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Stefanie Schneider, Impact - it all began quite simply I was very happy (Wastelands)

Stefanie Schneider Impact - it all began quite simply I was very happy (Wastelands), 2003

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Stefanie Schneider, Impact - it all began quite simply I was very happy (Wastelands)
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Informations about this artwork
  • Medium

    Photography : C-print

  • Dimensions cm | inch

    22.4 x 22 x 0 inch

  • Support

    Photography on Fujicolor Crystal Archive Paper

  • Framing

    Silver aluminium aluminium mounted

  • Artwork dimensions including frame

    22.4 x 22 x 0.4 inch

  • Type

    Numbered and limited to 5 copies
    1 remaining copy

  • Authenticity

    Work sold with an invoice from the gallery
    and a certificate of authenticity

  • Signature

    Signed artwork

  • Offered by the gallery

    Professional art gallery
    MORONGO VALLEY - United States

  • About the artwork

    Artwork sold in perfect condition

    Impact - it all began quite simply I was very happy (Wastelands) -
    Edition 3/5 , 57x56cm, 2003.
    Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper,
    based on a Polaroid, Artist inventory Number 1189.03.
    Mounted on Aluminum with matte UV-Protection, signed on verso.

    Exhibited: Reiss-Engelhorn-Museen, Mannheim (S) / Wastelands, Kunstverein Recklinghausen, Germany (S) / Wastelands, Städtische Galerie, Waldkraiburg, Germany (S)

    Published in: Wastelands published by edition braus, Wachter Verlag, Heidelberg, 2006 (monograph)

    For sale is a piece from the Wastelands series.

    Reality with the Tequila:
    Stefanie Schneider’s Fertile Wasteland
    by James Scarborough

    “How much more than enough
    for you for I for both of us darling?”
    (E. E. Cummings)

    Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence.

    Until she met him, she was pretty but unappreciated. Her soul had registered no seismic activity. Dust bowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined.

    Until she met him, she had not been inclined.

    It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon.

    They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pic- tures. Happiness brimmed in that wild terrain. Maybe things were begin- ning to look up.

    That’s when the shooting started…

    Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila.

    Stefanie Schneider’s reality is reality with the tequila. She does not abol- ish concepts that orient us, cause and effect, time, plot, and story line, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end-result, as posited in this book, will show how she bursts open our apparatus of perception and acknowl- edges life’s fluidity, its density, its complexity. Its beauty.

    She undermines expectations of our experience of reality with odd, other- worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period glow or the intense celestial blue of the cafe skies that Van Gogh painted in the south of France. Yellow starbursts punctuate images as if seen through the viewfinder of a flying saucer. At the same time, objects appear both vintage and futuristic, the landscape of a post-apocalyptic world.

    Landscapes change seemingly at random as do the seasons. Stefanie Schneider offers no indication of how time flows here, except that it con- ceivably turns in on itself and then goes its merry way. Time is a river whose source is a deep murky spring which blusters about with an occasional swirling eddy.

    That Stefanie Schneider thwarts an easy reading is obvious but why does she do this? Since she will not countenance anything linear, logical, or sequential, and because she does not relish anything concrete and specific, she has to roil things up a bit. Nor does she seem comfortable with a book of images that is settled, discrete, and accountable. Instead she wants to create a panoply of anxious moments that refuse to settle down into any predetermined reading. She seeks to assemble the ele- ments, establish a provisional cosmology and then let each of us bring our own life experiences to bear on the enterprise. She unravels the paucity of a universe compromised by a matrix of either/or and replaces it with a kaleidoscopic neither/both cornucopia.

    No fan of Descartes, she does not adhere to anything predicated on cogito ergo sum. No, the chance to present a universe of limitless iterations and utterances, open-ended, casualty-thwarting, intrigues her. She broaches a Heraclitan world: she shows that attempts to master, manage, and hoard time prove to be as elusive as a blind man trying to grab a salmon barehanded from a cold mountain stream. Even within the clear cut parameters of the Old West universe onto which she gloms, she shows that time is a bandit, that it is a mirage, that it is as unpredictable as it is indefinable and infinite. She coaxes us, scene by scene a slow- motion, out-ofsequence film clip, to agree with her that a running moat of lived reality easily overwhelms a castle of rationality.

    Stefanie Schneider does not mount a demolition effort much less a de- construction one. Rather, she dismantles our expectations and sets about rebuilding not things but their connections anew. She is the mistress of the synapses. Indeed all these annoying ambiguities and irritating am- biances set the stage for a very particular certainty, one kernel of truth amidst these skewed and open-ended fields of inquiry. What connects all these images, in whatever order they might be presented1, is what I call an Augenblick, the mental distance between each page in whose ex- panse occurs the processing of shards of lived experience between these blinks of an eye that comprise the pages of Wastelands. During these innumerous Augenblicke, we take whatever shifts and turns that Stefanie Schneider throws at us, recalibrate our bearings, and then move on, at least until the next inevitable obstruction.

    Irritating (and enlightening) as these shots may be, they’re nothing new. Rilke writes that, instead of trying to understand the quiddities of things, we should just be joyous at their mystery, just assume that they’re written in a lovely script that neither you nor anyone else can ever understand. Keats writes about being “awake forever in a sweet unrest,” although he’s talking about love. Stefanie Schneider makes us work for this idea of an Augenblick, but the result is worth it. The scenes and their sequencing dazzle us in a Borgesian Hall of Mirrors. Stefanie Schneider shows us that reality is anything but linear and user-friendly, but once one becomes accustomed to her enhanced dimension of space and time, we see the world in all its multifarious beauty and rapture. For that reason, Stefanie Schneider’s Augenblicke show us that reality may be a wasteland but it is as fertile as fertile can be.

    1 I refer to Julio Cortazar’s novel, Hopscotch, in which he presents his story in a linear way, with consecutive chapters that follow a particular coherence. In a note at the beginning of the novel, he suggests an alternative reading via a new sequence of chapters. So instead of reading chapter 1 first, chapter 2 second, you read, say chapter 57 first,chapter 32 second, chapter 1 third and so on to form a new story. Similarly, Stefanie Schneider’s Wastelands offers a multitude of coherences.
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Stefanie Schneider

Germany Born in: 1968
Translation in progress

Stefanie Schneider (1968) is a German photographer living in Berlin and Los Angeles. Schneider's photographs exhibit the appearance of expired Polaroid instant film, with its chemical mutations. It has been released in books and exhibition catalogs, and in her own feature film 29 Palms, CA (2014). Her work has also been used as the cover art for music by Red Hot Chili Peppers and Cyndi Lauper, and in the film Stay (2005).

Schneider's preferred choice of location is the American West (especially Twentynine Palms, California, which served as location and title to one of her books), and the mounting of sequential images in a panel, the photographs evoke the impression of faded dreamy film stills. She holds an MFA in photography from the Folkwang Hochschule in Essen, Germany.

Schneider completed 29 Palms, CA in 2014. A feature film, art piece that explores the dreams and fantasies of a group of people who live in a trailer community in the Californian desert. The project includes six films: "Hitchhiker", "Rene's dream", "Sidewinder", "Till death do us part", "Heather's dream" and the feature film "The Girl Behind the White Picket Fence". A defining feature is the use of still Polaroid images in succession and voice over. Characters talk to themselves about their ambitions, memories, hopes and dreams. The latest of these short film is "Heather's dream", starring Heather Megan Christie and Udo Kier, and was selected in May 2013 by the International Short Film Festival Oberhausen and is also nominated for the 2013 German short film award.

In a review of her book Stranger Than Paradise, Daniel Kothenschulte writes in the German magazine Literaturen that:

Stefanie Schneider is an internationally known artist that takes analog photographs and makes experimental movies with them. Schneider has cribed some of the titles of the series of her enlarged Polaroids from her favorite movies: Red Desert, Zabriskie Point or The Last Picture Show. Even if most images remain connected to the genre of road movies—in one case one seems to get a glimpse of Ridley Scott's tragic runaways Thelma and Louise.


DZ Bank, Francfort, Allemagne

Dreyfuss, Bâle, Suisse

Schmidt Bank, Ratisbonne, Allemagne

Groupe d'édition Holtzbrinck, Stuttgart, Allemagne

Collection Sander, Berlin, Allemagne

Ocean Foundation, Zurich, Suisse

Germanisches Nationalmuseum, Nuremberg, Allemagne

Impossible Collection, Vienne, Autriche

Collection Luc LaRochelle, Montréal, Canada

Collection d'art du canton de Zug, Suisse


Expositions individuelles

2014 Motion Photography – 6 Finalists, Saatchi Gallery, Londres, GB

2014 Instantdreams, De Re Gallery, Los Angeles, USA

2014 Stefanie Schneider, Bregenz, Autriche

2013 The girl behind the white picket fence, Galerie Catherine et André Hug, Paris, France

2012 Stranger than Paradise, Christian Hohmann Fine Art, Palm Desert, USA

2012 Stefanie Schneider, Gallery at Cliff Lede Vineyards, Napa Valley, USA

2011 California Dreaming, ROLLO Contemporary, Londres, GB

2010 Stefanie Schneider, Galerie Walter Keller, Zurich, Suisse

2010 Instant Dreams, Frank Picture Gallery, Santa Monica, USA

2009 29 Palms, CA, Moravian Gallery, Brno, République tchèque

2008 Sidewinder, Städtische Galerie am Mozartplatz, Salzbourg, Autriche

2007 Wastelands, Kunstverein Recklinghausen, Allemagne

2006 Wastelands, Zephyr / Reiss-Engelhorn-Museen, Mannheim, Allemagne

2005 Last Picture Show, Galerie Caprice Horn, Berlin, Allemagne

2004 Suburbia, Galerie Kuttner Siebert, Berlin, Allemagne

2004 Stefanie Schneider, Galerie Michael Sturm, Stuttgart, Allemagne

Expositions collectives

2014 Nude, Pop-up Art Gallery Berlin, Allemagne

2013 Images for Images, GASK – Gallery of the Central Bohemian Region, Kutná Hora, République tchèque

2013 The Polaroid Years: Instant Photography and Experimentation, Frances Lehman Loeb Art Center, Poughkeepsie, USA

2013 Road Atlas - Straßenfotografie, DZ Bank Collection, Kunsthalle Erfurt, Allemagne

2012 Polaroid (Im)Possible – The Westlicht Collection, Forum de la culture et de l'économie du land de Rhénanie du Nord-Westphalie, Düsseldorf, Allemagne

2010 Mapping Worlds: Welten verstehen – Aufbruch in die Gegenwart, 8ème triennale internationale de la photo, Esslingen, Allemagne

2009 True Lies, Kunsthaus Essen, Allemagne

2008 Les Rencontres d'Arles, organisées par Christian Lacroix, nominée pour le prix découverte

2007 Breaking the Waves, Arthaus, Los Angeles, USA

2006 Artists for Tichy - Tichy for Artists, Museum für Moderne Kunst, Passau, Allemagne

2006 Out of the Camera: Analoge Fotografie im digitalen Zeitalter, Kunstverein, Bielefeld, Allemagne

Land in Translation, Riverside Museum, USA.

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Stefanie Schneider, Impact - it all began quite simply I was very happy (Wastelands)
Stefanie Schneider, Impact - it all began quite simply I was very happy (Wastelands) Stefanie Schneider, Impact - it all began quite simply I was very happy (Wastelands)