>> January 24 - February 05   |   2014

Group Exibition NUDE

Pop-up Art Gallery, Berlin

nude show pop art  ana bathe  will mcbride

Participating artists: Will McBride, Stefanie Schneider, Uwe Kempen, Bon Parinya Wongwannawat, Ana Bathe, Sadie Weis, Brandt Parker, Marco Veg, Ferra, Anna Zoria, Nickola Pandelides, Fred Lanquetin, Elvira Bukowski, Marc Raps, Jessica Holt, Jade Macewan, Winston Torr, Frodo Siebenundvierzig, Mr Peluche.

The walls are going to be covered in body parts for two weeks. You don’t have to attend the exhibition naked yourself but feel free to do so if you are brave enough in this weather. As well as it being the first official Pop-Up show of the season it is also Klaus Nomi’s 70th birthday (if he were alive) and Anna Aliena will be making a special guest appearance in his honor!

Gallery Information
{ POP-UP ART GALERY, Hohenstaufenstrasse 60, 10781 Berlin }

>> February 14 - 19   |   2014

Stefanie Schneider & Ana Bath

Pop-up Art Gallery, Berlin


From Friday 14th February Pop-up Art Gallery Berlin is proud to present the work of Stefanie Schneider.

Taking the American West as her inspiration, Stefanie Schneider’s analog images evoke ideas of masquerade and play, the intense gazes of Schneider’s female characters undermine their playful edge suggesting an unnerving or tragic quality beneath the surface of these glossy women. Collectively the works evoke love, pain, loneliness, alienation and re-discovery and can be seen to suggest a social commentary on America; pointing to the cracks beneath the surface of the glitz and glamour of the ’American Dream’.

Using expired Polaroid film which is then enlarged by hand in her own laboratory, Schneider’s images both emphasis the sun drenched light of California and embody the cinematographic quality of the films of Quentin Tarantino and Oliver Stone and are reminiscent of forgotten memories, dreams and chance encounters. The blemishes of the expired Polaroid film, further add to Schneider's intent to represent an imperfect narrative.

Her work will be presented alongside one of Pop-up Gallery's most recognized and exciting artists Ana Bathe.

Born in Serbia during wartime Ana fled to Canada as a refugee at the age of ten. Raised in Toronto she always felt misplaced leading her to question her own identity. Now home in Berlin, the city and its melting pot of alternative cultures and lifestyles supports her direction of self discovery and fuels her passion to challenge ideas of conventional beauty and gender in her work.

This exhibition offers interesting look into self portrait photography by two outstanding Berlin based female artists.

This Event will run until the finissage on February 19th.

Gallery Information
{ POP-UP ART GALERY, Hohenstaufenstrasse 60, 10781 Berlin }


>> November 01  |   2013

Heather's Dream

Impakt Festival, Utrecht

impakt festival 2013
Feature Film

>> December  |   2012

The Girl Behind the White Picket Fence
at the Colony Theater, Miami Beach, 
Friday, December 7 at 10pm - Buy Tickets

at the Miami Beach Cinematheque 
Sunday, December 9 at 5pm - Buy Tickets


he Girl Behind The White Picket Fence (60m, Germany) dir. by Stefanie Schneider. An artists world of movie stills, 'The Girl Behind the White Picket Fence' is a succession of Polaroid film stills. One after another, this film takes this to the limit and still delivers. Sometimes quickly, sometimes slowly, flowing with the rhythm of the music or in the energy the film portrays. Gaps keeps the viewer paying close attention but this is no Instagram lark, this is real analog Polaroid film. This is a one off, a complete window into an artists mind as she sees the world. Sunny, hot, in love, open spaces evoking freedom but also banishment. This film started out with a vision of grand collectiveness with all participants coming from Schneider's time in Hollywood ranging from directors to actors, producers to agents and writers to weirdos. The American dream was alive and well in this motley group who fell in love with Schneider's idea to capture a story about love on Polaroid film. The center of this story is the 'Lonely Hearts Radio Station' DJ, who talks to the searching broken hearted in the southern Californian desert. A sad young girl calls in to better understand what is going on which results in an unexpected chain of events. Main characters: Hans, the mystic played by the veteran actor Udo Kier. Heather's a young girl who's lost her parents played by Heather Megan Christie. Radio station DJ played by the comic Steve Marshall. Hank is the local garbage man played by Kyle Larson.

— filmed with Polaroid film stock and Super-8 footage, overlaid with poetic voiceover monologue —  this feature film creates a dynamic kaleidoscope of words and pictures, a dreamy tale that channels Terrence Malick, Gus Van Sant, and pages torn from a lonely girl’s journal.  (Palms Springs Life)

Light Assembly is both a film festival like no other, and a mass-scale showcase of video art and architecture. In the last decade, visual artists such as Miranda July, Steve McQueen and Julian Schnabel have legitimized the crossover from visual art to filmmaking. Light Assembly is the first-ever film festival dedicated to assisting artists in that crossover between art and film. Light Assembly is also a pilot video art and architecture exposition program unique in the world. Conceived as a beta of Time Zones Chicago, planned for premier in late Summer of 2013, the goal of Light Assembly is to combine large-scale video art projection with the citywide canvas of Miami Beach and mainland Miami’s modern architectural marvels and historic landmarks.


On display during the Art Basel Miami at the Miami Beach Cinemateque.
For Sales or Artist information please contact Christian Hohmenn Fine Art, Palm Desert | Telephone (760) 346-4243 & (877) 977-CHFA toll free | E-mail email@christianhohmann.com

Please visit Christian Hohmann at the Red Dot Art Fair, Booth D104. Location Wynwood Art District. 3011 NE 1st Ave at NE 31st Street



>> May 05 - June 16   |   2012

Galerie Catherine et André Hug, Paris


eric weeks  camille

Kourtney Roy mêle la fiction et l’autoportrait. Elle explore les aspects sublimes et étranges de la vie quotidienne dans des mises en scènes pleines de tension et de mystère . Pour Eric Weeks la muse est prétexte à un potentiel narratif de la photographie ou la couleur, la lumière, le paysage et le portrait ne sont jamais le fruit du hasard. A l’aide de la technique Polaroid, parfaitement adaptée aux instantanés, Stefanie Schneider donne à ses images de muses de magnifiques effets picturaux, obtient des effets spéciaux et des flous.

Informations pratiques
Vernissage samedi 18 juin 2011 de 16h à 20h, Exposition du 16 juin au 30 juillet 2011 { Galerie Catherine et André Hug,  2, rue de l’échaudé / 40, rue de Seine, 75006 Paris } Horaires mardi au samedi de 11h00
à 13h00 14h30 à 19h00 | Contact: Catherine Hug -Telephone et sur rendez vous! | E-mail c.hug@orange.fr | Site www.galeriehug.com


>> The First-Ever Palm Springs Art Fair

>> The New Palm Springs Art Fair Premieres to Curious Crowds and Early Sales
>> San Diego Art Guide

>> more information

 ART KARLRUHE with Galerie Robert Drees, 03/08/-3/11


>> June 16  -  July 30  |   2011

Galerie Catherine et André Hug, Paris
Vernissage Saturday, June 18, 4pm

hug invite

Du 16 juin au 30 juillet 2011, la galerie Catherine et André Hug présente dans son espace une sélection de photographies de Stefanie Schneider.

Pour ses séries photographiques Stefanie Schneider utilise exclusivement du matériel Polaroid périmé, dont les substances chimiques réagissent de manière aléatoire, provoquant des aberrations chromatiques, des trous et des halos, qui se posent sur les motifs arrangés avec soin comme une seconde réalité. A l’aide du Polaroid, parfaitement adaptée aux instantanés, Stefanie Schneider donne à ses images de magnifiques effets picturaux, obtient des flous et met en scène le hasard. Stefanie Schneider peint avec ses films Polaroid. Elle évoque l’ambivalence entre imagination et interprétation, fiction et réalité, et laisse au spectateur le soin de fabriquer!sa propre image, de se situer dans un espace réel ou surréel. Le motif du désert alimente la dichotomie entre l’imagination et la réalité, en rupture constante avec la notion de repère fiable et les personnages évoluent dans un monde perdu...

For her photography series Stefanie Schneider exclusively uses expired Polaroid film in which the chemicals react in an unpredictable manner provoking chromatic aberrations, holes and haloes that carefully rest over the motifs like a second reality. Using Polaroid, perfectly adapted to capture an image instantaneously, Stefanie Schneider gives her images dazzling effects, obtains blurry images and orchestrates chance. Stefanie Schneider paints with Polaroid film and evokes the ambivalence between imagination and interpretation, fiction and reality and leaves the viewer in charge of constructing his own image and placing it in a real or unreal sitting. The desert motif nourishes a dichotomy between reality and imagination constantly at odds with the notion of a chronological time and characters who evolve in a lost world…

Informations pratiques

Vernissage samedi 18 juin 2011 de 16h à 20h, Exposition du 16 juin au 30 juillet 2011 { Galerie Catherine et André Hug,  2, rue de l’échaudé / 40, rue de Seine, 75006 Paris } Horaires mardi au samedi de 11h00
à 13h00 14h30 à 19h00 | Contact: Catherine Hug -Telephone et sur rendez vous! | E-mail c.hug@orange.fr | Site www.galeriehug.com


>> May 28  -  August 20  |   2011

Reception Thursday, May 27, 7pm
Introduction Michael Stoeber, Art Critic, Hannover.


»A wish«, 2009, C-Print mounted on Aluminium, 37x47cm, Edition 5

In mythischen Bildern amerikanischer Landschaften erarbeitet die seit Jahren in Kalifornien tätige deutsche Fotografin Stefanie Schneider facettenreiche, fotogra-fische Zyklen. Die entstehenden Erzählungen rekurrieren auf Bilder der Traumfa- brik Hollywood. Indem die Künstlerin ihre Darstellungen jedoch durch die Verwen- dung von abgelaufenem Polaroid-Material stört, das zu Farbveränderungen, Fehlern und Leerstellen innerhalb der Aufnahmen führt, thematisiert sie die Ambi- valenz des sprichwörtlichen »American Dream«. Stefanie Schneider entfaltet gleichsam ein Roadmovie mit ihrer lakonischen Bilderreise durch die Verheißun- gen und Abgründe einer Wüstenlandschaft, in der die Protagonisten an der Schnittstelle von Fotografie und Film agieren. Ihre sich im Licht auflösenden, poetischen Fotografien, die unscharf wie Traumsequenzen aufscheinen, erzeu- gen spannungsvolle Gefühle zwischen Vertrautheit und Fremdheit, Klischee und Realität.
Gallery Information
{ Galerie Robert Drees, Weidendamm 15, 30167 Hannover } Opening Hours Wednesday 10.00h-18.00h, Thursday 14.00h-18.30h, Friday 10.00h-18.30h, Saturday 11.00h-14.00h | Contact Phone + 49 511-980 58 28 | E-mail info@galerie-robert-drees.de | Site www.galerie-robert-drees.de


>> June 1  -  June 26  |   2011

im ehemaligen Gloria-Palast, Cuxhaven

Vernissage Sunday, May 29, 5pm
Curated by Deborah Brisotto, introtruction by Ralph M. Schaffarczyk

groupshow cux

„Ich gehe nicht mehr nach Cuxhaven… Nein, Nein!“ – dieser Rock-Song der Cuxhavener Band CatsTV (aus Zeiten der „Neuen Deutschen Welle“) sprach vor 30 Jahren vielen Cuxhavener Jugendlichen aus dem Herzen. Die drei Fotografen - Stefanie Schneider, Jessica Backhaus und Jonas Unger gingen weg von Cuxhaven - um Ihren eigenen persönlichen und fotografischen Weg zu gehen. Heute sind sie wiedergekommen!

Stefanie Schneider ging nach Amerika auf der Suche nach Freiheit und kreativen Herausforderungen: die Neue Welt als Möglichkeit für ein neues Leben – wie mehr als hundert Jahre zuvor jene Auswanderer, die über die Hapag-Hallen ins Unbekannte, in die Neue Welt vorstießen.

Jessica Backhaus fand sich schon mit 16 als junges Mädchen in Paris wieder, der Stadt, die schon immer die Künstler anzog; in der gleichen Stadt, die Jahre später auch Jonas Unger für sich entdeckte.

Drei Künstler. Drei verschiedene Augen hinter der Kamera. Dreierlei Blickweisen. - Und so werden die Fotografien von Stefanie Schneider, Jessica Backhaus und Jonas Unger – vereint unter den „Augen des Raumes“ in einem herrlichen, fast schon verlorenen Kinosaal, und gespiegelt durch die Augen der Betrachter dieser Ausstellung  –  e i n s  werden mit dem Kino hier und dem Kino überhaupt.


>> May 15  -  May 28  |   2011

Reception Sunday, May 15, 15.00h


»Beloved«, 2007, C-Print mounted on Aluminium, 70x90cm, Edition 5

Im Rahmen des „Kultursonntags“ eröffnet am Sonntag, den 15. Mai 2011 um 15 Uhr in der Kölner Galerie 30works die zweiwöchige Ausstellung „Polaroids“ mit Arbeiten der Folkwang-Absolventin Stefanie Schneider.

Seit einigen Jahren schon sorgt sie mit ihren Bildern für Furore. Ihre Blow Ups, die sie in ihrem eigenen Labor selbst vergrößert, bewegen sich zwischen Film, Fotografie und Malerei. Surreal entrückt und irritierend wie ein Thriller von David Lynch, erinnern sie mit ihrer verblichenen Farbigkeit an die Pop-Art der 50er Jahre.

Die Fotokünstlerin arbeitet mit der für Schnappschüsse gebräuchlichen Polaroid- Technik. Dabei verwendet sie ausschließlich Material, das bereits das Verfallsdatum überschritten hat. Die dadurch bedingten unkalkulierbaren chemischen Prozesse erzeugen eine aufregende Ästhetik des Unvollkommenen: Farbverschiebungen, Flecken und Überstrahlungen legen sich wie eine zweite Realität über die sorgsam inszenierten Motive. Der Zufall wird bei Stefanie Schneider ganz bewusst zum künstlerischen Komplizen.

Die gebürtige Cuxhavenerin arrangiert ihre Lichtbilder bevorzugt in der Weite des amerikanischen Südwestens. Ihre Reminiszenzen an die Genreszenen der Traumfabrik taucht sie in die Fehlfarben einer flüchtigen Illusion. Es sind Standbilder eines Films, der im Kopf des Betrachters abläuft, „Polaroad Movies“ auf den verschlungenen Pfaden unserer Ängste und Sehnsüchte.

Gallery Information
30works Galerie - Antwerpener Str. 42 - 50672 Köln } Opening Hours Tuesaday - Friday 15.00h-19.00h, Saturday 11.00h-17.00h & by appointment | Contact Phone + 49 (0) 221-5700250 | E-mail: g.margaritis@30works.de | Site: http://www.30works.de/


>> April 12  -  17  |   2011


RENéE'S  DREAM (USA / 2005, 4')

renees dream

....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”


>> NOVEMBER 25  -  JANUARY 22  |   2011


Vernissage and Artist Talk: Walter Keller and Stefane Schneider
Friday, January 21, 2011, 18.30h

Opening Hours:
Thursday and Friday
12am to 6pm
Saturday 12am to 5pm

Obersdorfer Str.2 - 8001 Zürich, phone: +41 (0) 43 268 53 65
info@kellerkunst.com, website: www.kellerkunst.com


VEGAS ( 2000 )  |  120x160cm, ed. of 3  |  hand-printed analog C-Print

"In ihren Bildern begegnet man sehr viele Figuren: Einige sehen aus wie Abbilder von Felsgruppen, Verkehrsschildern oder Warenzeichen. Es ist, als würden diese Figuren mit dem, was sie darstellen, nicht sich selbst spielen, sondern als existierten sie vielmehr als Lebendige in einem Graffito."

"One meets so many characters in her pictures, many resemble images of rock formations, road signs or trademarks. It is as if these character’s performances are not enactments of themselves but rather they exist as life inside pieces of graffiti."

Marc Forster


>> December 4  -  JANUARY 20  |   2011

Design 20e siècle & Art Contemporain
Hielview Motel, 2003, triptyque, tirage argentique, contre collage sur métal, chaque photo 56 x 57 cm, série limitée à 10 exemplaires
Informations pratiques
{ Galerie Thierry Librati 30, rue de Lille, 75007 Paris } Horaires mardi au samedi de 14h30 à 19h00 | Contact Thierry Librati Telephone 01 40 20 40 84 | E-mail contact@librati.com | Site www.librati.com


>> June 16  -  August 21  |   2011

Reception Thursday, June 16, 19.00h


»Untitled«, 2011, PX 680 Colorshade Push, 9x11cm (Original)

Als 2009 bekannt wurde, dass die legendäre Polaroid Collection mit ihren zwei Standorten in den USA und Europa als Teil der Konkursmasse des insolventen Unternehmens bei Sotheby’s New York versteigert werden sollte, ging ein Aufschrei durch die internationale Fotoszene: Angeführt von Chuck Close, protestierten Künstler, Museen und Fotoliebhaber weltweit gegen den Ausverkauf der Sammlung. Quasi in letzter Minute gelang es WestLicht, den europäischen Teil der Sammlung zu übernehmen und in seiner Gesamtheit zu erhalten. Gegründet von Edwin Land in den 1960er Jahren, umfasst dieser einmalige historische Bestand rund 4.400 Werke von 800 internationalen Künstlern. Die Ausstellung präsentiert am Beispiel ausgewählter Meisterwerke – von Ansel Adams bis Andy Warhol – einen ersten Querschnitt dieser einzigartigen Sammlung. Ergänzt werden die Polaroids durch jüngere Werke von Künstlern wie Nobuyoshi Araki und Daido Muriyama, die mit dem neuen Impossible-Sofortbildmaterial arbeiten. Eine erstaunliche Bandbreite an wichtigen Genres und innovativen Prozessen vermittelt die spezifische Originalität und Magie der Sofortbildkunst. Sie wird entlang der unterschiedlichen Kameras und Filmtypen vorgestellt, bis hin zu den faszinierenden 20x24-Zoll-Formaten. Begleitend erscheint der Katalog FROM POLAROID TO IMPOSSIBLE / MASTERPIECES OF INSTANT PHOTOGRAPHY – THE WESTLICHT COLLECTION im Hatje Cantz Verlag (hgg. von Achim Heine, Rebekka Reuter, Ulrike Willingmann; Hardcover, Deutsch-Englisch, 192 Seiten, 230 Farbabbildungen).

Eröffnet anlässlich der Feier von 10 Jahren WestLicht und 20 Jahren Leica Shop.

Impossible and WestLicht Museum of Photography preserve and lead the International Polaroid Collection into the future. Thanks to the commitment of Impossible, the producer of the new analog instant film material, the Vienna based Museum of Photography WestLicht purchased the International Polaroid Collection. WestLicht takes over 4.400 artworks from 800 artists (from Ansel Adams to Andy Warhol) and will exhibit a fine selection of these iconic images combined with some new contemporary works shot on new Impossible instant film
from June 17th, 2011. Formed between 1972 and 1990 by Polaroid, the legendary International Collection disappeared for 20 years in the archives of the Swiss Musée de l’Elysée in Lausanne. Peter Coeln, owner of the WestLicht Museum and also an investor of the Impossible Project, has now saved the Polaroid Collection which had been put on the market by the liquidators dealing with the assets of the insolvent company. For almost two years the future of the unique Polaroid collection was fairly uncertain. The spectacular acquisition at the last moment secures the continued existence of this historic collection and presents it to a broad public for the first time. The future of the yet hidden analog treasure is thus not only saved but also brighter than ever before. After all these years the collection is finally going to be reconnected with its original concept. Dr. Florian Kaps, founder of the Impossible Project, says: “Most important is the fact that we finally found a perfect solution for not onl celebrating the incredible potential of all the existing artworks, but that we also formed a great setup to re-start the original concept by inviting contemporary artists to join this ongoing project by supplying them with the new generation of Impossible instant films”. The first impressions of this collaboration will proudly be presented at WestLicht from June 17th, 2011. This exhibition will for the first time show a complete representative profile of the traditional collection, displaying never before shown pieces. Combined with the first results of the new Impossible Collection, the magic of instant photography will be lifted onto the next level. Hatje Cantz published a catalog to accompany the exhibition: FROM POLAROID TO IMPOSSIBLE / MASTERPIECES OF INSTANT PHOTOGRAPHY – THE WESTLICHT COLLECTION. This publication features selected Polaroid masterpieces and new Impossible instant photography by contemporary artists such as Stefanie Schneider and Nobuyoshi Araki.

Gallery Information

WestLicht. Schauplatz für Fotografie, Westbahnstrße 40,1070 Vienna Contact Phone + 43 (0)1 522 66 36 | E-mailinfo@westlicht.com | Site www.westlicht.com


>> OCTOBER 16  -  NOVEMBER 11  |   2010 

Frank Picture Gallery, Santa Monica, USA
Vernissage October 24  /  18.00h

Opening Hours
Tue-Sat 11.30-18.30h
or by appointment 

Bergamot Station, A-5 - 2525 Michigan Avenue - Santa Monica, CA 90404 - phone 310.828.0211, contact: Laurie@frankpicturesgallery.com


Frank Pictures Gallery is proud to present renowned photographer Stefanie Schneider’s show “Instant Dreams” from October 16th to November 11th, with an artist’s reception on Sunday, October 24th. This is Schneider’s second exhibition with gallerist Laurie Frank, as she introduced Schneider’s first US solo show at her Still/Moving venue in 1998. Schneider's scintillating situations take place in the American West. Situated on the verge of an elusive super-reality, her photographic sequences provide the ambience for loosely woven story lines and a cast of phantasmic characters. Schneider is known for using expired Polaroid instant film material to achieve an effect of washed-out colors and random artifacts from the deprecation of the chemicals. These serendipitous chemical color explosions spread across the surfaces to undermine the photograph's commitment to reality and induce her characters into trance-like dreamscapes. Like flickering sequences of old road movies Schneider's images seem to evaporate before conclusions can be made - their ephemeral reality manifesting in subtle gestures and mysterious motives. Combined with her preferred choice of location, 29 Palms, CA, (which served as location and title to one of her books and films), and the mounting of sequential images in a panel, the photographs evoke the impression of faded film stills. Schneider's images refuse to succumb to reality, they keep alive the confusions of dream, desire, fact, and fiction. Schneider shot the album cover for the Red Hot Chili Peppers "Desecration Smile" single and all the photography for Cyndi Lauper's "Bring Ya to the Brink" album as well as Daisy McCracken's album covers.

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. Previously she has shown in the U.S. with Susanne Vielmetter at LA Projects, Art Haus LA. She lives and works between the California desert and Berlin.

view website: http://frankpicturesgallery.com/



>> SEPTEMBER 18  -  OCTOBER 30  |   2010 

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



>> SEPTEMBER 24  -  OCTOBER 23  |   2010 

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


>>  more  info


>> OCTOBER 21  -  OCTOBER 24  |   2010 

SHOW OFF Paris Solo Project "Women Only" presented by Catherine and André Hug Gallery, Paris 

public hours daily 12-8pm, ticket price: 10 Euros, free for art students

Location: Port des Champs Elysées, Paris 
view website: www.showoffparis.fr


For its fifth edition, SHOW OFF 2010 becomes the SOLO SHOW art fair of Paris. Show OFF will take place October 21-24, 2010 during Paris’ Contemporary Art Week and will be set in a lumious, elegant tent in the heart of Paris, a few steps away from the Grand Palais and the banks of the Champs Elysees. Painting, photography, drawing, sculpture, video, and installation; all media will be represented in a unique format highly favorable to participating artists. 

The Catherine and André Hug Gallery seeks to discover young talent and promote them internationally. The gallery works largely with artists exploring the times, and techniques of their time. The German Photographer Stefanie Schneider will offer photographic portraits of the American West exploring the fragility of the America dream. In her series Schneider tests the limits of the Polaroid and all its chromatic aberrations as part of a carefully crafted motif of halos and holes representative of a second reality.

La galerie Catherine et André Hug pour objectif de découvrir de jeunes talents et d’en faire la promotion internationale. Le choix de la galerie sur des artistes exploitant les technique de leurs temps et des thèmes évocateurs proches des préoccupations actuelles.

La photographe allemande Stefanie Schneider est l’artiste présenteée cette par la galerie. Au travers de photographies de l’ouest des Etats-Unis, Stefanie Schneider fait transparaître la fragilité du rêve américain. Dans ses séries photographiques où elle tient souvant le premier rôle, l’utilisation exclusive du matériel Polaroid périmé provoquent des aberrations chromatiques, des trous et des halos, qui se posent sur les motifs arrangés avec soin comme uns seconde réalité.

view website: www.showoffparis.fr


 >> 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



>> JANUARY 14 &  21   |   2010


Renée's Dream, Sidewinder, Till Death Do Us Part

Girls just wanna have fun
Stefanie Schneider Meets Cyndi Lauper

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

renee Poster

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 >>

Girls just wanna have fun
Stefanie Schneider Meets Cyndi 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 >>


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


in cooperation with Nathan Köstlin

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 ]


>> SEPTEMBER 25 - NOVEMBER 30  |   2009  extended till JAN 2010

LANDSCAPES & ICONS - images emblématiques
Galerie Thierry Librati
, Paris, France


Flash back... Hasard de la vie...
Los Angeles, un jour de 1997, dans un magasin de photos, Stefanie est attirée par un stock de films polaroïd périmés. Elle n'hésite pas, achète les 180 films et conclut l'affaire au prix de 50 cents le film! Le lendemain elle se procure l'appareil polaroïd à bon prix. Ainsi, le jour suivant elle se rend à la plage avec son matériel, fait ses premiers essais et c'est en découvrant les résultats qu'elle réalise que ces réactions chimiques aléatoires révèlent avec une étrange exactitude l'univers qu'elle avait en tête. A ce moment là Stefanie ne sait pas encore qu'elle a trouvé la matière qui fera d'elle l'artiste internationalement reconnue qu'elle est aujourd'hui. Dès lors, elle ne cessera d'acheter tout ce qu'elle trouve sur son passage de films périmés et d'appareils usagés!

Thierry Librati présente en exclusivité en France 15 photos argentiques et composition qui illustrent le travail singulier de cette artiste Berlinoise qui passe chaque année 6 mois en Californie pour réaliser ses prises de vue. Les films polaroïds qu’elle utilise et dont la date limite de validité est largement dépassée, confèrent aux photos de Stefanie Schneider une atmosphère étrange et poétique, entre rêve et réalité. Sa technique unique faite de hasard - e résultat est toujours inattendu- et de maîtrise - S. Schneider re-photographie le polaroid en studio afin de produire des photos grand format en respectant le cadrage original- révèle la vision d’une Amérique réelle ou fantasmée, au travers d’imperfections assumées et de sublimes lumières et couleurs, diaphanes, acidulées, décalées, souvent surexposées. Une enseigne lumineuse de Motel, un chemin de fer US, une voiture américaine ou la bannière étoilée flottant au vent, ce sont ces images emblématiques qui illustrent la vision du rêve américain de Stefanie Schneider.

Informations pratiques
Vernissage jeudi 24 septembre 2008 de 17h à 23h, Exposition du 25 septembre au 30 novembre 2009 { Galerie Thierry Librati 30, rue de Lille, 75007 Paris } Horaires mardi au samedi de 14h30 à 19h00 | Contact Thierry Librati Telephone 01 40 20 40 84 | E-mail contact@librati.com | Site www.librati.com


>> AUGUST 29    |   2009

Exhibition series curated by KARLA BRAUN
launches with Dreaming Awake
on Saturday, August 29 from 5:00pm until midnight at Malibu Market and Design
25001 Pacific Coast Highway | Malibu, CA | 90265

dreaming awake

You are cordially invited to "reinforce the randomness of life" and immerse your senses into the surreal wonderland of Stefanie Schneider's photographs...
“(Stefanie's photos) reinforce the randomness of life: the frisson that happens when you pass by someone you may have met in a dream; the way relationships begin and end and the way they occasionally, miraculously, work out...She suggests that all we can do is point out basic truth, marvel at our brain’s architecture, revel in the found beauty…We can gawk at the Polaroid’s chemical burns that resemble starbursts in the day sky in the same way we can acknowledge without understanding someone’s fleeting interest in a stranger. In other words, we can relate."
--James Scarborough, Frieze Magazine

The exhibition is sponsored by Malibu Magazine & Green Truck (organic food delivery)   for more information >>


>> MARCH 20 - JUNE 14  |   2009

The Moravian Gallery in Brno
/ Museum of Applied Arts              CZECH REPUBLIC

curator Jirí Pátek,
Vernissage March 19  / 17.00h

Untitled, 2009

The German artist Stefanie Schneider (*1968) has made a name for herself as a photographer building on visual effects from her work with expired polaroid material.

Not limiting herself to static images her domain is installations combining photography, video, sound and text. Straddled between Berlin and Los Angeles, Schneider enjoys an increasing international reputation, although she is virtually unknown to the Czech art-loving public.


>> MARCH 06 - APRIL 19  |   2009

Kunsthaus Essen, Essen, Germany

curated by Uwe Schramm a group exhibition with Wolfgang Fütterer, Melissa Gordon, Andreas Kohler, Hanna Mattes, Stefanie Schneider, Bettina Hoffmann

wolfgang fuetterer
   desert junkyard

Die Ausstellung "True Lies" dreht sich um Fragen nach der Wirklichkeit und Wahrhaftigkeit von Bildern. Anhand von ausgewählten aktuellen künstlerischen Positionen aus den Bereichen Fotografie, Malerei und Video sollen die Betrachter in ein bildgeneriertes Spannungsfeld aus Fiktion, Wirklichkeit und Dokumentation geführt werden, dessen Betreten zu einer produktiven Irritation und Hinterfragung der eigenen Welt- und Wirklichkeitssicht führt.


>> JANUARY 24 - FEBRUARY 24  |   2009

artHAUS 2009

OPENING NIGHT Januar 24  /  5pm
curated by Thomas Schirmboeck, Zephyr, Mannheim


ArtHAUS is an international exhibition that integrates contemporary art and architecture by engaging world class curators to showcase cutting edge artwork - photography, video, sculpture and painting - in newly renovated residences that celebrate the best new local architecture of the host city. This year’s artHAUS is curated by Thomas Schirmboeck of the Reiss-Engelhorn Museum in Manheim, Germany and features twenty five artists from Los Angeles to Berlin at Dogtown Station in Venice, California. Artists include noted photographers Stefanie Schneider, Al Weber, painters Chuck Arnoldi, Kimberly Brooks, Myriam Holme and sculptors Gwynn Murrill and Tom Chapin. ArtHAUS 2009 is installed across seven Manhattan-Style lofts in the heart of Venice at the newly renovated “DogTown Station” at 700 Main Street. THOMAS SCHIRMBOECK, curator Thomas Schirmboeck is currently the associate curator of the Reiss-Engelhorn Museum and director of the Zephyr Gallery in Manheim, Germany. Mr. Schirmboeck has produced eighty four shows internationally ranging from photography, painting and installation. From 1996 to 2004 he was founding manager of "Fotogalerie Alte Feuerwache", a public space for photography and related media as one of the leading art spaces for contemporary media in Southern Germany. Before this he lectured in art history at the Manheim University. He is a member of public commissions including Germaine-Krull-Foundation, Wetzlar, Germany, Welde Kunst Preis Schwetzingen, and senior member of the board City Gallery of Mannheim. He received degrees in art history, archaeology and political sciences at Heidelberg University. As an editor he has published numerous catalogues and written essays for book publishers.

>>  more  info  OR / AND  download pdf


>> NOVEMBER 15 - DECEMBER 20  |   2008

Group Exhibition with Monika Thiele, KEHL, Stefanie Schneider

Vernissage November 15  /  18.30 - 20.30
speech by Regina M. Fischer M.A., Kunsthistorikerin Pforzheim


opening hours: Tuesday - Friday 14.00 - 19.00, Saturday 12.00 - 16.00 and upon
appointment. Ebertstrasse 14. 76137 Karlsruhe. phone / fax: ++49-721-5695577


>> SEPTEMBER 20 - NOVEMBER 1  |   2008



Vernissage Friday 19  /  19.30 - 22.30
c.art-Galerie, Dornbirn, Austria
Marktstraße 45 | 6851 Dornbirn
Tue-Fri 9-12 am & 3-6 pm | Sat 10-12 am


>> JULY - SEPTEMBER  |   2008


Zu den Salzburger Sommerfestspielen lieferte Stefanie Schneider Motive aus der Serie „Sidewinder“ als Bildvorlagen für das Festspielplakat und das Programmheft, um hiermit das Motto der Festspiele „Denn stark wie die Liebe ist der Tod“ zu  veranschaulichen. Dies ist Anlass für die Galerie Robert Drees, ab 16. Juli eine Ausstellung in Salzburg in der Galerie am Mozartplatz durchzuführen. In Kooperation mit den Salzburger Festspielen und dem Kulturamt der Stadt Salzburg zeigen wir dort bis zum 29. August einige Werkgruppen von Stefanie Schneider.


>> MAY 4 - APRIL 30   |   2008  

Galerie Robert Drees, Hannover

/news/content/sidewinder_may/sidewinder_ex_1.jpg   /news/content/sidewinder_may/sidewinder_ex_2.jpg

by Gusztáv Hámos, 04. April 2008
Zur Einführung Stefanie Schneiders Ausstellung „Sidewinder“


>> FEBRUARY 12 - MARCH 15  |   2008

29 palms, ca
first viewing 01 / 08

opening reception february 11 18.00 h - 22.00 h
, 10969 BERLIN (kochstrasse 55 - 58)
for information please contact: info@twentyninepalms.ca

also note: 29 Palms, CA @ the atrium
filmhaus potsdamer strasse 2 selected by BERLINALE / FORUM
february 7 - february 17 2008

udo kierpress text

29 Palms, CA is a project positioned between film and art. In this project the German photo artist, Stefanie Schneider, explores and documents the dreams and fantasies of a group of people living in a trailer park community in the California desert.

An essential part of this project is the artistic, conceptual and filmic collaboration between actors, musicians, photo artists, directors etc. Udo kier is not only a performer, but also a producer. Marc Forster is responsible for directing the dialogues, and special effects in the post production. Radha Mitchell is writing the script. Sophie Huber, Max Sharam, Daisy McCrackin, JD Rudometkin, Zoe Bicat and Camille Waldorf are all writing the music, developing their characters and acting as performers. All participants are developing and acting out their characters. Steve Marshall is a performer as well as the DJ of the “Lonely Hearts Radio Show”. Sabine Dehnel will build the DJ booth of the radio station as a model, which will then be emulated as the DJ room for the film.

The vision of a feature-length film is just as important in this as all the single, small stages or fragments, which are necessary for this film: Just as life and the circumstances of our social reality, the project 29 Palms, CA is in a state of constant change and development. The film is a biography and a social commentary, whose characters act as the alter egos of those individuals who portray them. In the course of the art project the different performers have contributed ideas, stories, scenes, monologues, poems, music and films, so that the basic principle of the concept, namely a collaboration of different perspectives and the pooling of different fragments and depictions, bestows a lively rhythm upon the film. Each character will introduce his or her character in the form of a fictional or semi-fictional diary on the website, which was specially developed for this project. The website hereby plays the role of an independent world from which the film project and the radio show emerge. The characters take influence on what will be seen in the film through their descriptions. Through the radio show connections between the individual performers will be established.

The whole film is generated from Polaroid pictures, which Stefanie Schneider is editing into the film. The fact that the films are expired leads to the surreal distortions and colorings. The pictures appear fleeting and taut, blurry. Stefanie Schneider paints with her Polaroid films. She clearly alludes to the ambivalence between imagination and portrayal, between fiction and reality, and leaves it to the viewer to form his/her own picture, to remain in a surreal or real space. The motive of the desert also supports the dichotomy between imagination and reality, at any moment breaking the clearness of a definite ascription, which is definitely not found in her work. All the more clear it becomes that the characters are living in their own lost world, but that life itself can change their perspective on their world. The place in which the performers of 29 Palms, CA are living, is more an idea or a reflection of a place than a place per definition itself. The light and the desert landscape are painting an imaginary reality, which the characters find themselves exposed to. Memories, fantasies and reality merge.

The project can be seen at the Berlinale / Forum in the Atrium of the Gossip Bar (Filmhaus Potsdamer Platz) and the gallery Spesshardt & Klein. For the first time the complexity of this grand art project, which positioned between film and fine arts, as well as a link or interface in between various media, will be exhibited.

download exhibition pdf

>> more info


>> SEPTEMBER 21 - SEPTEMBER 27  |   2006


private party, 21. september 2006
nd-projects  { GALERIE SEE, Seefeldstrasse 301a, CH-8008 zürich }


Der erfolgreiche Schweizer Hollywood-Regisseur Marc Forster („Monster’s Ball“, „Finding Neverland“, "Quantum of Solace"), hat sich für seinen Film „Stay“ von Stefanie Schneiders Bildern nicht nur inspirieren lassen, sondern sie spielen – neben Ewan McGregor und Naomi Watts - eine Hauptrolle: sowohl als „Kunst im Film“, als auch als Look einer Traum- und Gegenwelt.

Bei Stefanie Schneider erinnere ich mich nie an Details des Bildes, sondern
nur an das Ganze. Zwischen Wirklichkeit und Traum wird bei Ihr ein dritter Weg
beschritten, der beides vereint und mich wahrhaftig von künstlerischer, visueller
Freiheit beflügelt.

(MARC FORSTER, Oktober 2005)


>> JULY 7 - NOVEMBER 26  |   2006



SYNC! – The Cinematic Eye

A summer’s evening... You’re taking a stroll through your own neighbour- hood, lost in thought. Suddenly you spot a back-lit photo filling a display window; it seems oddly familiar. As you approach it, you realize that it’s a life-size still taken from a famous film scene. You’re engrossed. A humdrum spot down the road has been lit up too. What’s happening, you think, what have I missed? Every single detail impresses itself upon your retina, until your attention shifts to another illuminated image in the distance...

An international visual arts project.

SYNC! The trailer - Between the 7th of July and the 26th of November 2006, the SYNC! team organized the exhibition SIDEWINDER, a solo by rising star Stefanie
Schneider, who will also participate in the larger, 2007 edition of SYNC!. It served to put the concept to the test, and to work on business connections. The exhibition was much appreciated by the audience. 


>> MARCH 02 - APRIL 06  |   2002

Solo Exhibition Stefanie Schneider in der Galerie Michael Zink


Stefanie Schneiders meist seriell angelegte Fotoarbeiten wurzeln in den sterotypen Bild- und Erzählmustern des amerikanischen Genrefilm; ähnlich wie Wim Wenders in vielen seiner Filme inszeniert Stefanie Schneider in ihren Fotografien - mit europäisch geprägtem Blick -  das vermeintlich typisch Amerikanische. Dafür bedient sie sich der USA-Bilder unseres kollektiven Bildbewußtseins: das im Wind flatternde Sternenbanner, der geheimnisvolle Mann am öffentlichen Münzfernsprecher, die Tankstelle in der Wüste; und stößt gleichzeitig all die mit diesen Images verbundenen Assoziationen an.

Die Sequenzen in Schneiders Fotoserien münden aber nicht in linearen, nachvollziehbaren Erzählungen: Mit einzelnen Bildern deutet sie eine Geschichte lediglich an; deren Gehalt überläßt sie der Imagination des Betrachters. Die einzelnen Aufnahmen wirken seltsam entrückt, emotional aufgeladen, bisweilen surreal, die Sphären von Realität, Fiktion und Traum lassen sich in ihnen nicht mehr eindeutig differenzieren. Diese Atmosphäre resultiert auch aus dem Einsatz von überlagertem Polaroidmaterial. Der gestörte fotochemische Prozeß des Ausgangsmaterials führt zu überzeichneten Farben, Unschärfen und Fehlstellen auf den Bildern, einem Effekt, der durch das anschließende nochmalige Abfotografieren und Vergrößern der Polaroidaufnahmen zusätzlich gesteigert wird. Diese zwar kalkulierbaren, aber im einzelnen weitgehend unkontrollierten Vorgänge setzt Stefanie Schneider im Sinne kreativen Zufalls bewußt ein; einen Teil der Bildgestaltung gibt so damit willentlich aus der Hand.

Stefanie Schneiders Fotoarbeiten setzen der aktuell dominierenden perfektionistischen, sachlich-kühlen Ästhetik der Becher-Schule eine assoziative, emotional besetzte, malerische Qualitäten entwickelnde Fotografie entgegen und stellen damit das sinnliche Erleben vor die konzeptuelle Strategie.


>> JULY 10 - AUGUST 04  |   2001


address now:
5795 West Washington Blvd, Culver City, CA 90232
phone 323.933-2117, fax 323.933-3997



Five photos in a row: the address of a decrepit house; a thrashed US flag awash in sunlight; a pokerfaced waif staring into the distance; and both close-up and long shots of a young stud at a pay phone. Like stills from a Ralph Lauren Polo commercial transmuted into a bizarre alternate universe, Stefanie Schneider's color prints—blowups from standard Polaroids—are all-American in a troubling way. Her images read like frames from narratives we never get. OK Corral, 2001, for example, presents a young man in a desert setting: first far in the distance; then close enough to make out the fact that he's holding a rifle; then right in your face and looking despondent. Instead of a clearly delineated story, Schneider offers intimations, a suggestive lack of specificity reinforced by the prematurely aged look achieved by using long-expired Polaroid stock. In Streetcorner, 2000, she depicts a young woman watching and a man just about to slip into a building. You pick the sound track to play in your head. The number of possible endings to these stories is endless.

—Christopher Miles


>> APRIL 01 - MAY 20  |   2001

Ausstellungshalle zeitgenössische Kunst Münster

Night on Earth - Fotografie und Videokunst

Photographs and videoworks by: Henry Bond, Adam Chodzko, Alain Declercq, David Deutsch, Serge de Waha, Willie Doherty, Alicia Framis, Hatty Lee, Seamus Nicolson, Matthew McCaslin, Sophy Rickett, Stefanie Schneider

The night, the time of darkness, is the topic of exhibition Night on Earth. Curated by Ralf Christofori, curator of the internationally acclaimed exhibition Colour Me Blind!, Night on Earth triggers memories of Jim Jarmusch’s unforgettable homage to night in the 20th Century.

In both Jarmusch’s film and this exhibition, nightlife is investigated as an unavoidable part of our contemporary reality. The exhibition is centred on a theme that has become a leitmotif of the Hawerkamp exhibition programme: showing artworks that see their aesthetic potential in their ability to illumine aspects of our life from the social and societal angle. Once again in this Hawerkamp show, connections, structures and ways of behaving are revealed, showing the complexity of our everyday lives.