Anne Schneider links existential things together using simple gestures. Arising from within the process of thinking and doing, her works display a certain nonchalance and do not try to cling to a classical mould. Anne Schneider's works are telescopic, allowing a variety of perspectives and points of view to collide. For her, it is a matter of a constantly maintaining a system which one might call autopoietic or self-referential. She is interested not in the organised discourse of art, but rather in the discourse that goes on within artistic creation itself. Often her works are descriptions of paths or spatial experiences and trace her personal development in conceptual form. Anne Schneider's artistic practice lies in producing non-hierarchical connections, comparable to the notion of the rhizome, as introduced by Gilles Deleuze. Any single point is connected with other points, enabling chains of statements to arise.
The new exhibition side by side constitutes the final part of an extensive trilogy which very exactly traces Anne Schneider's work in all its complex development. It was preceded by coming back from a late afternoon's stroll (1999) and walking to the seat with the clearest view (2001).
In the first room of the gallery a black carpet (as a reference to gardens and parks) provides the setting for a series of photographs of trees, the hand-coloured vividness of which reminds one of bodily openings, or the entrances / exits of organic architecture. In a further room, a video work (good luck, 1997-2002), showing sequences of very personal periods and subjective experiences, is contrasted with the film Hungry Jack. A fixed camera observes people in front of a fast food restaurant, although their movements can only be perceived in abstracted form through balloons. A series of large-scale watercolours demonstrates the artist's renewed interest in painting. These coloured watercolours show peaceful inner images and therefore constitute a distinct contrast to the predominate depictions of her media worlds.