Stefanie Schneider - Untitled (Beachshoot)

无标题（Beachshoot） - 2005

20x20厘米。
Edition of 10, plus 2 Artist Proofs.
版次为10，再加上2份艺术家签名版。
Archival C-Print, based on the original Polaroid.
档案级C-Print，基于原始宝丽来照片。
Certificate and signature label.
证书与签名标签。
Artist Inventory #1397.01.
艺术家存货编号1397.01。
Excellent condition.
状况良好。
Not mounted.
未装裱。

Beachshoot

这些摄影幻想由精心挑选的约束与象征性特征的运用所决定。 Telegraph poles, airplanes, vast wastelands, a train bridge or a 50s American car tell in the same manner different stories, as do lurid wigs, kids toys, a headscarf or an old super 8 camera.
电线杆、飞机、广袤的荒原、火车桥或一辆50年代的美式汽车，以同样的方式讲述着不同的故事，炫目的假发、儿童玩具、头巾或一台老式 Super 8 摄像机也是如此。
Schneider’s work feeds on anecdotes and storytelling, but also on her specific European perspective on America.
施奈德的作品以逸闻趣事与叙事为养分，同时也带有她对美国的独特欧洲视角。
The world of her photographs is populated by narrow-chested boys and fragile girls, who do not seem to be aware of their own youth and beauty.
她照片的世界充满了胸廓狭窄的男孩和脆弱的女孩，他们似乎并不意识到自己的青春与美丽。
Their lightheartedness is invaded by a menacing grown-up world, to which they oppose their juvenile lack of compromise.
他们的轻快被一个威胁性的成人人世界侵扰，他们以年少的固执抗衡。
And actually her work does have an autobiographical aspect to it, since the artist makes herself and her friends the focus of the camera.
实际上，她的作品确实带有自传性，因为艺术家让自己和朋友成为镜头的焦点。

Stefanie Schneider photographs her ‘mises en scene’ with a Polaroid camera, of all things.
斯特法妮·施耐德用一台宝丽来相机拍摄她的“场景布置”。
The medium that is usually understood as a means to conserve documentary immediacy is being used in its opposite sense, since places, postures, costumes and especially the eye-catching image sections are staged.
这一通常被视为保存纪实即时性的媒介，如今被用在相反的意义上，因为地点、姿态、服装，尤其是引人注目的画面段落，都是经过排演的。
This technical ‘plot device’ mirrors her method as well as her purpose: the laureate of the Folkwangschule Essen uses only expired Polaroid material.
这一技术性“情节装置”既反映了她的方法，也反映了她的目的：埃森福尔克旺学校的桂冠得主仅使用过期的宝丽来材料。
Marks, scintillation, black empty smudges and massive changes in colour add a second layer of reality to the shots and question the validity of imagery, the symbols and the relevance of proper memories.
记号、闪烁、黑色的空白污点以及颜色的巨大变化为镜头增添了第二层现实，质疑影像的有效性、符号以及对恰当记忆的相关性。
From these picture that look amateurish and casual raise the impression of authenticity on which we stumble from one moment to the next. - Petra Prahl
从这些看起来业余、随意的画面中，我们获得一种真实性的印象，而这印象让我们在瞬间又一个瞬间地停顿不前。- Petra Prahl