Schneider, Meggie.
*1963 in Cologne, D
lives and works in Berlin, D
studied at Akademie voor Beeldende Kunst, Enschede, NL,
Université de Montréal, CA and Universität der Künste, Berlin, D
Exhibitions [Selection]:
2010 Single Exhibition, spielzeit’europa, „Composition With Twelve Windows“,
Haus der Berliner Festspiele, Berlin, D
2010 Group Exhibition, BESTE LAGE, „Module 001 / F 05.11“ und „Module 002 / Restraum“,
„Module 003 / Wishing and Wonderworld“, Kulturhaus Mitte, Berlin,D
2009 Group Exhibition, Berlin change plus vite que mon coeur , „La Culture à Domicile“,
La Gare Saint Sauveur, lille3000, Lille, F
2008 Group Exhibition, After the Light: Moving Image displayed at Night,
„16 windows“, Radialsystem V, Berlin, D
2006 - 2007 Single Exhibition, „Sala de la Tele - Chile / Chilean TV-Room“,
El Centro de Documentación de las Artes, Palacio La Moneda, Santiago de Chile, RCH
2004 - 2006 Trilogy: PRIVATE SPACES / PUBLIC INTIMACY „ich sitze gern“ (2004),
„4kitchens“ (2005), „hobbykeller“ (2006) forum expanded /
internationales forum des jungen films / Berlinale, D
Module 002 / Restraum
Date: 2010
Length: 19:00 min.
Format: HD 16:9
Specification: Colour, Sound
Making use of the shot / reverse-shot as a narrative technique, Meggie Schneider builds up an impression of an area in the center of Berlin framed by two ‘P2’ prefabricated houses, showing its architecture, the design of the squares and the goings-on in and around them. The public space in front of the prefabricated buildings is shown from different angles. First of all, from the private apartments, from the resident’s perspective. Music drifts from the apartments into the outside world and noises from the street filter in. In the 1970s the apartments were allocated to workers and academics. The higher the reputation of the prospective tenant, the higher up the building was the allocated apartment. From the opposite angle, the square is shown from the apartments opposite. Sometimes the perspective is directed upwards, sometimes directly towards the building showing a detail of the façade. Some shots are also taken at ground level, again both from perspective and counterperspective.
Following the course of different times of the day and using changes of perspective, the spectator gets an insight into the urban dialogue of the interior and exterior world, the nearness and the distance, the inhabitants and the passers-by.
KM
