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VITA |
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Meggie Schneider, born in Cologne. Studied philosophy and photography in Münster (Germany), photography and painting at the „Akademie voor Beeldende Kunst” in Enschede (Netherlands), and guest studies for one year at the “Université de Montréal” (Canada) in performance, installation, and painting. At the “Universität der Künste” in Berlin studies in experimental film design with Heinz Emigholz and Harun Farocki. Participation in numerous international festivals and exhibitions. From 2004-2006 she implemented the trilogy -private spaces in public spaces- with ich sitze gern, 4kitchens and hobbykeller in the Filmhaus in line with the International Film Festival Berlin (Berlinale). Since 2011, she has been heavily involved in projects in France, especially in Paris. This includes her project "Douze Dîners" (Twelve Dinners) realized between 2011 and 2012 in the framework of a residency at the Paris Cité Internationale des Arts, with funding from the Senate Department for Science, Research and Culture. In 2014, she was invited with her installation project Fabrique Biopic to join the Festival Hors Pistes du Centre Georges Pompidou where she has been invited again in 2016.
Meggie Schneider lives and works in Berlin as an artist, filmmaker and freelance teacher at universities in Berlin, Braunschweig, Potsdam and others.
Represented by Arsenal – Institute for Film and Video Art e.V.,Berlin
Berlin based artist Meggie Schneider works with the concept of cinema and its conventions, but her work exceeds the confines of the literal space of cinema. This becomes most evident when the arrangement of her work requires light within the space in order to be become visible, when the projection space is no screen at all, but rather doors, elevator walls or plates on a set table. In these instances, the projection constitutes its own space. Creating points of contact that are cinematic, Schneider's work invites a new understanding of non-narrative cinema for the way it engages its spatial environment.
In her experimentation on the border of private and public, she wants to produce inter-subjective encounters, through which meaning is elaborated collectively, and through which our perception is widened. She positions her work in this way against the space of individual consumption.
Meggie Schneider investigates the aesthetics of everyday life and its architecture. She separates fragments of the everyday from their usual context and puts them into a new one in form of walk-in installations: Microcosm becomes a crucible, a module of culture. She uses montage not only in film, but transfers its many options into living spaces and performs her directing in walkable architectures.
In these seemingly common and familiar living-spaces, thoughts and memories are opened up, questions of home, habitat, familial and cultural ways of life are established. Discourse and fresh thinking are evoked. A platform is created for exchange of knowledge, information and individual stories and experiences.
Die Arbeiten der Berliner Künstlerin und Filmemacherin Meggie Schneider befasst sich in Form und Inhalt mit Grenzräumen: zwischen Disziplinen, deren Konventionen hinterfragt und experimentell neu geordnet werden; zwischen privater und öffentlicher Sphäre, in welcher die Interventionen und Installationen der Künstlerin Platz für intersubjektive Begegnungen schaffen, in deren Rahmen kollektiv-performativ gemeinsame Ritualität und individueller Habitus in Beziehung gesetzt werden.
In ihrer Erforschung der Ästhetik des Alltäglichen und seiner Architektur isoliert sie Fragmente, welche sie dekontextualisiert als Indizien der Spannungsfelder des Alltags und seiner Räumlichkeit(en) erscheinen lässt. Ihre so entstehenden, teils begehbaren Installationen werden zu Mikrokosmen der Kultur – prozessual, evolvierend, stets in Bewegung; ihre Besucher prägend und durch sie geprägt. Montagetechniken nutzt Meggie Schneider nicht nur in ihrer Filmarbeit, sondern eignet sich derenvielfältige Möglichkeiten an, um Räume diskursiv und choreographisch neu zu erschließen.
Nicht selten sind diese Räume wohlbekannter Natur, Vollzugsorte und Artefakte des menschlichen Lebens – Tische, Fenster, Wohnkomplexe. Hier wirft die künstlerische Auseinandersetzung mit und Verortung von Kulturpraxis und Erinnerung Fragen über Heimat, Habitat, Familie, Gemeinschaft und ihre Konfrontation mit dem Jetzt auf. So verweilt Meggie Schneiders Arbeit niemals in der theoretischen Reflexion, sondern schafft durch seine affirmative Positionierung im Räumlichen selbst Räume für den Austausch von Wissen, Information und individueller Erfahrung.
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GRANTS |
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2016
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Grant for film research of the project "Dasein / Übersetzen"
Künstlerinnenprogramm 2016, Senatsverwaltung für Wissenschaft, Forschung und Kultur, Künstlerinnenprogramm, Berlin |
2011
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Residency at Cité Internationale des Arts Paris /
Senatsverwaltung für Wissenschaft, Forschung und Kultur, Berlin
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2007
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Grant for film research of the project Überlebens-Architekturen, P2.12 Living,
Künstlerinnenprogramm 2007, Senatskanzlei - Kulturelle Angelegenheiten, Berlin
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2006
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Website funding by Senatsverwaltung für Wissenschaft, Forschung und Kultur, Berlin
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2003
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Production funding for film research of the project Trans-Port / Überlebens-Architekturen,
Senatsverwaltung für Wissenschaft, Forschung und Kultur, Künstlerinnenprogramm, Berlin
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2001
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Grant for film research of the project Trans-Port / Überlebens-Architekturen,
Senatsverwaltung für Wissenschaft, Forschung und Kultur, Berlin
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AWARDS |
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2014 |
Nomination for the „Deutscher Kurzfilmpreis 2014“ film „Begegnung“ (D, 2013) |
2013 |
Nomination for the Samsung Smartfilm Award / Berlinale
Documentary film "Begegnung" (D, 2013) |
2009 |
Nomination A38 – Artist-in-Residence Grant Kassel-Halle.
The Kassel Documentary Film and Video Festival (Our Pride and Glory, D 2009)
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2002 |
Nominiation for the Experimental Film Prize, VideoArt & Experimental Film, Filmfest München,
(Scenes from Mirage - Hotel Polonia D, 2001, Im Reis der Zeichen, D 2001)
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2001 |
Prize of the Landesfilmdienstes Rheinland-Pfalz, Film- und Videotage Koblenz (Im Reis der Zeichen, D 2001)
Nomination for the Werkleitz Award, The Kassel Documentary
Film and Video Festival (Im Reis der Zeichen 2001)
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PARTICIPATION |
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2014 |
"Zu ICH, um WIR zu sein?"
2 weeks work shop in June / Experiments in collectivity
Hochschule für Grafik und Buchkunst / Leipzig
in collaboration with: Stephanie Nava (F), Olivia Plender (GB), Meggie Schneider (D), Alexander Römer (constructLab und EXYZT F/D), Erik Göngrich (D), Thomas Rustemeyer (D)
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2010 |
Jury Member at the Festival für Stadt, Kultur und Kunst,
Potsdam / Localize-Festival
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2007 |
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COLLABRATION IN OTHER FILMS/ARTWORKS |
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2016 |
The Communist Revolution is Caused By The Sun
directed by Anton Vidokle
editing: Meggie Schneider, Anton Vidokle, Adam Khalil |
2015 |
This is Cosmos
directed by Anton Vidokle
editing: Meggie Schneider, Anton Vidokle |
2014 |
2084,episode 2
directed by Anton Vidokle
editing: Meggie Schneider |
2013 |
2084,episode 3
directed by Pelin Tan and Anton Vidokle
editing: Meggie Schneider |
2012 |
Two Suns
directed by Anton Vidokle
a collaboration between artist Anton Vidokle and writer Hu Fang
editing: Meggie Schneider |
2010 |
as if (we would be)
http://www.mouvoir.de/projects/as-if-we-would-be
Besetzung/cast:
Created and performed by: Viviana Escalé, Inés Hernandez, Mu-Yi Kuo, I-Fen Lin, Victor Launay, Nicolas Robillard, Valenti Rocamora-Tora, in discussion: Anselm Franke, Concept/Dramaturgy: Angela Melitopoulos, Stephanie Thiersch, Choreography, Direction: Stephanie Thiersch, Video: Angela Melitopoulos, Video-Adaption of ´Sala de la Tele´: Meggie Schneider, Co-choreography: Alexandra Naudet, Consulting: Gerald Siegmund, Assistance: Angela Harter, Sound/Composition: Vitor Joaquim, Joseph Suchy, Music-Mix: Lyoudmila Milanova, Costumes: Sabine Schneider, Stage: Stephanie Thiersch, Angela Melitopoulos, Angela Anderson, Niko Moddenborg, Technical Director/Light Design: Niko Moddenborg, Management: Felix Wittek, Organization: Ines Disselbrede, PR/Marketing: Jessica Otten, Grafic Design: Jörg Waschat, Photography: Tom Trambow |
2009 |
Zum Vergleich / In Comparison
Deutschland/Österreich 2009
Länge 61 Min. / Format 16 mm, 1:1.37/ Farbe/ Dokumentarfilm
editing, collaboration soundesign: Meggie Schneider
director: Harun Farocki script: Harun
Farocki, Matthias Rajmann
cinematographer: Ingo Kratisch
sound: Matthias Rajmann editor:
Meggie Schneider drawings: Andreas
Siekmann collaboration: Antje Ehmann,
Anand Narayan Damle, Michael Knauss,
Regina Krotil, Iyamperumal Mannankatti,
Mamta Murthy, Markus Nechleba, Jan
Ralske, Yukara Shimizu, Isabelle Verreet
format: 16mm, col. lenght: 61 min.
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2007 |
ÜBERTRAGUNG / TRANSMISSION by Harun Farocki
director, scriptwriter: Harun Farocki Idee: Antje Ehmann
Research: Antje Ehmann, Christiane Hitzemann, Regina Krotil,
Matthias Rajmann, Isabell Verret camera: Carlos Echeverria,
Harun Farocki, Ingo Kratisch, Matthias Rajmannn
editing: Meggie Schneider, sound: Jochen Jezussek location manager:
Avi Perez, Haim Perez technical director: Jan Ralske
production: Harun Farocki Filmproduktion, Berlin commissioned by "Kunst Öffentlichkeit Zürich" with support of Schwyzer-Winker Stiftung, video, color, sound, 2007, 43 min. first screening: 2.11.2007, Limmatplatz (Tramhaltestelle), Zürich / Switzerland note: video art work for public spaces
www.farocki-film.de
AUFSCHUB / RESPITE by Harun Farocki
author, producer: Harun Farocki, collaboration: Antje Ehmann, Christiane Hitzemann, Lars Pienkoß,Matthias Rajmann, Jan Ralske, Meggie Schneider documentation: Herinneringscentrum Kamp Westerbork Memorial Center Camp Westerbork Hoogdalen, photos: Nederlands Instituut voor Oorlogsdocumentatie / The Netherlands Institute for War Documentation, Amsterdam film footage: Rijksvoorlichtingsdienst Filmarchief, The Netherlands Institute for Sound and Vision, Hilversum, video, b/w, silent, ROK / D 2007, 40 min
www.farocki-film.de
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2005 |
DIE ANTEILSCHEINE DER KUNSTHALLE BERN
Maria Eichhorn 2005, Grafische Sammlung, Kunstmuseum Bern
editing: Meggie Schneider
BILLBOARD ISTANBUL 1995
Maria Eichhorn, Istanbul Biennale 2005
editing and assistant in Istanbul: Meggie Schneider
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2002 |
HELLSEHNOHR by Herbert Fritsch, produced by Volksbühne Berlin
D 2002, 20 min., colour, stereo
compositing, editing, collaboration soundesign: Meggie Schneider
HellSehnOhr |
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