nominated for – BEST PRODUCTION DESIGN 2019 – by the Austrian Film Academy
Help, I shrunk my Parents | Hilfe, ich hab meine Lehrerin geschrumpft
nominated for – BEST PRODUCTION DESIGN 2017 – by the Austrian Film Academy
Help, I shrunk my Teacher | Hilfe, ich hab meine Lehrerin geschrumpft
nominated for – BEST PRODUCTION DESIGN 2012 – by the Austrian Film Academy
In another Lifetime | Vielleicht in einem anderen Leben
: member of :
– European Film Academy –
– Austrian Film Academy –
– Austrian Filmdesigners Association –
: president of :
– European Federation for Costume & Production Design –
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Alexandra Maringer is an Austrian scenographer who grew up in Austria, now living in France and working all over Europe.
She studied architecture in Vienna and Paris, but soon started to intermingle with other art disciplines like film, theatre, photography, literature and graphic design. Her biggest influence during this time were the scenographers donmartin supersets (Renate Martin & Andreas Donhauser) whom she assisted during almost 10 years. All this synthesized summa cum laude into her thesis film_architektur (discussing the boundaries between architecture made for the real world and architecture for a film).
Working on her own for over 20 years now, she especially enjoys creating for different scenographic fields: films, plays, TV shows, events, exhibitions, trade fairs, art installations, … This way she constantly switches between different tasks (production-, exhibition-, stage- or graphic design), each one inspiring her for the others.
– curriculum vitae –
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[of the greek origins σκηνη “scene” and γραφειν “write, describe”]
To create a space is like writing a narrative: Layout, proportions, openings, light, materiality, patina, furniture and the smallest details add to it. Stage design, production design, exhibition design, events, installations, .. I work in all these domains, and for me they have a lot in common: I create a space which is to introduce a story / a topic / a personality to a specific public, it’s installation is often ephemeral, the creation process collaborative and multidisciplinary.
What distinguishes them is the different kinds of location (theatre, venue, studio, someone’s home ..) into which I inscribe my work, and the different ways the public get’s to see it.
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– exhibition | trade fair | event design –
The public is completely immersed into the sceneries I created. It is able to touch, hear and smell it, and it is allowed to discover it at it’s own pace. Materials must have certain qualities regarding inflammability as well as wear and tear, constructions must be safe. Other then that there are no limits to the creations, they can be abstract or realistic, modern or old-fashioned, high-glossy or rotten, fantastic or functional, … whatever the story needs.
. . .
– production design –
is the art of creating a world for a film. The public will never ever enter the sceneries I created, it is completely expulsed from the sets. But then again cinema has its own magical way of transporting us into another world by the means of light and sound, a director guides the public and defines the pace, the camera becomes the eye of the spectator. The impact on the creation of the sceneries is materialistic (does not have to be fully constructed, only has to exist for the moment the camera looks onto it, can be replaced by green-screen or photographic backdrops) and content-wise (everything has to seem real and existing, the public has to believe what it sees).
. . .
– stage design –
for plays, events or TV shows, is like a mixture of all: The public is not entering the scenery, but observing it closely from well defined points of view. The scenery is really there, and actors or speakers do interact with it. All of them (scenery, interactors and public) are in the same location. Wear and tear can vary: Some stages are to be taken up and down a lot, some only exist for 1 show. As the public is not getting close up, I am free to play with materials, style-wise everything is possible.
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media / press
(e)nglish, (f)rench, (g)erman
– JDA 882 – 05.2018 | de l’Autriche aux colombes –
(f) on my implication as curator and scenographer for the exhibition DRAWING PEACE
– diagonale webnotiz 11.2014 | mut zum unrealismus ! –
(g) an article i wrote about the production designer’s impact on the accessibility of film worlds
– servus TV lichtspiele 06.2013 | szenenbild –
(g) a video interview about my work as prodution designer for Ma Folie, shot in the studio set of Hanna’s apartment
– film & tv kameramann 09.2013 | blutgletscher / the station –
(g) an article by Philipp von Lucke on the making of our film
– schauplatz tatort 2013 –
(g) a book about 40 years of production design for the TV series TATORT is quoting my work for
Tatort : Vergeltung
– ephemerality and architecture 04.2013 | hands-on urbanism –
(e) a dissertation by Luma Ziad Ifram about “spatial stories and surprises in the exhibition”
– faces of interior 2.2012 | faszination filmarchitektur –
(g) article about my work as production designer, based on my thesis
– arch+ 208 08.2012 | hands-on urbanism –
(g) article about the exhibition and it’s scenography
– cast your art 03.2012 | hands-on urbanism –
(e) video interview where the curator Elke Krasny and me speak about the exhibition
– kreativwirtschaft burgenland 03.2012 | how to stage a story –
(g) an online published interview with me during hands-on urbanism
– architektur aktuell 222-12.2007 | himmelrot-zitronenblau –
(g) Elke Krasny about my work for this exhbition curated by Lisa Noggler-Gürtler
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