Current Exhibition

Gregor Schneider

SELECTED WORKS BY Gregor Schneider

Gregor Schneider
Man With Cock

21 x 186 x 70

Best known for his architectural manipulations, Gregor Schneider subverts reality to expose an unease with the ordinary. Transforming houses into doppelganger replicas of themselves and transporting entire rooms and buildings from site to site, Schneider revamps domestic interiors, creating a creepy sense of the uncanny in their mundane detail, turning everyday experience into horror. Man Cock encapsulates this sense of banal terror. His figure, half stuffed into a bin liner, lays discarded in the gallery as a gruesome discovery: a murdered corpse or auto-erotic asphixiant. The sculpture is chilling in its prosaicness, its gruesome subject reduced to mere objecthood The most disturbing aspect of Man Cock is the psychological implications: head shrouded in black plastic and trousers bulging, Schneider alludes to an unconscious realm where perversion and death is the ultimate seduction.

ARTICLES

Gregor Schneider - Articles

Gregor Schneider

Articles about Gregor Schneider

Gregor Schneider

Barbara Gladstone Gallery -
New York by Frances Richard
Artforum

517 W. 24th," Gregor Schneider's first solo show in New York, was noteworthy not least
because self-contained installations are unusual in his oeuvre. The German artist's lifework is the Haus u r (ur-house), 1985-, an outwardly unassuming building in his hometown of Rheydt. For over fifteen years, he has been reconfiguring the interior of what was once his family's home on Unterheydener Strasse, creating a morbidly unstable fun house of false walls and sealed chambers.
He also makes videos and photographs in the house and duplicates its rooms in other locales--in 2001 his re-creation of sections from the Haus u r at the German pavilion of the Venice Biennale won the Golden Lion. In comparison with this obsessive, kaleidoscopic endeavor, "517 W. 24th" seemed temporally, spatially, and conceptually modest. Schneider simply conjured a thoroughly convincing architectural trompe l'oeil in the middle of a busy art-district block, annexing part of the gallery at 515 West Twenty-fourth Street in order to insert--to create from scratch--an ill-lit, oil-stained cul-de-sac or garage where before there had only been white-box exhibition space. Read the entire article Source: www.findarticles.com

GREGOR SCHNEIDER - Die Familie Schneider

By Craig Garrett from Paper coffin

The first impression of Die Familie Schneider is that Gregor Schneider may have stumbled over the line into the theatrical. Although his previous works were ever bit as much stages as they were sculptures, the actor was always the viewer alone (sometimes to a frightening degree). Die Familie Schneider, on the other hand, is populated with professional actors whose presence nudges the project perilously close to a carnival house of horrors or, worse, 'living theatre.'
Anyone familiar with Schneider's oeuvre, however, knows that what he's seeking in his art is not a set piece or a stock motif ('the grotesque,' 'the Gothic,' or ever 'the uncanny') but something deeper. This something exists on a level that's hard to isolate but, in Die Familie Schneider, quite easy to feel, crawling just beneath one's skin. And whatever it is, Schneider is ready to go to great lengths to conjure it, from replicating entire rooms (down the the hairline fractures in the ceiling plaster) to hiring an actor to sit motionless inside a plastic garbage bag in a stifling bedroom for hours at a time. Read the entire article Source: www.papercoffin.com

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