (20 cm)Width: 7.88 in (20 cm)Depth: 0.04 in (1 mm)
Medium:
Photographic Film,Archival Paper,C Print,Polaroid
Movement & Style:
Contemporary
Period:
2000-2009
Condition:
Gallery Location:
Morongo Valley, CA
Reference Number:
1stDibs: LU65238607622

Photographic Film, Archival Paper, C Print, Color, Polaroid

Stefanie Schneider
Cyclone (Stay) - Coney Island, 21 Century, Contemporary, Icons, Landscape, 2006

$5,190 Sale Price

large format beach photograph by Italian photographer Massimo Vitali, renowned for his grand scale topographical observations of the rites and ritua...

Category

21st Century and Contemporary Contemporary Color Photography

Materials

Photographic Paper, Photographic Film, Plexiglass, Wood, Archival Paper

Massimo Vitali
Praia do Aterro Galp Matosinhos - large scale MassimoVitali beach scene (framed), 2016

$42,000

Henry watching Athena Dance (Stay) - with Ryan Gosling - 21st Century, Polaroid

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Stefanie Schneider
Henry watching Athena Dance (Stay) - with Ryan Gosling - 21st Century, Polaroid
2006

About the Item