SCHNEEMEIER Andrea

andrea schneemeier
selected works
2012-2004
My interest lies to develop works based on social processes. My approach is interdisciplinary, applies (and subverts) methodology
from different fields of the social sciences (sociology, anthropology and ethnography), as well as from various artistic fields.
I work with narratives that stage social interactions and performative interventions in public spaces, which I see as sites of social,
cultural and political production. This practice is based on an intention to broaden the territory of action outside the protective
walls of galleries, and to animate the public arena as a space of co-existence and possible antagonisms.
My practice seeks to extend and develop new artistic methodologies to grasp subjectivity in its fragmented forms.
My recent projects are observations into the theatrical and the performative, and the idea of staging.
Collecting Fears, Berlin 2012 - ongoing
Collecting fears is an ongoing
project which collects and
displays the fears of people in
its immediate surroundings
in the public space, who are
willing to contribute them.
The accumulated ‘data’ is
highly revelatory, exposing the
diverse and overlapping cultural
histories occupying today’s
urban spaces.
The project started in Budapest,
in 2009, and so far has been
realized in New York, Tbilisi,
Georgia and in Berlin.
In Berlin it is part of an ongoing
research project, and applied
as a methodology of mapping
process.
Fears of Tbilisi 2012
project in public space,
Tbilisi, Georgia
Fears colllected during a
performance in different part
of Tbilisi were written by chalk
(after the performance) on the
walls of the underground passes
where the performances where
held.
Thinking of Marx
graffity campaign in
public space, Berlin
2012 - ongoing
Meat Market/ Monument of the Illegal
Workers
ongoing, mixed media
This project is concentrating
on a specific social situation
at the heart of Budapest, the
so-called ‘Meat Market’.
Here, a group of men,
migrated (semi) illegally
mostly from the neighbourgh
Romania, are selling their
workforce to the interested
‘clients’.
A projekt középpontjában
a „ Moszkva téri Munkások
Emlékművének“ elgondolása
áll.
A Moszkva téri ‚Húspiacʻ
az alkalmi munkások
várakozóhelye a város
közepén. Évtizedek óta
létező szürke zónaként
hozzátartozik Budapest
mindennapi életéhez.
A projekt ehhez a
jelenséghez kapcsolódóan
próbál kérdéseket felvetni.
In the project I am interested in
their ideas of how a monument
dedicated to Illegal Workers
would look like in their mind.
This ‘imaginary exercise’ provides
a site of possible reflection on
their existence, and explores
the idea of visibility/invisibility in
post-socialist conditions.
Hogyan viszonyulnak a
többségükben Erdélyből
érkezett munkások saját
láthatóságukhoz, figyelembe
véve, hogy ez számukra
a mindennapi életben
veszélyforrást jelent? Mit
jelent számukra a város jelen
ideje és az emlékmű ( és az
emlékezés) jövő ideje közötti
kapcsolat? Miként élik meg
szülőföldjük és a városi tér
közötti kapcsolatot?
The collected ideas for monuments addressing the concrete
needs of the workers - for
example public fountain with
drinking water, shelter and
community placei.
These ideas are all taken to be
monuments and often incorporate elements of folk art, for
example of their native Transylvania.
Since the recent political
changes, the site itself became
a subject of heated political
debate, - the conservative city
council decided to change the
name of the square, and preparing a major ‘renewal’ in the near
future.
A megvalósult installációban
a Moszkva téren megszólított
munkások által elképzelt, és
szóban elmondott emlékművek
tervei láthatók. Az emlékmű
tervezés egyben ürügyként is
szolgál a párbeszéd számára
- a megkérdezett munkások az
emlékművek elképzelésekor saját
helyzetüket is újragondolják.
A kiállított kollázsok, amiken
a készült interjúk részletei
egészülnek ki az elképzelt
emlékművek vizuális világával,
ezeket a kérdéseket igyekeznek
körbejárni.
A Moszkva tér, aminek neve is
megváltozott a projekt kezdete
óta, és a készülő városrendezési
tervek alapján hamarosan
jelentősen átalakul, egyfajta
folyamatosan eltűnő hátteret
képez az elképzelt munkás
emlékművek számára.
SZÉKELY KAPU
Azon gondolkodom, hogy tegnap mondta at a székelykaput. X ez egy ötlet,
persze. X Igen, persze, ez egy ötlet…de azon gondolkodtam..nekem továbbra
is az, ami magukról szól. Lehetne például egy ilyet, hogy ráírni valamit? X Ja?
X valamit, amit ráírni, és akkor az már tényleg magukról szólna…X Milyen meló
lenne ez? X Ez igazóból nem meló…a moszkva téri munkások emlékművét
szeretném elképzelni. Már volt itt errúl szó, hogy én elképzeléseket gyűjtök. És
aztán ő mondott egyet, csak akkor nagyon messze volt, és akkor mondta azt a
székely kaput X na nyugodtan, akkor én … X de hogy…X Én egy székely kaput…
ez itt mind székely aki a munkára vár…X És mit írna rá? Mert ha már ez, akkor
kellene rá valami olyan, ami erről szól. X Mit írnék rá?
Bort, Búzát, s Békességet…X Én tényleg olyat keresek ami magukról szól…X
Bort, Búzát, Békességet, Szép Asszonyt, Feleséget….X Azt igen! Egy szép
asszonyt, azt igen! X Én jövök még, X Hogyha szép asszony, hogyha szép
asszony…X jó, mert én ezt szeretném. Azt mondtam maguknak, hogy egy-egy
tervért ezer forintot fizetek mindenkinek …X Jó, hátha még valami eszembe jut
az este. X Igen, én jövök holnap is, meg szerintem szombaton is,
Sztálint vagy Lenint kellene idetenni, nem izét…X Hát ez most Moszkva….
FIVE STAR (A Dinner)
2008.
re-enactment, video
Annually, during Christmas
time, the Le Meridien
hotel in Budapest invites a
group of homeless into it’s
luxurious restaurant for a
multi-course meal. This
video documents a restaging of this dinner, this
time organized without
the knowledge or consent
of the hotel management.
The attendees, who had
been present at one of the
original charity dinners,
reflect on the power
relationships inherent in
the situation, make fun of
the elaborate food, discuss
life on the streets and
tell personal memories
of the building, which
was the Budapest police
headquarters
during
communism.
A projekt az INDEX.HU
egy rövid tudósitásán
alapul. Karácsonykor
egy budapesti szálloda
igazgatója luxus
vacsorára invitált néhány
hajléktalant a szálloda
éttermébe. A projekt
ezt a cikk által emlitett
eseményt járja körül.
Az eredeti vacsorán
résztvett hajléktalanok
felkutatásával és
közreműködésével a
vacsora mint performatív
színház újrajátszódik,
amiről videó felvétel is
készül.
A projekt célja nem egy
egységes metanarrativa
kereteinek rögzitése,
hanem a láthatatlan
(nem artikulált)
nézőpontok felkutatása
és bemutatása,
miközben a nem
expliciten jelenlevő
hatalmi struktúrákat
(is) igyekszik körüljárni.
Nem csupán a meglévő
társadalmi különbségek
ill. a szálloda kicsit
ambigusnak tűnő
gesztusának elemzése
a cél. A vacsora
újrajátszásával a
művészet szerepe mint
társadalmi mechanizmus
is értelmeződik.
THE AFFAIR 2010
mixed media installation
photography, text
The project explores the
way photography provides
an understanding to its social
context.
Developing a story of an
imaginary affair with a
photographer of a book
about national identity, the
project explores questions of
isolation, attraction, and the
possibility to relate to one’s
surrondings through the means
of photography.
The project questions the
special position of the ‘artist in
residence’, in terms of cultural
production but also in the level
of sexual economy.
This way the ‘affair’ becomes
an art project, the personal and
the political get staged.
In the installation the text
provides the narrative and
becomes a‘stage’, where the
artist and the photographer
are the main protagonists only
visible in the text, and the cut
out figures are the ‘actors’.
Az „Affér“ 2OO9. Vegyes
technika installáció (fotó, szöveg,
kockacukor)
A projekt egy Bécsi ösztöndíj
keretében jött létre – az
izoláció, vonzódás, és egy
idegen kultúrához való viszony
lehetőségeit vizsgálja, a
fotográfia és történet mondás
lehetőségein keresztül.
A művész egy fotóssal
elképzelt szerelmi történet
keretein belül - a fotós
nemzeti identitást vizsgáló
képein keresztül - térképezi
fel a vizsgált kultúrát. Ideje
nagy részét a műteremben
tölti (ami egy tökéletes white
cube szituációvá alakul az
izoláció miatt). A létrejövő
műben a koncentráció és
élvezet keveredik a befogadó
intézmény kritikájával.
A projekt célja, hogy az
osztrák nemzeti identitást
vizsgáló fotókönyv
dekonstruálásával reflektáljon
a kontextus sajátosságaira.
Ezenkívűl a projekt a fotográfia
világot bemutató és feldolgozó
mechanizmusaira is rákérdez.
TEMPORARY OFFICE OF
ANXIETY 2009. (Collecting
Fears on Union square)
The Temporary Office of
Anxiety collects and displays
the fears of the people in its
immediate surroundings. The
accumulated ‘data’ is highly
revelatory, exposing the diverse
and overlapping cultural
histories occupying today’s
urban spaces. This project is a
work in progress; the assembled
fears is a growing collection,
which provides resource
material for drawings, posters,
performances and text based
works, based on the collected
fears.
Az Elkeseredés Ideiglenes Hivatala 2OO8.
Budapest
Az első részben, az
„elkeseredés ideiglenes
hivatalának“ felállitásával
a város különböző
pontjain egy olyan
diszkurziv teret hoz
létre, ami egyfajta
ideiglenes autonóm
zónaként lehetőséget
teremt egy teljesen
nyitott kommunikációs
mező létrehozására. Az
„ideiglenes hivatal“, ami
formailag a városban
újabban elterjedő
„szavazó és aláiró
állomások“ megjelenését
idézi, lehetőséget teremt
arra, hogy bárki elmondja
„félelmeit és problémáit“.
Az összegyűjtött félelmek
egyfajat mentális tájképet
alkotnak.
I am afraid of cows and humans . I fear to fall in love… I am afraid of germs! I am afraid of not
finding a lovely woman to share my love with. Please pray for me. Thank you! I am afraid of being
beheaded. I fear my kids will hate me & never visit. I am afraid of a modern future. scarymovies ...
I fear rats. I am afraid of making fool of myself. I am afraid of being alone, but even more terrified
of letting someone in. I am afraid of writing. I am afraid of being too scared. I fear of growing old
and infirm. I am afraid I won’t find the good racomble garlic today. I fear having responsibilities and
paying bills in the future. I am afraid of being single. I am afraid of being alone, of not being loved.
I fear only being captured by the fear the media throws out. NOTHING ! I am afraid of contracting
STD . I AM AFRAID OF FEAR ITSELF. I am more sad than afraid of the lack of ‘spirit’ in the so
called ‘west’, and of the ‘East’ following the ‘West’… Global warming . I am afraid my woman will
leave me. I’m afraid of ever giving up on my dreams. I am terrified that I’d be a terrible mother,
and would give birth to some horrificly deformed child. I am afraid of not finding a lovely man to
share my life with. Thank you! People dear to me dying. I am afraid of not living up to my potential,
people close to me dying terrible painful deaths. I am afraid of becoming old & forgetting the world
I live in. I am afraid of love. I am afraid of getting old and RATS ! I am afraid of being lonely for
the rest of my life. That my son will die. I fear of losing my house to foreclosure! I am afraid of
not making enough of a difference while I am here. I am afraid of disappointing the people that I
love. I fear being alone. I am afraid the bad painters & stupid t-shirt sellers have pushed out the
farmers & rendered union square un-navigable . I am afraid of losing CONTROL!! I am afraid of
big, huge cockroaches (waterbugs!!!) I am afraid of being alone forever! There isn’t time to do all I
have hoped to. Fear of dying alone without love. I am afraid of pennies. TODAY I HAVE NO FEARS.
I am afraid that I will die in vain. I am afraid of dying from AIDS! That I will live a life without
courage. IAM AFRAID OF PEOPLE THINKING I AM UGLY AND I AM AFRAID OF BEING ALONE.
I am afraid of breaking other people’s hearts, and having my own heart broken. I am afraid of Not
having had a big impact on the world before I die. I will never sit down and write my MFA. I fear
Dane B. will never speak to me again. I fear nightmare. I am afraid of never having a quiet soul.
META-FEAR. I AM AFRAID THAT I WON’T WRITE SOMETHING WITTY OR TOUCHING HERE.
abandonment. I am afraid of not being the BEST MOM that I can be for my two little boys….It’s hard
being a single mom… I AM SORRY BUT I HAVE NO FEAR FOR YOU . I am afraid of failure. I am
Fears collected on
Union Square, New
York 2009.
poster 91 x 121 cm
Total f*ing darkness 2011 pencil, chalk on paper 84 x 119
Marx, Workers. 2010.
video
In the video the camera
closely observes movements
of workers in their repetitive
actions. Their gestures and
the way they react to the
observing camera is the main
focus of the film. Towards
the end the location reveals
itself: the Marx Engels Forum
in Berlin, where the workers are busy in removing the
monument.
This puts another layer on
the depicted situation.
A videóban a berlini Marx
Engels Fórum eltávolításának egy mozzanata
jelenik meg. A kamera
a helyszínen dolgozó
munkások monoton
motdulatait és gesztusait követi közelképeken,
míg a helyszín és az
ehhez kapcsolódó ideológiai jelentés csak a film
végén ad új jelentést a
képeknek.
Playing Myself, playing
History
(Specetrs of Marx)
a research project and theater
play (work in progress)
2010-2011
The research takes Derrida’s
book ‘Specters of Marx’ as
a starting point to examine
how the “Specters of Marx”
could be traced and perceived
in its ‘materialized form’ of a
monument, at the Marx Engels
Forum in Berlin.
The site, which is a unique
manifestation of these thinkers
in Europe, gives the opportunity to examine Derrida’s idea
of the specters and staging as
production of truth, to find out
how these symbolic figures of
modernity perceived and how
the act of performing tourist
rituals gives way to the production (and perception) of meaning and machines of ideology.
It is a research into the performative and the theatrical,
concerning the act of staging in
artistic practice.
My research takes a closer
look on how different approaches on authority, participation and representation
manifested on formal, aesthetic
level, as well as conceptually in
the chosen site.
Petit Marx
public action and two channel
video, 2011.
The video is part of my
research project exploring
the idea of the city as a stage.
It looks into the Marx Engels
forum’s history in Berlin and
its perception.
The project, which plays with
the size of the monument,
explores affective energies of
perception in public space.
The video shows images of
passer-bye reacting to the
small mold replica of the MEF
monument, placed on the
same spot where the original
monument was located
previously, before being
removed, due to supposed
construction works.
It is juxtaposed with footage
of a piano player performing
popular romantic songs in
front of a large crowd – on
the very spot from where the
MEF stood previously.
FOLLOWING PIECE (Time/
Space patrol) Warsaw 2008.
video based on a performance
During a 3-month residency in
Warsaw, I began to explore the
practice of performative writing
in public spaces as a tool of
observation. I realized that the
Warsaw police were doing the
same thing: extensively writing
notes while on patrol. That led to
an interest in their motivations
and behavior.
I started
following them on their patrols,
conspicuously observing them,
taking notes and photographing
them in an attempt to address
and invert the power relations
that the public presence of
uniformed authorities implies.
During a perfomance, (which
has a reference to the Vito
Acconci piece of the same title)
I followed a police patrol in the
center of Warsaw, until they
became aware of my presence
and approached me asking for
my documents.
This shifting of the positions
of surveyor and surveyed is
additionally a humorous reversal
of gender positions: a single
woman trailing a small group of
uniformed men.
TÉR-IDŐ JÁRŐR
(Following piece, Warsaw)
2OO8. videó és performansz
A
videó
főszereplői
a
Varsó
központjában járőröző rendőrök,
akiket
rejtett
követtem,
kamerával
megfigyelve
szokásaikat, amint a járókelőket
ellenőrizve
készitenek.
emblematikus
jegyzeteket
A
rendőrök
Kultúrális
az
és
Tudományos palota körül róják
köreiket, ami igy a tér és idő
koordináták középpontjává válik.
A palota a város szimbólikus
épülete
(Sztálin
ajándéka
személyes
„Varsó
Népének“);
Történelem, Változás, Hatalom
erőteljes
szimbóluma
a
város
közepén. A videó a rendőröket
követő sétáim anyagára épül, a
város dinamikáját megjelenítve.
Egy kb. 45 perces, a rendőröket
expliciten
követő
performansz
során a rendőrök egyben a film
főszereplőivé válnak: a szubverzív
szituációt nehezen értelmezve,
teljesítik
és
rögzítik
kötelességüket,
adataimat
jegyzőkönyvükbe. A megfigyelő
és
a
a
film
játékos
megfigyelt
a
szerepének
megfordításával
köztér
extenzív
ellenőrzésének gyakorlatát, ill.a
művész
vizsgálja
lehetséges
a
hatalmi
konstellációjában.
pozícióját
viszonyok
WARSAW EXPERIMENT
2008. photo series
In various public places
throughout Warsaw– the railway
station, a shopping center,
an Asian market, a bank, the
contemporary art center – I
wrote about the occurrences
of the site reflecting my own
presence in it. These texts are
accompanied by photographs
from the location.
an excerpt from the text:
12.28. was sitting for a while,
waiting to be invisible. There is
an old officer, sitting opposite to
me. Very close. He seems to have
some bulletproof vest under his
suit. He sits like a machine, unable
to move. He is one of the ʻdoing
nothingʼ types.(also the old lady
next to me). Doing nothing, pure
flowing with time. Observing. The
officer makes sudden moves,
wanting to leave at each minute.
He puts his gloves on. Listens
other people phonecalls.
A group of young students stand
in a close distance. They have
a huge EU flag, thrown on their
luggage.
Some old american ladies chatting.
Fragments of their speech.
This terrible smell of urine and
antisepticals hits me time to time.
Some leftovers of the homelesses
staying on the stairs at the side of
the hall.
Changing position. Moving closer
to the youngsters. They are
standing silently. Are they Polish?
An old guard walks by. Pigeons on
the floor walking around. Yes! The
young students speaking english.
A drunken guy walks to them,
talking in english. He can hardly
stand on his feet. He must buy a
ticket. Then he speaks polish. He
leaves.
WARSAW EXPERIMENT
2008. fotó sorozat
CENTRAL OFFICE OF THE POLISH NATIONAL BANK
MUSEUM OF POLISH UPRISING, WARSAW
ZACHETA MUSEUM OF CONTEMPORARY ART WARSAW
ZLOTY TARASY SHOPPING MALL
A
performatív
írás
gyakorlatán
alapuló
projekt Varsó köztereit,
történelmi és politikai
kontextusát
vizsgálja.
A projekt során a város
szignifikáns
köz-terein
( központi pályaudvar,
bevásárló központ, ázsiai
piac, kortárs művészeti
központ, nemzeti bank)
napló szerű jegyzeteket
készítek,
pontosan
rögzítve
az
adott
helyszín történéseit. A
szövegek és a hozzájuk
tartozó fotók így a tér
és idő egy bizonyos
pontját rögzítik egyfajta
kor
dokumentumként,
a személyes időt és az
épületek
statikus(abb)
karakterét ütköztetve.
Warsawa, unwritten I –IV.
2007. Photographic series
40 x 30 cm each
This series depicts scenes of
film shootings in public spaces
in Warsaw. The main element
is the use of artificial light as a
way of focusing on a site and
the events unfolding there.
Here, The idea of reality as a
stage becomes relevant.
WRONG TIME, WRONG PLACE
(a point of observation)
2007. Rotterdam
The Netherlands video 11 min.
This video examines a ‘herring tent’
in a multicultural neighborhood
in Rotterdam. A blending of
documentation and fictional firstperson narration, the story reflects
on the relationship immigrants have
to local cuisine and the way it is
supposed to define national identity.
an excerpt from the text:
...And then the whole situation
turned on its head. I observed him,
just like he observed me. The tent
became a theater, where me, sitting
on my bench as a member of the
audience, was part of the play.
Just arrived. He was busy with costumers. A middle age man with a dog. An old lady. The man is snacking. Now he is doing
something with a fish, maybe. Always standing in front of that box.
He surely noticed me in my huge sunglasses. Yes…
Seems he is cleaning fishes. A young guy with a van stops by, asking for directions. A long explanation follows. He leaves with a happy
face. More fishcleaning. I realized he is checking every face passing by. This must be his fish-post for long years now.
He finished the fish-thing. Making a phonecall. Maybe he calls the police, being suspicious of me?
I try to spot his potential costumers. Old people. Mostly. White. Middle age men stopping by car, snacking. Some people must just
love that thing there. Will try it one day. Maybe today? But what is the thing called? How to ask for it? Fish?
A middle age man. They are talking, he stands almost inside the tent. The old man is back to the box with the fishes. Now the
‘costumer’ makes his own sandwich. He finished the first one quickly. A Big Guy, eating lots of sandwiches. They most know each
other for long. Maybe the guy stops here every day? Always at the same time? One more sandwich. He is cleaning his hands.There is
a box filled with water for handwash. A paper towel roll hangs above. This guy noticed me as well, I think. Is he leaving his post?
He goes to the shop just opposite the street. The ‘costumer’ takes the post, though he looks more like a body guard. Maybe he is? Or
a police man in civil? Or a fisherman. (so he just came to eat his own fishes.) I must look suspicious. I don’t really look Dutch…
The old man is back. Brought some water. A young asian woman stops by with a child. But they are asking for directions. One more
man came. (the first leaves) They are measuring the tent. That’s something new! He doesn’t eat. Seems he just came to talk, so he
helped with the measure. He is smoking. The old man is smoking as well. The man leaves, without eating.
He is on the phone again. Funny. He sits just opposite to me, on the other side of the street. Another potential costumer with a car?
Have seen him the other day! And a young Muslim guy! Or Turkish? He is taking the fish with himself. Doesn’t snack. This other man
was quick to snack. 3-4 minute, maximum. Am I looking for unexpected costumers?
Now a young white woman on a bike. She is on her phone while shopping. She takes the stuff. 2 minutes. An old lady, takes the stuff
as well. I might have seen her too, the other day. A guy in black comes. First I thought he is black, but not really sure. He takes
the stuff. The old man sits again. It is boring. I noticed his certificate is hanging in the front. Should ask about that as well, in the
interview. He is opposite to me, we looking at each other, but I hide behind my glasses. He surely developes a story about me as
well. Am I look like an artist? A secret agent?
A videó a Rotterdam
multikulturális negyedében
lévő „hering sátor“
mindennapjait követi. A fiktív
történet dokumentarista
elemekkel keveredik.
A művész a történet
főszereplőjévé válik, amint
a különböző kultúrális kódok
keveredését (és az ételek
nemzeti identifikációs
szerepét) vizsgálja.
Berlin walk 241106. A walk
in kreuzberg on a sunny
afternoon,
thinking
about
love
photo series, paper box, map
18x24x5 cm
The photos were taken during
a walk in Kreuzberg, Berlin.
The graffiti and found objects
depicted are all relating to love
in some way.
With the addition of the exact
map and the collection of graffiti
taken during the walk, its owner
(the work was for sale) can repeat
the unique experience of the act of
walking, and personally relate to
the chosen spots.
The act of walking becomes an
integral part of the work.
BERLINI SÉTA
2411O6.
séta Kreuzbergben, egy napos délutánon, a szerelemre
gondolva
A séta során készült
fotók (és a séta
utvonalát mutató
térkép) képezik a mű
alapját, aminek a séta
mint performansz
szerves részét képezi.
A fotók a szerelem,
szeretet, szexualitás
városi jeleit gyűjtik
össze.
I AM AFRAID OF
AMERICANS 2009. photos
and text based on a
performance
60 x42 cm each
Inspired by the title of a David
Bowie song, I went on a long
walk through New York City
wearing a T-shirt emblazoned
with the slogan “I Am Afraid
of Americans”. During the
performance I was open to
dialogue and was continually
approached
by
people
wishing to comment on the
statement. The text, which
was written during the walk,
comments on this process of
confrontation and occasional
engagement from the point of
view of a ‘stranger’.
An excerpt from the text:
I start to play this exotic
stranger girl, lost in the big
city. Now sitting on the stairs
of some shop, to write down
my notes. People tossing
some strange look on me
sometimes.
This is the last part. I already
stopped performing.Then Sean,
an African-American started
to talk to me. He is from
Gambia. He thought my t-shirt
was aggressive. Made a photo
together. His number is 347
727 0452.
I am afraid of americans 2009 akció
Az akcióban a “tartok az
ameriaktól” (ami egy David Bowie dal címe is)
feliratú pólóban jártam
New York utcáit. Az
érdekődő járókelőkkel
közös fotók készültek.
Az akció során készült
szöveg a tapasztalatokra
és a reakciókra koncentrál.
E-fights 2004.
3 channel video,
The video depicts a fight of two
men, who wearing T-shirts with
various historical and religious
symbols.
The physical tension of the fight
is contrasted with the ideological
character of the symbols.
A videóban
a jelek, ill.
az azokat viselô emberek
mérik össze erejüket. Bár
a “küzdelem” szimbólikus
erejû, hiszen nem “vérre
megy”, a viselt jelek
szimbolikája
tágitja a
jelentést.
PLAYING TO CHANGE THE
WORLD (3men shouting)
2004-2007. performance and
video installation
Vienna 2004.
Belgrade 2006.
Berlin 2007.
Budapest 2007.
Three men with their faces
covered by black ski masks
shout excerpts from Habermas,
Deleuze and Foucault. The
texts they shout, dense and
philosophical, address issues
related to the complex ethics
of communal society. This
performance has taken place
on a shopping street, a central
square and an underground
intersection. The black mask
as a visual sign is subverted by
the content and grammatical
structure of the shouted texts.
MICHEL
FOUCAULT:
POWER/
KNOWLEDGE
(Truth and power)
The important thing here,
I believe, is that truth isn’t
outside power, or lacking
in power: contrary to a
myth whose history and
functions
would
repay
further study, truth isn’t
the reward of free spirits,
the child of protracted
solitude, nor the privilege
of
those
who
have
succeded
in
liberating
themselves. Truth is a thing
of this world: it is produced
only by virtue of multiple
forms of constraint. And
it includes regular effects
of power. Each society
has it’s regime of truth,
it’s ‘general politics’ of
truth: that is , the types of
discourse which it accepts,
and makes function as
true.; the mechanisms and
instances which enable
one to distinguish true
and false statements, the
means by which each is
sanctioned; the techniques
and procedures accorded
value in the acquisition of
truth; the status of those
who are charged with
saying what counts as
true.
PLAYING TO CHANGE
THE WORLD(3MEN SOUTING)
BUDAPEST 2007.
A videó
egy Budapesten
megvalósult
performansz
képeire épül. Ennek során három
fekete símaszkos férfi kortárs
filozófusok szövegeit kiabálja
Budapest utcáin. A szövegek
a közbeszédet jelenleg is uraló
témákra (igazság, tolerancia,
külőnbözőség)
reflektálnak,
a kortárs filozófiai diskurzus
gondolatrendszerén
belül.
A
performansz képi és auditív
struktúrája
közti
szubverzív
viszony olyan (képileg is erősen
meghatározott)
sztereotípák
mechanizmusait vonja kérdőre,
amik nem csak a tömegmédiák
vizuális világát uralják, de egy
mélyebb, tudatalatti szinten a
másság, a
‚félelmetes idegen‘
sztereotípiáját is szimbolizálják.
A látszólag provokatív akció
a képi elemek és a nyelvi
mechanizmusok ütköztetésével
egy olyan szubverzív teret
hoz létre, amelyben nem csak
a politikai közbeszédet uraló
aktuális témák, de mindennapi
előítéleteink is új megvilágításba
kerülnek.
A performansz a Playing to change
the world műsorozat részeként
Bécs(2004), Belgrád(2006) és
Berlin(2007) után valósul meg
Budapesten.
PLAYING TO CHANGE THE
WORLD (THE BRIDE) 2004.
2 channel video installation
In a Budapest subway station,
I came across a peculiar
image: a woman wearing a
wedding dress was handing
out flyers advertising a
bridal gown shop to the
passersby.
The scene
around her was filled with
a constantly flowing crowd
of commuters, homeless
sleeping in their shelters,
and merchants selling phone
card collections. his project
re-stages and documents
this situation, but, instead
of the flyers, a short poem
from George Bataille was
distributed:
‘The night is my nudity,
The stars are my teeth,
I throw myself among the
dead,
Dressed in white sunlight.’
The video is concentrating
on the reactions and
conversations of passerby,
and the impressions of the
performer.
PLAYING TO CHANGE
THE WORLD (A
Menyasszony)
A mű alapját jelentő
performanszra
a Nyugati téri
aluljáróban került sor,
2004 márciusában.
Amenyasszonzi ruhába
öltözött performer
George Bataille versét
osztotta szét a
járókelők között.
A vers:
Az éjszaka a
meztelenségem
A csillagok a fogaim
Halottak közé vetem
magam
Fehér napfénybe
öltözve
A három kamerával
rögzített performansz
képezte az installáció
alapját, amiben
igyekeztem visszaadni a
helyszín atmoszféráját,
ill. az akció lényegét.
ART IS A STATE OF
ENCOUNTER (The Beggar
Project, Jokes)
Vienna 2004,
Budapest 2005.
Video and installation with
photos and text, dimensions
variable
In the collection of the
Vienna city council
I approached beggars on
the main shopping street
in Vienna to tell a joke.
This was an attempt at
engagement, to offer a
channel of communication
through which their social
background can fade away
for a while and the basic
human experience of
humor can be shared. The
video, documenting this act
and the beggar’s diverse
responses, presents this
challenge of humanization,
while also addressing and
undermining the common
belief of their Eastern
European background.
A
MÛVÉSZET
MINT
TALÁLKOZÁS (HOMELESS
PROJECT, VICCEK) 2OO42OO5
A 2OO4 decemberében
Bécsben egy ösztöndij
keretében
induló
projekt
a
mûvészet
szociális
viszonyokat
épitô
kapacitását
kutatja, miközben az
intézményes kontextus
határaira
is
reflektál.
A mûvészetet mint a
társadalmi kommunikáció
egy alternativ csatornáját
fogva fel, a kontextus
nyújtotta lehetôségeket
is igyekszik kihasználni.
A project folyamán a
koldusokat vicc mondásra
kérjük meg, s az erre
adott reakcióikat videón
rôgzitjük.
Az
eddigi
tapasztalatok
alapján
elmondható, hogy ez a
kérés (a meghökkenésen
kívûl)
gyakran
vált
ki pozitiv reakciókat,
talán azért, mert igy
nem szociális helyzetük
kerül központba, hanem
egyenlô
résztvevôi
lesznek egy szituációnak.
Természetesen
szinte
egyikük sem mulasztja el,
hogy szociális helyzetére
reflektáljonmiközben
az elutasitó válaszok
is ugyanúgy a projekt
részét képezik. Egyrészt
ez adja a megközelítés
komplexitását, másrészt
a kontextusba helyezés.
THE EXCHANGE PROJECT
2001/2007
installation,
dimensions variable
2001
2003
2003
2005
2007
Como, Italy
Budapest, Hungary
Vienna, Austria
Hasselt, Belgium
New York City, USA
This project is based on the
idea of exchange as an element
of communication. T-shirts are
exhibited as an installation and
are made available as items
of trade to the public: if a
visitor decides to participate,
he/she can leave her own tshirt behind and take one
from the exhibition. Thus
each participant’s personal
contribution becomes part
of the project and keeps the
installation in constant flux for
its duration. At the end, the
remaining clothes are donated
to the Red Cross.
Political symbols were printed
on the t-shirts. These vary
depending on the context of
the exhibition. The symbols
usually represent political or
religious beliefs, some of which
are restricted in public spaces
(for example the ‘red star’ is
a forbidden power symbol
in Hungary). Therefore, the
selections of the installation’s
participants become political
statements upon their exit from
the exhibition space.
ANDREA SCHNEEMEIER
email: [email protected]
studies/tanulmányok
2003-4
2001
1990-95
1992 -96
1992
Higher Institute for Fine Art – Flanders, Antwerp, Belgium
Workshop with Marina Abramowicz, Como, Italy
Hungarian Academy of Fine Arts (painting department, Károlyi Zsigmond)
Hungarian Academy of Fine Arts (intermedia department)
Glasgow School of Art (student exchange)
2008
2007
2006
Foundation
solo shows/egyéni kiállítások
2011
2008
2007
2005
2004
2003
2002
2000
1999
1998
The monuments of the Meat Market workers, Liget Gallery, Budapest (upcoming)
Luxus vacsora, Kunsthalle Project space, Budapest
Haus Ungarn, Berlin, Germany
Demo, Obudai Pince galeria Budapest
erosion, allgirls gallery, Berlin (together with Rolf Pilarsky
stillLife, C3 Center of communication, Budapest
Gallery by Night, (with Katarina Schmidl) Studio Gallery
The Exchange Project, Piroschka Gallery, Wien, Austria
bodyshop, Gallery by Night, Studio Gallery, Budapest
kispánik, Liget Galéria, Budapest
studio + , FKSE, Budapest
sajátszoba, ICA, Dunaújváros, Hungary
no title. Vizivárosi Galéria, Budapest
You are my enemy, Spiegel Gallery, Munich, Germany
Real, Stúdió Gallery, Budapest
Real, Center for Hungarian Culture, Bucharest, Romania
Walk, Téli Galery, Szentendre
group shows/film festivals (selection)/csoportos kiállitások(válogatás)
2011
2010
2009
Vide.a Miskolc,Town Gallery
Premiere, Kantine, Berlin
Total f*king darkness. The Appartement, Berlin
t.error, your fear as an external object, HCC New York
Financial District , ISCP New York
2005
2004
Hungarian video art, Janos Gat Gallery New York
Unstealable, Prezent Gallery Budapest
Our Museum, Hungarian Academy of Science, Budapest
t.error, Menu pont Gallery, Kunsthalle Budapest
Prague Biennale, Prague, Czech Republic
Wrong time, wrong place.., TENT, Rotterdam
Dumbo Art Festival, New York
Erotic Dreams, Siraly Theatre, Budapest
Jeunne Creation Europeenne, Paris France
Minority Logbox, project at Kuba.org, Bornemissza-Thyssen
Mobile Studios Budapest
International Film Festival Rotterdam
One World Festival, Berlin, Germany
LINEART Show, Ghent, Belgium
Xmas, Allgirlls Gallery, Berlin, Germany
H3, Hungarian Video Art, Belgrad, Serbia
Erotic Dreams, Szkene Theater, Budapest
10th Rencontres Internationales Paris/Berlin
Active image, CCA, Moscow
E-flux Video rental Project, Kunst Werke ProjektRaum, Berlin
Hungarian Video Art, NBK Video Forum, Berlin
Simultan Festival, Cluj, Romania
Longtime, Trafo Gallery, Budapest
Super! Triennale, Fashion Museum, Hasselt, Belgium
Borsec project, Vector Gallery, Iasi, Romania
Christmas, allgirls Gallery, Berlin
The anxiety of Influence… Kunstmuseum Bern, Switzerland
E-flux Video Rental Project, Ludlow str. New York
4 Days, Kulturkontakt Project Space, vienna
Too far-too close, Gallery IG bildende Kunst, Vienna
Exhibition of Derkovits Prize, Ernst Museum,Budapest
Borsec Project, Cultural Palace, Trgu Mures, Romania
Media Factory, Kozelites Egyesulet, Pecs
Is Medium the message? HISK Final exhibition, Antwerpen
M. Mulliqi prize, Kosovo Art Gallery, Prishtina
2003
2002
2001
2000
1999
IN/OUT, HISK Antwerp,Belgium
HOT, Tour and Taxis, Brussel, Belgium
Exhibition of Derkovits Prize, Ernst Museum, Budapest
Video20xx, Deák Erika Gallery, Budapest
Exröltex, Festival of Contemporary Galleries, Budapest
Tracce di un seminario, Viafarini, Milano, Italy
Exhibition of Derkovits prize, Ernst museum, Budapest
Gallery 1:10, Knoll Gallery, Budapest
Gallery1:10, Projektraum, Kunsthalle Innsbruck, Austria
Átszállás, Milleneumi Park, Budapest
Ondoloop, Live Art Space, Hull, England
Idea Bank, Summer course of Fondazione Ratti, Como, Italy
Science/Fiction Trafo KMH Budapest
Feketén-Fehéren Kunsthalle, Budapest
Media/Modell Kunsthalle, Budapest
Induktiv csomopont, Bratislava
Whippet, Duende Activities, Rotterdam,
Station 6.01 Künstlerhaus Mousonturm, Frankfurt, Germany
Bel Tempo- inter/Media/Arte Unghereia Trieste, Italy
Fotogram, Goethe Institut,Budapest
Awards and residencies/díjak, rezidencia programok
2009
2008
2007
2006
2004
2003
2002
2001-2003
2000
1999
other activities/egyéb tevékenységek
2012-2013
2011
2010
2009
2008
2007
2001-2003
Organizing committee member at The Public School Berlin
To learn to live with ghosts… workshop Bratislava, Academy of Fine Arts
To learn to live with ghosts….Liget Galery Budapest
Monuments as stages (in preparation) The Public School Berlin
Artist talk Miuseum of American Art, Berlin
Artist talk ISCP New York
Who is speaking? Artist talk, Menupont gallery,Budapest Kunsthalle
Artist talk, WAA, Warsaw
Artist talk AIR Roterdam, The Netherland
Committee member of Young Artist Organization, Budapest / organizer of ‘
Csomopont’ video screenings in subway stations in Budapest /
organizer of studio+ program and symposium
works in collections
2006
2005
Thyssen-Bornemissza Foundation, Vienna, Austria
Vienna City Art Collection
languages/nyelvtudás english,russian/angol,ororsz
Museum Quartier Vienna, Austria
ISCP New York, USA/ Eotvos State Scholarship, Hungary / Trust for Mutual Understanding award
ACAX Budapest Residency Grant
Duende Art studios, Rotterdam, The Netherlands
Step Beyond, Grant of European Cultural Foundation
Visegrad Foundation Artist Residency Grant
Residency at Warszawski Aktyw Artystow (Warsaw Artists Active)
Travel Grant ,ACAX Hungary
BAK, Utrecht, the Netherlands
Residency of Kulturkontakt Austria, Vienna
Award of Hungarian State Scholarship Funding
FKSE Award
Derkovits Award for Young Artists
Award of Budapest Gallery and the Kulturreferat Munich
Herceg Klára Award for Young Artists