Claudia Schnaider
1955, Mar del Plata, Buenos Aires, Argentina.

"Prilidiano Pueyrredon" School, SEU Degree in Visual Arts.
Glass techniques with Mabel Waisman, jewelry with Jorge Castagnon, wax modeling with Antonio Pujía.

2014 Individual exhibition Gallery A.M.A
2013 San Martin de los Andes Exhibition Center | Participation in the National Salon of Visual Arts, Ceramic Art | Project Boxes Collections and fragments in Threshold Art Space, The Night of the Museums.
2012 Mundo Hogar - Small Collections Project | Jury Mention - National Salon of Visual Arts, Ceramic Art | Action and Areatec Fund Award. Cassará
2011 Participation in the National Salon of Visual Arts, Textile Art | Natural Dimension AreaTec Fund. Cassará | Object a
2010 Biodiversity in the Jujuy Bicentennial | The AAF New York
2009 NES Gallery zone 54 | Object a
2007 Expotrastiendas The Artists and the I Ching Karina Paradiso
2006 9th Biennial of Visual Arts, Univ. De Morón, 2nd Mention-Sculpture

Claudia Schnaider


Memento Mori

20.11.2019 to 13.12.2019

Claudia Schnaider is one of the artists selected through the SEMILLERO 2018 open call, and her work MEMENTO MORI was presented at the November 20th, 2019 'aceNITE.

About the artist

One of the axes of my work is to explore the creative and expressive possibilities of a basic module whose identity is lost within the pattern that contains it.
Through this method I began the production of a series that I called "Reliquaries", where the pattern was the basis for telling the story of my own identity; just like with the fragmented remembrances that interweave the memory.
The series began at a hinge moment of my life in which I had to make decisions and dispose of certain family possessions, among which I found countless objects loaded with symbolic information, whose existence I no longer remembered. They awakened experiences that I didn't know were kept in me.
This work, so intimate, allowed me to experience the importance of building family history and investigating the roots that shaped my individual identity. And as I deepened during the production of these works, I was increasingly aware of the unfathomable emptiness left by absences.


This work is part of the Reliquaries series and was born with the idea of building my family tree.
I was looking for a common element for children of all generations and I remembered the little paper toads I played with at recess, a universal game that ignores borders and time.
This object, which was reproduced infinitely and was disarmed or disintegrated with the rain or succumbed to the sole of the foot, was chosen to tell the ephemeral reality of life.

"Who at least once has begun to open the trunk of the memory, always finds new compartments, new contents, no image satisfies him, because he understands that it could unfold, that only in the folded is the authentically proper: that image, that pleasure, that touch that has led us to dissociate everything, to unfold it, and then the memory goes from small to tiny, from tiny to minimal, and what is offered in this microcosm is getting closer and closer. " Walter BENJAMIN (1892-1940)