andrea schneemeier selected works

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