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MAY 10   |   2013
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The Girl behind the White Picket Fence, (61 min.)
a project by Stefanie Schneider, cast: Udo Kier, Heather Megan Christie, Steve Marshall, Kyle Larson, Jeff Leaf Camille Waldorf, music: Adam Weiss, Daisy McCrackin, Zoe Bicat, Axel Ruhland, Sophie Huber, Max Sharam, script: Stefanie Schneider, Tanja Trittmann, Robert Mack, Cheyenne Randall, Billy Harvey, directed, photographed and edited by Stefanie Schneider, producer micafilm, Berlin, producer California Instantdreams, Lance Waterman, co-produced by Arte, supported by Medienboard Berlin-Brandenburg

The Girl behind the

This art film’s cryptic analysis of love is back-dropped by a feeling that our future is hopeless but that it relentlessly continues. ‘The Girl behind the White Picket Fence’ starts by introducing the orphaned girl ‘Heather’ (Heather Megan Christie) who lives in the Southern California Desert in her parent’s 50 foot travel trailer. Heather’s background reveals how through her ambition to grow, she steps out to find love but quickly realizes that there’s much more to life than she had thought. Retreating to her trailer, she finds a radio station that speaks her language. ‘The Lonely Hearts Radio Station’. The DJ (Steve Marshall) himself a refugee from a mysterious past of ended affairs, deals with his own demons. The local garbage man ‘Hank’ (Kyle Larson) who has issues too, due to the recent death of his wife, hears Heather call into the radio station and becomes obsessed with her and starts collecting her discarded memories on his garbage route. Damon the DJ quickly falls in love with Heather even though he’s never met her and sabotages Hanks interest by competing for her heart. Through the radio, love is reborn and the cycle continues.

A mystic shaman (Udo Kier) suddenly appears trying to help Heather and Hank to get together but fails until through a bizarre dream, shows her, how to become aware and find her future love. The ending is happy until you realize that the future they’re betting on, is hollow.

view www.heatherdreams.com

 


MAY
05   |   2013  


ARTE TV: Heather's Dream (15 min.)

Germany: Friday, May 3, 00.05h
France: Saturday, Mai 4, 00.40h


 MAY 05   |   2013   

Heather's Dream
has been selected for the

German Competition in the
International Shortfilm Festival Oberhausen in May 2013
 
Screening at the Lichtburg, Sunday, May 5th, 12.30pm
The screening will be followed by a discussion with Tanja Trittmann (Writer) and Caroline Haertel (Producer)
view www.heatherdreams.com

heathers dream

 



DECEMBER
30, 12.05 to 1.00pm   |   2009   
 

Till Death Do Us Part
RADIO WDR 5 - SCALA

Die Polaroidspielfilme der Künstlerin Stefanie Schneider

Die in Berlin lebende Künstlerin Stefanie Schneider ist durch ihre Polaroidfotos bekannt geworden. Blasse Aufnahmen, voll Unschärfen und Schlieren, meist mit schönen Frauen. Jetzt gibt es einen 30 minütigen Kurzfilm aus Polaroids, der Teil eines groß angelegten Filmprojekts ist. Er heißt: Till death do us part und unterwandert viele Regeln des klassischen Films. Scala stellt die Arbeit der Künstlerin vor.

Autorin: Claudia Dichter, Redaktion: Sefa Suvak

listen to show >>



DECEMBER 09   |   2009     

Till Death Do Us Part
ON THE RADIO

Motor FM, Daisy McCrackin & Stefanie Schneider, 12/10/09, 4.30pm
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Radio 1 live Studio am Admiralspalastpalast 12/9/09, 7.30pm
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RBB Kulturradio, "Daisy McCrackin" by Guylaine Tappaz, 12/10/09, 3.45pm  >>



OCTOBER 4   |   2009   

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

record cover daisy      steffi



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


DECEMBER 10   |   2009   |   BABYLON, BERLIN

PREMIERE "TILL DEATH DO US PART"
& CONCERT DAISY McCRACKIN
TICKETS NOW AVAILABLE in the movie theatre or at all ticket outlets in Berlin 

postertilldeath2



MARCH 06,
12:35 am   |    2009   |    ARTE

TILL DEATH DO US PART
(Deutschland, 2008, 15min)



                                postertilldeath2

Regie: Stefanie Schneider, Kamera: Stefanie Schneider, Musik: Daisy McCrackin, Sophie Huber, Zoë Bîcat, Schnitt: Stefanie Schneider, Darsteller: Austen Tate (Margarita), Daisy McCrackin (Cristal), Autor: Austen Tate, Daisy McCrackin, Stefanie Schneider, Produzent: Caroline Haertel, Ton: Sophie Huber


TILL DEATH DO US PART
bloggs:

french: Le film réalisé en 2008 de Stefanie Schneider en diaporama, mi-film, mi-photographie, relate une rencontre en plein désert californien entre deux femmes, Margarita (Austen Tate) et Cristal (Daisy McCrackin) Leur beauté éclairée par le "polaroïd movie" de la réalisatrice dans un no man's land, au sens propre comme au sens figuré du terme, sont des traces passéistes très séduisantes, immortalisées... more >>

german: Auf ARTE.tv and Pro 7 ist zurzeit ein wundervoll kleiner Film zu sehen, der mich sehr berührt: Till Death Do Us Part. Ausgewählt wurde dieser Programmbeitrag vielleicht wegen des Weltfrauentages am 8.3.2009 - aber ich sehe das Ganze aus einer ganz anderen Warte...



LANDSCAPES & ICONS –
Images Emblématiques by Stefanie Schneider

article wiritten by Birthe Havmoeller

German artist Stefanie Schneider (*1968) is working with a Polaroid camera, as she loves the faded colours and unpredictable results of photos made with Polaroid films long out of date. Stefanie, who is living in Berlin, goes to Los Angeles, California for 6 months every year to work on her photography and film projects.
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The Village Motel Sunset by Stefanie Schneider, 2009
ssss

‘The Village Motel-Sunset’ by Stefanie Schneider, 2009

Stefanie Schnieders show LANDSCAPES & ICONS – images emblématique, which is coming up in Paris at Galerie Thierry Librati, consists of 15 big prints of her Polariods. She takes you into a dream world, where the sunlight plays a big role. You can almost feel the heat emanating from her photos and are you almost expecting to see a mirage appear in the hot air on her photos. An old motel sign, a railroad, an American car and a flag in the wind are the objects, which Stefanie turns into icons of her American dream. There are certain sub themes common to Stefanie’s work, not least that of journeying, on the road, a feeling of wandering and itinerancy, or simply aimlessness.


approaching_train_StefanieSchneider

For me, as I haven’t been to California yet, California is a figure of imagination, a big ‘film set’ for Hollywood movies. I feel that Stefanie’s photos show me some of the locations/ ‘film sets’ in between the scenes of the film, when nothing is happening. She catches something subtle and delicate about the empty urban spaces and the Californian landscape.

Stefanie Schneider not only makes traditional photos, for the last decade she has been making installations combining photography, video, sound and text. See for example Stefanie Schneider’s lesbian ‘polariod movies ‘Till death do us part’ on Youtube.com.


LANDSCAPES & ICONS

September 25 – November 30, 2009 at Galerie Thierry Librati, 30, rue de Lille, 75007 Paris, France.
Opening reception 17:00 – 23:00 September 24, 2009.
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Burning Field 1 by Stefanie Schneider, 2009

Burning Field 1 by Stefanie Schneider, 2009


MAY 09   |   2009   |    MF DNES

Poušt' fotografky Schneiderové vás
zabije, nebo ve vás neco vzkrísí
 

Nemecká fotografka Stefanie Schneiderová testuje realitu a mení ji v sen
o svobode. Na to, jak to delá, se nyní mužeme podívat v Brne.


Stefanie Schneider: Oksana, 2007

foto: Moravská galerie Brno, Stefanie Schneider: Oksana, 2007

Stefanie Schneider: Bez názvu, 2009 Stefanie Schneider: Bez názvu, 2009 Stefanie Schneider: Bez názvu, 2009 Stefanie Schneider: Smoke Jumper, 2008 Stefanie Schneider: Láska, 2007

Kalifornská pout' je kulisou príbehu ještercího krále Jima Morrissona, odkazuje k ní Jack Kerouac i klasické westerny. Pro nemeckou výtvarnici Stefaniie Schneiderovou (1968) však není jen prostorem pro její performance, je jí plnohodnotnou spoluhráckou, objektem, partnerkou, která vrací volání nejenom ozvenou, ale pridává i vlastní kouzlo, náruc, sílu potícího se vzduchu. Schneiderová jí obetuje rusovlásky (uhrancivá Oksana) a zaranžuje podivné situace a poušt' svolí, zúrastní se hry.

liebe   whiskeydance1


Schneiderová opanovala prostor galerie presne tak, jak to udelala s prostorem na svých fotografiích – nevtírave, zastrene, zasnene, ale silou perspektivy, zamlženého videní, durazne a svobodne.

Americký výtvarný kritik Mark Gisbourne v souvislosti s jiným projektem Schneiderové napsal: "To, co si dokážeme predstavit, dává tvar tomu, co skutecne vidíme, a to, co vidíme, pak ovlivnuje naše predstavy." Stefanie Schneiderová dává svým dílem šanci realite, aby se priblížila snu, a umožnuje tak sobe i návštevníkum galerie vnímat své sny mnohem reálneji.

Partnerky Pro Stefanie Schneiderovou není poušt' jen prostorem pro performance, je jí plnohodnotnou spoluhráckou, objektem, partnerkou.

Zápletka príbehu, ve který se skládají jednotlivé fotografie i filmy z 29 PALMS, CA, vychází z vysílání místního rádia, které v no?ním programu Lonely Hearts Radio Show odvysílalo telefonát zoufalé ženy o srdcervoucí milostné avantýre s lamacem srdcí zvaným Smoke Jumper. Každá z postav v komunite na poušti tento príbeh nejak odráží, komentuje ho svým chováním na fotografiích.

Tanec ve svatebních šatech uprostred poušte nazvaný Dokud nás smrt nerozdeíî (u nehož divák neví, jestli jde o detskou hru nebo skutecný obrad). Oranžový parašutista na modré obloze jménem Smoke Jumper (který je podle slov autorky nezachytitelný práve jako sen, protože nejdrív létá s vetrem a po pristání chodí s padákem smotaným na rameni sem a tam pouští).

Stefanie Schneider: Bez názvu, 2009


Fotografická série Flying doplnená textem písne od Max Sharamové napsaným prímo na zdi galerie (Flying without wings / or on a cloud / no engine / to make a sound) a písní samou puštenou do sluchátek zavešených hned vedle. To všechno je zvláštne povznášejícím svetem Stefanie Schneiderové a postav, které napul zaznamenala a napul stvorila.

Príbeh hledající hranici osudu

Použitý polaroidový materiál má místy velmi výrazné kazy, posouvá barevnost fotografií, fleky prekrývají podstatné situace zachycené na fotkách. To vše je ve fotografii bežne nežádoucí jev. Ne tak v prípade 29 PALMS, CA – pro príbeh hledající hranici osudu a svobodné vule je podobný "zásah shury" tím nejlepším katalyzátorem. Sen volných bytostí poušte pak podobne jako kazy na fotkách narušuje vstupní video Eurban Dying, v nemž zemre autorcin kun primo v jejím objetí.

Vejít na tuhle výstavu je jako pustit se do poušte. Bud vás to zabije, nebo to ve vás neco vzkrísí.

STEFANIE SCHNEIDEROVÁ - 29 Palms, CA
Umeleckoprumyslové muzeum, Moravské galerie, Husova 14, Brno, kurátor Jirí Pátek. Výstava trvá do 14. cervna.

Autori: Klára Kubícková  

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JUNE   |   2008

FILMFUNDING MEDIENBOARD BERLIN BRANDENBURG

Till Death Do us Part Poster



"Till Death Do Us Part"
an episode of the "Twentyninepalms, CA" project supported by "Medienboard Berlin Brandenburg" and "ARTE", directed by Stefanie Schneider.

"MICA films", a Berlin based production company run by Caroline Haertel and Mirjana Mornirovic is currently producing the episode.

A film shot on Polaroid stills combined with Super 8 film sequences has never been done before. This unique project has been co-produced by ARTE and has received film funding from "Medienboard Berlin Brandenburg".

"Till death do us part" tells the love story of two beautiful women in the Californian desert. Cristal (Daisy McCracking) and Margarita (Austin Tate) meet in the abandoned town of 29 Palms,CA. They are both longing for something better after leaving a life neither could bare. They are full of hope and an intense lust for life. They want to live in the now, fast and wild. Their love starts on fast forward from the moment they meet.  

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

Austen Tate gives Margarita her voice in poetry and Daisy McCracking give Cristal her sound in music. Additional music from Zoe Bicat and Sophie Huber, all to be released on the new "29 Palms, CA music" record label.




MARCH 1  |   2008
  |    HUFFINGTON POST

Kimberly Brooks

Posted March 1, 2008 | 07:51 AM (EST)



First Person Artist is a weekly column by artist Kimberly Brooks in which she provides commentary on the creative process and showcases artists' work from around the world. This week's featured artist is German-born photographer Stefanie Schneider.

Last week, Polaroid announced that it would be discontinuing the beloved Polaroid film. Even if it was expected, I became instantly saddened by the news. With today's digital "take 50 keep 2" picture-taking mentality, I know fewer and fewer people who even keep photo albums because the sheer editing task is so daunting.


2008-03-01-schneider1.jpg

Stefanie Schneider. Untitled 40.2 x 39.4 inch Limited Edition

I will never forget when my parents brought home their Poloroid SX-70 Camera. After "say cheese" we would grab the photo from its mouth and flap it around like angry chickens with the misguided belief that this would help it develop. Then, we watched the image appear like a magic trick before our very eyes. Little did we know then that the real magic would occur decades later, when the colors would fade in a yellow green haze and offer an aesthetic aftertaste even richer than the instant gratification of seeing it develop.

During my last show, "Mom's Friends," about my mother and her friends in the 70s, I foraged through old family albums and found page after delicious page of distorted photos that to me signified nothing less than the new born freedom of a generation redefining itself.

2008-03-01-schneider2.jpg

Stefanie Schneider. The Princess, 128 x 125cm, c-print, edition of 5


It was around this time when I was researching my show that I discovered and fell in love with the work of the German-born artist Stefanie Schneider. Schneider uses expired Polaroid film and lets the medium's natural distortions and milky opalescence infuse every frame. She creates narratives with a cast of characters who sizzle in what appears to be imported thirty-year-old California sunlight. Like old film stills, the ensuing dreamscapes provide an ideal stage to watch a story unfold. I caught up with her in her studio in Berlin where we discussed light, love, her new film and the reality of obsolescence.

Kimberly Brooks: How are you mourning the news that Polaroid is discontinuing your medium?

Stefanie Schneider: It's an era ending again. No more family pictures developing in front of the children's eyes. A piece of beauty disappearing....a piece of culture. Polaroid material has the most beautiful quality -- the colors on one side, but then the magic moment in witnessing the image to appear. The time stands still and the act of watching the image develop can be shared with the people around you. In the fast world of today it's nice to slow down for a moment. At the same time Polaroid slows time, it also captures a moment which becomes the past so instantly that the decay of time is even more apparent-- it gives the image a certain sentimentality or melancholy. Because of that intensity of the moment it seems to change the interaction of the next moment. The Polaroid moment is one of a kind, an original every time.

2008-03-01-schneider3.jpg

Stefanie Schneider, The Days I Saw Him Last,
125 x 150 cm, c-print, edition of 5, 2007.


KB: You're from Germany, yet you in many ways capture such a California essence. Did you spend time in California before you conceived of your first show shot there? What was your first California experience?

SS: California always had been a dream to me. I guess growing up in the 70s with movies like Vanishing Point, The Getaway, and Badlands formed the need for me to leave Germany for California. I'd never even visited before I moved there. When I moved to Los Angeles in 1996 right away I felt at home. Everything was in place and the dream was alive. California looked it and the Polaroids made it even more real.

2008-03-01-scneider4.jpg

Stefanie Schneider, Untitled, triptych, 60 x 70 cm each,
c-print, edition of 5, 2007.


KB: In Hollywood, it's a truism that all the best cinematographers are foreigners because they can see a place the way a native can't. You capture the essence of California better than most Californians do. At what point did your work with Polaroid start your journey as an artist?

SS: It was all a coincidental life source. When I started taking polaroids I didn't even have a gallery. But I met gallerist Susanne Vielmetter about half a year after I started working with Polaroids and when I shuffled them out of a box onto the table. She loved them right away and we planned a show together.

2008-03-01-schneider5.jpg

Stefanie Schneider, 29 palms lot, 60 x 60 cm, edition of 10, c-print 1999.


KB: I recognize California beaches and Joshua Tree, in your work. Is it all in California or did you venture out?
SS: Almost all my photographs are taken in California, a few in Nevada like the Vegas series and the photographs for the movie Stay have been all taken in New York, of course. Most of my work is being shot in 29 Palms in the California Desert.

 

2008-03-02-Stay.jpg


KB: I saw the photos from Stay (featuring Naomi Watts and Ewan McGregor). Even though I recognize them as actors, the sequence still allowed me to get lost in the narrative --What were they doing on the top of the building? Why does he grab her arm?", etc. Have you ever worked on a movie?


2008-02-29-7.jpg


SS: I am working right now on a feature film on Polaroid. In it I explore and document the dreams and fantasies of a group of people living in a trailer park community in the California desert. It will be finished in about five years and is developed online at www.twentyninepalms.ca". Every year we are having an exhibit to show the bits and pieces already shot. I hope I will be able to finish the film. Due to the closure of Polaroid this project might be in jeopardy. Because I'm working on outdated material I have a little bit more time. This is the first and only film ever made on Polaroid. Right now in Berlin I'm showing the very first exhibition of the project. It's still on till March 15th.

KB: What is the ultimate subject for this medium?

SS: Love. There is no past, no future, no present. All seems to be happening at the same time. It breathes a senseless pain that has no place in the present. The ex-lover experiences the residues of love as an amputee experiences the sensation of a ghost limb. It is the tangible experience of "absence" that has inspired this piece below.

2008-02-29-8.jpg

The Princess' Brother, 128 x 125cm, c-print, edition of 5, 2007


KB: In terms of artistic inspiration, who are some authors or artists you look to?

SS: I am more inspired by film, music and books. Like Days of Heaven, Badlands, 2046, The Last Picture Show, The Flaunder by Guenther Grass, the songs by Hildegard Knef and Serge Gainsbourg or Coco Rosie. I am also inspired by the 29 palms, California Group. We inspire each other.

2008-02-29-9.jpg

"Badlands" Movie Still from featuring Sissy Spacek

 

Stefanie Schneider received her MFA in Communication Design at the Folkwang Schule Essen, Germany. Her work has been shown at the Staedtische Ausstellungshalle am Hawerkamp, Muenster, the Kunstallianz, Berlin, the Institut für Neue Medien, Frankfurt, and the Nassauischer Kunstverein, Wiesbaden, Kunstverein Bielefeld, Kunstverein Recklinghausen, Museum für Moderne Kunst Passau.


Upcoming shows include:
"29 Palms, CA", Galerie Spesshardt-Klein, Berlin - 10th of February to 2nd of March 2008 - also shown at the Berlinale / Forum expanded
Les Rencontres d'Arles - Photo Festival South of France, 7th to 13th July 2008, curated by Christian Lacroix
Frenzy, Salzburger Festspiele, Sujet of the year presentation
Sidewinder, Galerie Robert Drees, Hannover, Germany
Sidewinder, c.art-Galerie, Bregenz, Austria

Stefanie Schneider is represented by Galerie Robert Drees in Hannover, Germany.



JAN  |   2008   |   WWW.XMARA.COM
29 Palms @ xymara.com: Article by Oliver Spiess

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