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Stefanie Schneider
WASTELANDS published by Edition Braus, 2006 - Monograph C-Print Wildflower

2006

$550
£420.85
€481.67
CA$776.74
A$844.19
CHF 452.41
MX$10,249.95
NOK 5,679.71
SEK 5,267.06
DKK 3,597.48

About the Item

Wastelands - Monograph - signed Hardcover, 80 pages, 29,7 x 21 cm, english, linen cover with image imprinted, Edition Braus, 2006 ISBN: 3-89904-211-5-5 editor. Thomas Schirmböck, ZEPHYR Edition of 500 Included with the book is a limited Edition C-Print: Wildflower - 20x20cm, Edition of 10, 2003. Signature label and Certificate. Not mounted. with essays by Mark Gisbourne - Foreword James Scarborough - Reality with the Tequila: Stefanie Schneider’s Fertile Wasteland Megan Mullally - story throughout images Renée Chabria - Stars Dot the Sky THIS USED TO BE MY VALLEY - song written, composed and sung by Zoë Bicât © Zoë Bicât 2005 The work of Stefanie Schneider, born 1968, takes place between fiction and reality. In multi-part, filmstill-like sequences she stages mostly herself in a consciously imperfect style. Stefanie Schneider utilized expired Polaroid material to achieve special aesthetics. Her Book “Wastelands” (Details at Amazon) shows a young woman whose living gets out of step by an encounter with a young man. The soundtrack has been written, composed and performed by Zoë Bîcat 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 She uses out-of-date Polaroid film, and the blemishes caused by the degenerated film stock, - are included in the composition in a painterly way.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)

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