EXHIBITION

>> SEPTEMBER 18  -  OCTOBER 30  |   2010 

INSTANT DREAMS
30works Gallery, Cologne, Germany
Vernissage September 18  /  20.00h

Opening Hours
Mo-Fr 15-20.00h, Sa 11-20.00h
or by appointment 

Antwerpener Str. 42 - 50672 Köln - 0221/5700250 
view website: www.30works.de

30works 

>>  more  info

EXHIBITION

>> SEPTEMBER 24  -  OCTOBER 23  |   2010 

TREIBSAND IN DER KALIFORNISCHEN WÜSTE 
curated by Adi Hoesle
Künstlerhaus "Kaufhaus Klein", Burgau, Germany
Vernissage September 24  /  20.00h

Opening Hours
Mo-Fr 19-22.00h, Sa 17-22.00h
or by appointment

Hans Riethmüller - Käppelstrasse 6 - 89331 Burgau - 08222/1209 
view website: www.kaufhaus-klein.de

oxana

>>  more  info

EXHIBITION

 >> JUNE 27  -  SEPTEMBER 19  |   2010 

Mapping Worlds: Welten verstehen – 
Aufbruch in die Gegenwart
8. Internationale Foto-Triennale Esslingen 2010 

Venues: Villa Merkel, Bahnwärterhaus, Galerie im Heppächer

radha pink

With works from:

Anas Al-Shaikh (*1968), Bahrain; Pedro Barateiro (*1979), Portugal; Michael van den Bogaard (*1974), Germany; Nuno Cera (*1972), Portugal; Galic/Gredig (Goran Galic, *1977/Gian-Reto Gredig, *1976), Switzerland; Bertien van Manen (*1942), Netherlands; Susan MacWilliam (*1969), Nord-Irland; Daido Moriyama (*1938), Japan; Claudio Moser (*1959), Switzerland; Harald F Müller (*1950), Germany; Stefanie Schneider (*1968), Deutschland; Shirana Shahbazi (*1974), Iran; Roselyne Titaud (*1977), France; Olaf Unverzart (*1972), Germany; Lidwien van de Ven (*1963), Netherlands; Stephen Wilks (*1964), Great Britain; as well as a selection of approx. 200 historic photographs from the collection Herzog in the swiss national museum.

“Mapping Worlds: Understanding Worlds – Setting Off for the Present” – the 8th International Photo-Triennial Esslingen 2010 interrogates (some video works included) world pictures or pictures of this world – from today’s point of view, and from a historical one. The exhibition will be presented in the Villa Merkel, the Bahnwärterhaus and the Galerie im Heppächer. “Aufbruch in die Gegenwart”, a picture story made with historical photographies, shows a country’s path from an agricultural to an industrial society in the period from 1840 to 1960 – surprising, funny, seldom merely nostalgic. The insert was produced in co-operation with the Schweizerisches Nationalmuseum in Zurich, and shows works from the Sammlung Herzog.

Further information: www.foto-triennale.de

Acknowledgements for the genereous support from Ministerium für Wissenschaft, Forschung und Kunst Baden-Württemberg; Schweizer Kulturstiftung Pro Helvetia; Botschaft des Königreichs der Niederlande; Stiftungen Landesbank Baden-Württemberg; ZukunftsStiftung Heinz Weiler; HUGO BOSS AG; Kiesel Bauchemie,
Stadtmarketing und Tourismus GmbH Esslingen am Neckar, the Schweizerisches Nationalmuseum and the Sammlung Herzog

 

EXHIBITION

>> DECEMBER 11  |   2009 - JANUARY 23  |   2010
     extended until JANUARY 30 


camille

in cooperation with Nathan Köstlin
and EFFIGIES, PARIS


A Stefanie Schneider exhibition introducing works by Daisy McCrackin, Camille Waldorf & Max Sharam.

29 PALMS, CA is a feature film / art piece that explores and chronicles the dreams and fantasies of a group of individuals who live in a trailer community in the Californian desert.

Please join us for the opening reception on December 11, 2009 at 19.30 h

Opening hours: Daily 19.00 - 2.00 h 
Public Transport U2, U6 STADTMITTE
PH +49 (0)30 20 87 99 97 / +49 (0)30 20 87 99 98 FAX +49 (0)30 76 77 32 07
email: artbar71@ googlemail.com

please visit: www.twentyninepalms.ca   [ the 29 Palms, CA project ]

ADDITIONAL SCREENINGS

>> JANUARY 14 &  21   |   2010

STEFANIE SCHNEIDER'S 29 PALMS, CA SHORTS
Renée's Dream, Sidewinder, Till Death Do Us Part
CAROLINE HAERTEL'S DOCUMENTARY
Girls just wanna have fun
Stefanie Schneider Meets Cyndi Lauper

BABYLON, BERLIN   
Rosa-Luxemburg Platz 30 | 10178 BERLIN
U-Bahn: Rosa-Luxemburg Platz
S-Bahn: Alexanderplatz


renee Poster

Renée's Dream (4.29 min.)
music by Coco Rosie, with Renée Chabria, Scott Springer, Derrik First

....In René’s Dream, issues of role reversal take place as the cowgirl on her horse undermines the male stereotype of Richard Prince’s ‘Marlboro Country’. This photo-work along with several others by Schneider, continue to undermine the focus of the male gaze, for her women are increasingly autonomous and subversive. They challenge the male role of sexual predator, often taking the lead and undermining masculine role play, trading on male fears that their desires can be so easily attained. That she does this by working through archetypal male conventions of American culture, is not the least of the accomplishments in her work. What we are confronted with frequently is of an idyll turned sour, the filmic clichés that Hollywood and American television dramas have promoted for fifty years. The citing of this in the Romantic West, where so many of the male clichés were generated, only adds to the diminishing sense of substance once attributed to these iconic American fabrications. And, that she is able to do this through photographic images rather than film, undercuts the dominance espoused by time-based film. Film feigns to be seamless though we know it is not. Film operates with a story board and setting in which scenes are elaborately arranged and pre-planned. Schneider has thus been able to generate a genre of fragmentary events, the assemblage of a story without a storyboard. But these post-narratological stories require another component, and that component is the viewer who must bring his own interpretation as to what is taking place. If this can be considered the upside of her work, the downside is that she never positions herself by giving a personal opinion as to the events that are taking place in her photographs. But, perhaps, this is nothing more than her use of the operation of chance dictates....

Marc Gisbourne, “Stranger Than Paradise”




sidewinder poster

Sidewinder (13.20 min.)
music by jd rudometkin
jd rudumetkin as jean babtiste, stefanie schneider as stevie  

private history turned into an intimate mythology of elemental fantasies where reality is perceived through a veil of psychedelic memories and unconscious projections. such is a collection of passions and dreams, an uncanny diary of ephemeral narratives and mental intensities in Stefanie Schneider’s painterly photographs where subjectivity of an ontological doubt uses a poetics of pastische as a vehicle for an intertextual journey towards the truth and the authenticity of primary emotions. here time is immersed in a nostalgic suspense of oneiric dimension, a sort of ambiguous coma of silence and comfort, and open space embraces a psychotic landscape of solitude and accidental pleasure. fetishisized surface of extreme feelings gives a stage for an unsolicited promise of unconditional love and unlimited freedom, a promise framed by sensual tension between fulfillment and expectation.
                                           
       Adam Budak, Kunsthaus Graz, Oct 2005




till death poster


Till Death Do Us Part (31.00 min.)
music Daisy McCrackin, Sophie Huber, Zoê Bîcat
with Austen Tate (Margarita), Daisy McCrackin (Cristal)
written by Austen Tate, Daisy McCrackin, Stefanie Schneider
sound editing: Sophie Huber
produced by MICA Film, Berlin, Caroline Haertel und Mirjana Momirovic
supported by "Medienboard Berlin Brandenburg" and "ARTE".

"Till death do us part", an episode of the "29 Palms, CA" project. A film shot on Polaroid stills combined with Super 8 film sequences.

Till Death Do Us Part is the story of two young lovers, lonely souls escaping the abuse of reality into each other. Imagine a stranger suddenly in your path, you can just be silent with, and you feel you have known her forever. This is the experience of Cristal (Daisy McCrackin) and Margarita (Austen Tate), that begins when Cristal picks her up hitchhiking on a lonely dessert road. A runaway from a cruel older brother and a broken family, Margarita is searching on the edge of the shadows for a home. Cristal was also a lonely child and already dangerously close to vanishing when she finds Margarita. For her it is the begging of life. When she finds Margarita, she finds herself, she feels for the first time and discovers that she is not invisible after all. The childlike, roadside life they make together is a dream that they truly believe will last forever, and with the naive joy of beginners, they dive in, never sensing danger. When two lost souls become one and share everything, do they loose themselves further or do they become whole at last? When a girl has no home, no anchor, can she combine thrive with another? Once a human heart wakes up from isolation for the first time, enchanted by a reflection in love's mirror, can the dreamer fall asleep again, or must she wander searching to find it again forever?

An artistic triumph for Schneider, this piece floats deeper into her exploration of the colors of the human psyche, separation, relationship, androgyny and the fringes of social reality.

The Californian desert light and the vintage colours of Polaroid create a unfor-getable atmosphere in the abandoned trailer park.

Austen Tate gives Margarita her voice in poetry and Daisy McCrackin gives Cristal her sound in music.

daisy_in_car austen und daisy tree

for more information view Till Death Do Us Part site >>



CAROLINE HAERTEL'S DOCUMENTARY (8.03 min.)
Girls just wanna have fun
Stefanie Schneider Meets Cyndi Lauper

lauper


Stefanie Schneiders Fotografien sind auf faszinierende Weise mysteriös. Ihre Motive erinnern an Szenen von David Lynch. Surreal entrückt und verstörend real im selben Moment.

Die Fotografin arbeitet mit der Polaroid Kamera und verwendet dafür ausschließlich abgelaufenes Material. Ihre Blow Ups sind das Ergebnis unvorhersehbarer chemischer Prozesse, die die aufregende Dramatik und Ästhetik ihrer Bilder erzeugen. Farbverschiebungen, Flecken, Unschärfen und unerwartete Überstrahlungen legen sich wie eine zweite Realität über ihre „Polaroid Movies“. Cyndi Lauper ist neben Madonna, Cher, Lauryn Hill eine der wenigen Solosängerinnen, die es trotz ihrer Eigenheiten geschafft hat, jahrelang an der Spitze zu bleiben. Noch immer werden ihre alten Superhits „Time after Time“, „She bop“, „Girls just wanna have fun“ weltweit gespielt. Nach ihrer sehr erfolgreichen Tour 2007 zog sich Cyndi Lauper ins Studio zurück und arbeite zum ersten Mal mit europäischen House und Elektro Künstlern wie Digital Dog, Basement Jaxx, The Scumfrog, Dragonette und Telepopmusik zusammen, um etwas Neues zu versuchen. Im Frühsommer wird ihr neues Album erscheinen. Nachdem sie das von Stefanie Schneider fotografierte Plattencover einer Red Hot Chilli Peppers Single gesehen hatte, bat sie die Künstlerin, alles für ihre neue Platte und die Werbekampagne zu fotografieren. Zwei Popstars aus unterschiedlichen Branchen, Fotografie und Musik, zwei Frauen unterschiedlicher Generationen treffen aufeinander: Stefanie Schneider und Cyndi Lauper im Shooting. Metropolis ist exklusiv dabei.

view photographs >>

NEWS

>> October 3   |   2009

"TILL DEATH DO US PART" SOUNDTRACK AND DVD NOW AVAILABLE AT DUSSMANN, BERLIN

record cover daisy

"Till Death Do Us Part" Soundtrack Independent Album of the month November 2009 at Dussmann, Berlin.

AUCTION

>> SEPTEMBER  |   2008
Christie's South Kensington, Thursday, September 11, 2008

/news/content/DaisyInfrontOfTrailer

        Daisy In Front of Trailer

        Lot Description [Lot 161] >>
        Stefanie Schneider (B. 1968)
        lambda color print on glossy wove paper
        24,2 x 23,6 in. / 61,5 x 60 cm. year: 2005
        lambda colour print, 2005, on glossy wove paper, signed in blue ink on
        a loose adhesive label, numbered 43/100, the full sheet, apparently in
        excellent condition, unexamined out of the frame
        Post-War & Contemporary Editions
        estimate: 400 - 600 BP (734 - 1.102 US$)
        price realized: 1.375 BP (2.525 US$) PREMIUM (lumas edition)