Since the end of the 1990s, Schneider has been staging the presence and absence of possible occupants of his interiors: laid tables, smells, and sounds seem to conjure them up. Schneider’s work entitled Die Familie Schneider, 14 and 16 Walden Street (London, 2004) constituted a tentative accentuation and intertwining of the spatial and semantic aspects of his work: the semi-detached homes, identical in both structure and furnishings, were each lived in by one twin, who carried out everyday tasks despite the presence of visitors.It seemed hardly possible to objectively observe the surroundings and occurrences—here too every visitor played an active part in intensifying Schneider’s work in an emotional and mental process in time and space.
Nicola Torke
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