Stile der Stadt, Ein Projekt von Filomeno Fusco und Dirck Möllmann

deutsch

Videopanel 2011

February 19 – 27, 2011

Altonaer Museum, Hamburg

House

Corinna Schnitt

Corinna Schnitt *1964 in Duisburg
lives and works in Braunschweig

www.corinnaschnitt.de

Exhibitions (selected) (S – Solo; G – Group)
2010 Der offene Garten, Städtische Galerie Nordhorn (G)
2009 talk-talk – Das Interview als künstlerische Praxis, Kunstverein Medienturm Graz, Österreich (G)
2008 The Cinema Effect: Illusion, Reality and the Moving Image,
Hirshhorn Museum, Washington DC, USA (G)

2007 Von einer Welt, Museum Ludwig, Köln (S)

Awards and Fellowships (selected)
2005 Preis der deutschen Filmkritik für experimentellen Film (Living a Beautiful Life)
2004 Chinati-Foundation, Marfa, Texas (zweimonatiges Arbeitsstipendium)
2003 Stipendium der Villa Aurora, Los Angeles (dreimonatiges Arbeitsstipendium)
2002 Preis der deutschen Filmkritik für experimentellen Film (Das schlafende Mädchen)

Das schlafende Mädchen

2001, 16 mm film on DVD, colour, sound, 9 min., edition 5 + 2 a.p.

Courtesy Galerie Olaf Stüber, Berlin

In the opening sequence of Corinna Schnitt’s video The Sleeping Girl, the camera closely follows a two-master with three hoisted foresails. One can hear birds chirping and leaves rustling. Initially, it is hard to understand what is going on. But the viewer quickly realises that this is not a big ship, but a model ship operated by remote control. The sounds suddenly seem artificial, since they do not match with what is happening. The discrepancy between sound and image thus introduces something imponderable into the goings-on, because both seemed to fit so well for a short moment. The camera ascends, the river becomes a canal, and the image frame widens to show a colony of single-family homes that all look the same. In a hovering tracking shot, the canal is exposed as a modern housing complex with water-ambience. In blurry light, the colours of this landscape become one. The discrepancy between image and sound continues, you cannot see what you hear, and it culminates in a recording of an answering machine. An insurance clerk has an urgent question for “Mrs. Schnitt”. The man wants to talk, but his attempt is doomed to fail. Meanwhile, after approaching Vermeer’s painting A Girl Asleep from 1657, the camera remains fixed. In her video, Corinna Schnitt evokes motifs from the Dutch tradition of painting – and not only with the title of her work. The room-still-life seems like an extension of Vermeer’s portrait on the wall. For instance, the deserted scenery reminds us ex negativo of Peter Bruegel’s pictures of people’s everyday lives. Her precisely construed, subtle picture language allows Schnitt to reformulate this tradition, which she enriches by aspects of today’s conceptions of life and human communication.