Aristotle equated the cold with acuity of perception. And indeed, winter trains our gaze over the course of its frosty days. Horizons seem to stretch further, boundaries dissolve. The world becomes graphic as it transforms into emblematic black-and-white. At the same time, the dynamic between the states of fluids and solids works as a model of the artistic process, mirroring the fragile transition from conception to reality, idea to object. It is through this metaphor that Frost brings two different worlds together on a retreating horizon. The exhibit, conceived by architect Judith Haase and political scientist Melanie dal Canton, orders objects, images, and the everyday in a captivating new classification. Even within the clear precision of their presentation, the pieces and the spaces between them unite autonomously in a living, sensory domain. Just as the processes of melting and freezing lend themselves as a metaphor for life-giving energy, so do the objects produce a pulsing, vital harmony of different media.
Judith Haase's contribution to the exhibit comprises a design that transmutes between furniture, space and architecture. A sequence of five individual stools acts as a "room divider," operating less as an isolated object than as architectural element. Like frozen ice, in matte white, the object seems to float, reminiscent of the suspension of locality caused by the polar phenomenon of whiteout.
Beni Ouarain berber rugs from the collection of Michael Bossecker tread over the sculptural object. On different levels, the carpets oscillate between abstraction and the concrete meaning of their patterns, between archaic tradition and subjective perception of their graphic, severe print, which never actually solidifies, instead simultaneously preserving and renewing momentum.
Though Stephanie Schneider studied textile- and fashion design, she has been designing her own jewelry collection for the past eight years. Through a self-developed technique similar to weaving, chains of precious metals are wound together over a weft thread of mohair or silk to become pieces whose texture more closely resembles a textile than a conventional piece of jewelry. For the Frost exhibit, a scarf was developed that accompanied the designer on her travels and to whose creation many people have contributed.
Thomas Wörgötter's photographs show a dense yet loose sequence of frozen tree trunks, looming, splintered, cold, beautiful: an organic grid that doubles over on itself multiple times, simultaneously surrounding and excluding us. Indeed, just as paradoxically, glaciation does not exactly signify the torpidity of all life, but embodies its own kind of vitality, encouraging, demanding a more active perception.
It is this constructive outlook that links the objects of Frost: Just as ice clarifies quality of sight by depriving the habitual view, so do these wondrous objects project perceptive interspaces that must become unlocked.
Text: Dorothée Willert
Translation : Marin Reeve
Opening: September, 18, 2015, 6 pm – 9 pm
Exhibition: September 19 – October 31, 2016
Potsdamer Strasse 77 – 87 Haus H
Michael Bossecker, Judith Haase, Stephanie Schneider, Thomas Wörgötter
Lucile Bertrand, Eric Baudouin, Lidia Czynkiewisz, Roby Comblain, Diana Didier, François de Conick, Arpais du Bois, De Vylder - Vinck - Taillieu, Marine Halna du Fretay, Juan d'Oultremont, Elisabeth Horth, Aarich Jespers, Aida Kazarian, Samuel Gassmann, Viviane Klagsbrun, Stephan Goldrajch, Rieko Koga, Pascal Lemaitre, Diana Kollia, Fabrice Samyn, Pascal Malilo, Pascale Malilo, Dennis Tyfus, Tinka Pittoors, Alexander Van Slobbe, Stephanie Schneider, Bob Verhelst, Arlette Vermeiren, Daniel Von Weinberger.
They are following the thread of their imagination on the blue knit that built the reputation of the designer over 30 years.
‘Valentin’ is the name of a simple sweater, a sweater that is precise, ‘right’ - almost self-evident. This model, conceived and made without finishing and without useless or superfluous additions, is the distillate of a search for the essential that characterizes the work of Isabelle Baines. From thought to thread and back, it is and remains the benchmark and signature-style of her creations.
Opening: February 14, 2014
Exhibition: February 15 – March 3, 2016
Rue du viaduct, 66
Artits, designers and architects about Berlin:
Annemie Augustijns, Marian Beschoner, Isabelle Krieg, Haleh Redjaian & Stephanie Schneider, Benedikt Terwiel, Something Fantastic, Benjamin Deboosere & Wouter De Raeve
The duo Haleh & Stephanie consists of an artist, Haleh Redjaian, and a jewelry maker, Stephanie Schneider, who worked together for the exhibition ‘Berliner Mood’ at Valerie Traan gallery. They share a similar inspiration, use similar materials, but operate on very different scales. Haleh draws, Stephanie weaves with silver and silk. In their geometric installation for Galerie Valérie Traan the different scales of their work meet for the first time. Together they make big ‘woven’ compositions in which they bring together opposing elements. The idea of collaboration and cooperation is important for both of them: “We believe that the more we open up to other people’s ideas and to other disciplines the stronger is the output.” This project is therefore about exchanges, both intellectually and as shared experience. A nice detail is that both artists have lived in Antwerp, but only met in Berlin.
between you and me, 2013,
drawing by Haleh Redjaian, pencil on paper, 30 x 40 cm & acrylic glass; object by Stephanie Schneider, 925 sterling silver, silk thread, brass, 25 x 30 cm
Opening: November 21, 2013
Exhibition: November 22 – January 4, 2014
A Contemporary Jazz Age Beauty
She is wearing a blue-black shaded silk dress embroidered and draped with 925 sterling silver and silk woven jewels, highlighted by the perennial elegance of black diamonds and blue sapphires.
November 22, 2012 to January 19, 2013
Potsdamer Strasse 81E
... grew up in the sublime scenery of the German Alps. The rurality of the area with its solutide and scantiness fostered her puristic sense of beauty. And in traditional handcraft techniques she found a medium for developing her unique aesthetic.
Stephanie studied fashion and textile design at the FH Reutlingen, Germany, and at Winchester School of Art, u.k. She graduated in 2001 and subsequently worked as design assistant for labels such as Jurgi Persoons, Antwerp, and Hussein Chalayan, London.
In 2004 she moved to Berlin in order to join Kostas Murkudis and stayed until May 2009 as mens and womens wear designer.
The jewelry label 17 was launched in 2006. Stephanie's textile background is apparent in each of her pieces. She mixes materials from mohair to silk and linen with traditional jeweler's metals. With dexterity and love for detail Stephanie manages to transform her sensibility for pure und precise textures into delicate, timeless pieces of jewelry of the highest quality.
And as for the label's name, it stands for Schneider's philosophy, summarized through her knack for numerology: 1 is the beginning , 7 is perfection and when added they equal 8, a number that symbolizes eternity. A fitting philosophy, jewelry being something that one holds on to forever.
The collections evolve continuously without a stringent link to a season.
We want you to be happy with your jewelry. Each piece is made by hand and unique.
Silver jewelry oxidises naturally with air and humidity. Occasional cleaning with a special cloth will keep the silver shiny and remove the oxidation. In order to best avoid oxidation, keep your silver jewelry in a closed box that is protected from the air.
Gold plated and oxidized silver
It is not recommended to wear jewelry when you are sleeping, swimming, or participating in sporting activities. Also avoid contact with perfumes and make-up. The patina tends to disappear over time. The speed at which this disappears depends on the way in which the jewelry is cared for. Loss of patina is a normal phenomenon resulting from wear and tear.
Silk and mohair
The textile element in your jewelry makes the unique touch and color variety. Don’t wear the jewelry in swimming pools, spas or seawater – chlorinated or salt water can destroy the color brilliance and the resistance of the fiber.
Store your jewelry safely and prevent pieces from moving around especially while traveling. Fabric-lined jewelry boxes are ideal. Do not store your jewelry inside leather, this can tarnish gold and especially silver. Sometimes jewelry tarnishes when it’s not worn. To maintain the luster of your jewelry, you can place silver anti-tarnish strips in your storage container to absorb the oxidants that discolor and tarnish jewelry.
For all collections, we use the finest materials available including 925 sterling silver as well as a variety of semi-precious and precious stones. All materials meet international standards for both ethical production and composition.
If you desire to request a repair, please contact: email@example.com
The following information (Impressum) is required under German law. Responsible for the content of this site:
VAT-ID: DE 249512885
The contents of this website were prepared with utmost care. However, Stephanie Schneider cannot assume liability for the timeless accuracy and completeness of the information.
This website contains links to external websites. Responsibility for the contents of the linked pages is always held by the provider or operator of the websites.
In general, when visiting the website of Stephanie Schneider no personal data are saved. However, these data can be given on a voluntary basis. No data will be passed on to third parties without your agreement. Stephanie Schneider points out that in regard to unsecured data transmission in the internet, security cannot be guaranteed. Such data could possibly be accessed by third parties.
Concept and Design: Studio Krimm