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Stefanie Schneider
Oasis XVI (Sidewinder)

2005

$500
£379.67
€455.39
CA$716.08
A$739.17
CHF 416.63
MX$9,563.10
NOK 4,753.30
SEK 5,014.52
DKK 3,403.77

About the Item

Oasis XVI (Sidewinder) - 2005 38x37cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory #3016. Not mounted. Sideways
 An Introduction to Stefanie Schneider's Exhibition “Sidewinder” by Gusztáv Hámos
April 4, 2008 "And when I got to Amerika, I say it blow my mind," sings Eric Burdon in his song "New York 1963 – America 1968."
This line could well have inspired Stefanie Schneider’s exhibition. The title Sidewinder translates to "uppercut" and is also the name of a sidewinding rattlesnake—a nod to a metaphorical "mind blow." Both Eric Burdon in the 1960s and Stefanie Schneider in the new millennium chase their own versions of the American dream, each navigating perilous terrain: Burdon ventured into Harlem and the Bronx, while Schneider immersed herself in the California desert. Both physically experience America and arrive at an ambivalent conclusion about the pursuit of the "American Dream." I must admit, Stefanie Schneider’s cinematic photo sequences captivated me immediately—not merely “pleased” but liberated and exhilarated me, evoking a heightened sense of joy. As one might say in German, the exhibition space is electric with tension! This pleasant anticipation was briefly dampened by Mark Gisbourne's claim that Stefanie Schneider’s work is comparable to David Lynch. To date, Lynch’s films have represented pure horror to me, plunging me into the claustrophobic nightmare of the rigidly masculine, white-American dream—a world I would never willingly enter. Do I now need to re-evaluate Lynch because I’ve grown fond of Schneider’s work? I am unconvinced that David Lynch’s cinematic world is related to Stefanie Schneider’s narrative photo installations. In fact, I see them as diametrically opposed. Lynch's film noir often features the archetype of the femme fatale, a male projection of carnal desire yet entirely unfit for genuine emotional connection. In contrast, Schneider’s women have nothing in common with a femme fatale. They are flesh-and-blood, their desires raw and authentic—almost documentary-like. Unlike Lynch’s stylized women, Schneider’s protagonists do not pine for a “homme fatal” or any fetishized fantasy. Her women are passionate, unafraid of mess and grime. While Lynch’s labyrinthine, sterile nightmares contrast starkly with this, Schneider allows her Polaroid film to age for five years before using it in her instant camera. The result is flawed film development, physically revealing the process within the Polaroid frame itself. The Polaroid medium offers compelling evidence that photography does not freeze movement but perpetuates it. As Nadine Olonetzki writes in her article Polaroid – Die Maschine zum Lebensgefühl: “(...) the image shoots out of the slit-like mouth of the Polaroid camera like a square tongue—and is eagerly snatched up. You want to see the photo; you want to see how it emerges.” But one can never be sure when the development process ends, and it’s equally certain that the image will eventually fade. This transient quality is deeply reflected in Stefanie Schneider’s work. She documents the process of image-making and image-fading with a medium-format camera, prolonging the fleeting state of the Polaroid’s existence. Time and memory play pivotal roles in her art. Her images seem drawn from recollections, but we cannot know if they depict something “real” or the memory of a dream. This ambiguity touches on a central theme of perception, reminding us that photography and the brain are closely related. Perception, as Henri Bergson argued, involves capturing characteristic moments from reality into our memory. Our inner cinematograph strings these "moments" together at the foundation of our cognitive processes. Remembering, recognizing, or even speaking requires activating this inner cinematograph. Thus, cinematography becomes integral to memory itself. This is likely why Stefanie Schneider explores the intersection of photography and film. Yet she understands that her inner cinematograph alone does not suffice for her creative process. Her work conveys an unrestrained yearning for love, transferred onto her protagonists. The beauty of her art stems not only from her passion but also, as Plato noted in the dialogue between Socrates and Diotima, from the truth that creation and goodness emerge from love itself.

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Oasis XIII (Sidewinder) - 2005 38x37cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory #3...

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Oasis II (Sidewinder) - 2005 38x37cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory #300...

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Oasis III (Sidewinder) - 2005 38x37cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory #30...

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Oasis I (Sidewinder) - 2005 38x37cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory #3001...

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Oasis VIII (Sidewinder) - 2005 38x37cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory #3...

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Oasis XIV (Sidewinder)

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Located in Morongo Valley, CA

Oasis XIV (Sidewinder) - 2005 38x37cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory #30...

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