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Stefanie SchneiderMindscreen 8 - Contemporary, 21st Century, Polaroid, Figurative, Color1999
1999
About the Item
Mindscreen 8 - 1999
58x56cm,
Edition of 10.
Analog C-Print, hand-printed by the artist, based on the Polaroid.
Not mounted. Signed on back with Certificate.
Artist Inventory No. 243.03.
Published in the catalog for the group exhibition 'Night On Earth', Städtischen Ausstellungshalle am Hawerkamp, Münster, April - Mai, 2001
Ralf Christofori - aus dem Katalog "Night On Earth" zur gleichnamigen Ausstellung in der Städtischen Ausstellungshalle am Hawerkamp,
Münster, April - Mai, 2001
Stefanie Schneider's photographs are reminiscent of scintillating situations located on the edge between daydreams and sleeping dreams. All of the scenes she has shot in the South West of the USA seem surreally enraptured, and the artist herself seems only to act inasmuch as she gives the decisive impulse. The people who are photographed are no more tangible than the motives for their activities or the storylines of the photo sequences.
Atmospheric disturbances are in Stefanie Schneider's work the result of a narrative arrangement, which forces the viewer in between visual mementos and gaps in memories. But simultaneously the artist is working no less purposefully with media, and although their own momentum is calculable, the material that is introduced is largely uncontrollable: the best-before date on the Polaroid film pack has long since expired; the photo-chemical self-developing process takes the exposure and alienates.
This dysfunction is a fundamental element in the artist's work Mind Screen, which consists of several parts. She confronts the brittleness of the real, the genuine and the comprehensible with a magical realism dipped in chimaeras to produce dreamlike sequences. And she leaves the content of a presumed storyline up to the viewer. There is no user's manual here for people to follow: in its place, everything succumbs to the draw of these unreal, shimmering scenes, the Fata Morgana of a road movie, an act of violence or a tragic self-sacrifice. Film genres are brought in and taken away in the same breath. Wim Wenders' Paris, Texas turns out to have been shot through a rose-tinted lens, Thelma and Louise proves to be a popular ditty about a heroic mass mobilization, whilst The Good, the Bad and the Ugly mutually destroy themselves. Things shimmer and flicker before our eyes: we are unable to step out of this dream, nor are we able to verify it.
German:
Stefanie Schneiders Fotografien erinnern an Situationen, die zwischen Tag- und Nachttraum changieren. Sämtliche ihrer im Südwesten der USA aufgenommenen Szenen wirken surreal entrückt, und die Künstlerin selbst scheint als Akteurin lediglich den ausschlaggebenden Impuls zu geben. Die Personen, die sie fotografiert, sind genauso wenig greifbar, wie die Handlungsmotive oder Erzählstränge der fotografischen Serien.
Atmosphärische Störungen sind bei Stefanie Schneider das Resultat eines narrativen Arrangements, das den Betrachter zwischen Erinnerungslücken und –bilder zwingt. Es sind aber ebenso gezielte mediale Einsätze, mit denen die Künstlerin arbeitet, Einsätze, welche auf die Eigendynamik zwar kalkulierbaren, aber weitgehend unkontrollierten Materials setzt: Das Verfallsdatum der von ihr verwendeten Polaroidfilme ist weit überschritten; der fotochemische Prozeß der Selbstentwicklung lichtet ab und verfremdet.
Diese Dysfunktion ist wesentlicher Teil der mehrteiligen Arbeit Mind Screen. In traumartigen Sequenzen konfrontiert sie die Brüchigkeit des Realen, Wirklichen und Begreifbaren mit einem in Schimären getauchten magischen Realismus. Den Gehalt einer vermeintlichen Geschichte überläßt sie den Betrachtern. Keine Handlungsanweisung soll hier befolgt werden, es wirkt der Sog dieser irreal flirrenden Szenen, die Fata Morgana eines Road Movies, eines Gewaltaktes oder einer tragischen Selbstaufgabe. Filmische Genres werden bedient und im selben Atemzug wieder entzogen. Wim Wenders' 'Paris, Texas' entpuppt sich als handkolorierte Schönfärberei, 'Thelma and Louise' als Gassenhauer eines heroischen Großaufgebots, während sich 'the Good, the Bad and the Ugly' gegenseitig zugrunde richten. Es schimmert und flirrt vor den Augen: Wir können aus dem Traum heraustreten, verifizieren können wir ihn nicht.
Stefanie Schneider received her MFA in Communication Design at the Folkwang Schule Essen, Germany. Her work has been shown at the Museum for Photography, Braunschweig, Museum für Kommunikation, Berlin, the Institut für Neue Medien, Frankfurt, the Nassauischer Kunstverein, Wiesbaden, Kunstverein Bielefeld, Museum für Moderne Kunst Passau, Les Rencontres d'Arles, Foto -Triennale Esslingen.
Stefanie Schneider's new photographic works tell fantastic stories about her adopted Californian home. She seeks out faded American myths and distills a 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 openness 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 strangely alienated form: she shows stills with phases of fluttering violently in the wind, even torn in some cases, and the expired film stock emphasizes the fragility of the icon even more.
FlashART - Sabine Dorothee Lehner (translated from German by Michael Robinson)
- Creator:Stefanie Schneider (1968, German)
- Creation Year:1999
- Dimensions:Height: 22.84 in (58 cm)Width: 22.45 in (57 cm)Depth: 0.04 in (1 mm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Morongo Valley, CA
- Reference Number:1stDibs: LU652311496242
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