catálogo - liddy scheffknecht

8/12/2019 Catlogo - Liddy Scheffknecht

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LIDDY SCHEFFKNECHT


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Lapse, 2011, installation, outside view

Using black masking tape a distorted

chair has been painted on a window.The shadow of the drawing is casted into

the room and moves over the floor within

a time periode of several hours. At a

certain point in time the shadow connects

with a chair inside the room, as if they

belong together.


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Lapse, 2011, sunlight, shadow, tape, chair, dimensions variable


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2:15 pm 2:39 pm 3:05 pm

3:30 pm 3:53 pm 4:19 pm

4:45 pm 5:10 pm 5:35 pm


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A wi ndo w h as bee n c ove red wit h w hit e

paper. A precisely constucted hole in form

of an ellipse has been cutted out. When

the sun shines, an oval light spot appears

on the floor of the room. At 5.01 pm the

light spot becomes circular and reaches the

position directly under the lamp, creating

the illusion of a swichted on lamp. Just for

a very short moment during the day the in-

stallation is correct. Every other moment

it seems that the lamp has lost control over

its flare.

Oculus, installation view, 2011


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Oculus, 2011, sunlight, paper, lamp, dimensions variable

3:12 pm 4:25 pm 5:01 pm

5:25 pm 5:54 pm 6:25 pm


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Oculus (# 2), 2012, sunlight, paper, paper lamp shade, cable, dimensions variable


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exhibition view, Georg Kargl Box, Vienna 2011


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Walter Moser: A Mo ving S tan dst ill - L idd y Sche ffk nec ht s

Media Hybrids

When it comes to photography, movement and stand-

sti l l are two characteristics that are usually treated as

a contradiction. As a cut through space and time, the

photographic medium not only arrests a moment, it also

stages that moment in an image, statically and enduri-

ngly. Photography embalms time: with this still today

one of the most famous descriptions of the phenomenon

An dr Baz in sou ght to und ers tan d i ts dis tin cti on fro m

a different medium: film. Film goes beyond photography,

for it adds the very element that defines the limits of

photography: the definition of a temporal sequence by

way of movement.

On first glance, Liddy Scheffknechts work 7 Minutes 13

Seconds clearly corresponds to the characteristics of

photography: static, immobile, and staged in an enduri-

ng fashion, a photographer operates before the outside

wall of a building on the shutter release button of a ste-

reo camera placed on a tripod. The photograph was not

taken by the artist herself, but is a visual product made

by an anonymous photographer that Scheffknecht ap-

propriated, enlarged, and recontextualized. The discur-

sive strategy of media appropriation serves to visualize

the aforementioned differences between photography

and film. This is made concretely visible in an elemen-

tary motif: the video of a shadow is precisely projected

onto the photograph, and the referent of this shadow

seems to be the photographer depicted. In so doing, the

shadow reveals an important characteristic that goesbeyond the photographic medium: movement. It slowly

moves across the image and by way of its changing

shape not only visualizes a temporal sequence, but also

mixes photography and film. In this superimposition of

two visual levels, Scheffknecht generates a media hy-

brid, whereby the limits separating the two media are

both violated and visualized as transparent. Accordingly,

the semantics of the image need to be sought in the

difference between the two media.

(...)

The dialectic between static and movement is under-

scored in the video projection onto the photograph

by divorcing the shadow from its referent and/or the

photographer. On first glance, its continuously changing

shape seems not to be an imprint or the result of the

photographer, but rather suggests an invisible light sour-

ce. On closer examination, this proves to be an illusion:

the shape of the shadow can thus not be explained as a

logical visual transformation, but due to its autonomous

form the shadow separates itself from the causality

of its reference, and thus emerges as an independent

double. As the only mobile element, it dominates the

statistic elements and divorces itself from the narrative

context.

The photographs proximity to reality as well as the

course of the shadow, which initially appears to be

logical, yet ultimately cannot be traced back to the

photographer, makes Scheffknechts work slip into the

uncanny-surreal.

By way of conclusion, if a silhouette appears in

Scheffknechts picture that no longer possesses any

referent in the photograph itself, it includes an additional

authority addressed by the camera of the photographer:

the viewer. As a perceiving authority, he or she is thusinscribed as the midpoint between model and depiction,

reproduction and construction, just as between photo-

graphic reality and its restaging in fi lm.


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7 minutes 13 seconds, 2011, video projection on photography, video 713 pigment print 100 x 133 cm, videoprojector, mediaplayer

33 1 16 2 13 2 59

4 02 4 35 5 27 6 08


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1/250, 2006/2011, video projection on photography

video 1120, c-print 148,5 x 198 cm, video projector, computer

This work shows two computer-animated shadows pro-

jec ted ont o t he pho tog rap h o f t wo peo ple . T he ani mat i-

on and the photography are so precisely synchronized

that they can barely be perceived as seperate entities,

and are therefore seen as a single unity of shadow and

person. The work probes the borders between photo-

graphy and video and contrasts the brief exposure time

(1/250) against the long duration of the video.


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1/250, exhibition view, ENSBA Paris, 2006


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6 minutes 38 seconds, video projection on photography, 2009

computer, c-print 90 x 120 cm, video 6 38


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19 1 22 3 08

4 19 5 11 5 40


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Untitled (Mica), video projection on pigment print, 2011, computer, pigment print 100 x 133 cm, video 6 25


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Untitled (Mica), video projection on pigment print, 2011

computer, pigment print 100 x 133 cm, video 6 25

3 193 484 324 56


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Untitled (Sinop Kale Cezaevi), video projection (40 min 2 sec) on pigment print (100 x 133 cm), 2012, Photo: Yusuf Emre Yalin


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Untitled (Sinop Kale Cezaevi), 2012

The installation consists of a photography and a video.The photography shows a wall with an open door, taken

in the outside area of the former prison of Sinop. Onto

this photography a video is projected. On the first glance

it seems to be a still picture, a single moment, frozen in

time. Only after a l i ttle while the spectator discovers mo-

vements in the picture. Over a time period of approxima-

tely 40 minutes figurative shadows are growing slowly

into the image. One shadow appears behind the wall,

visible through the open door. Other shadows are rising

in front of the wall. As the people who are casting theseshadows seem to stand behind the wall or outside the

field of view, a fragmented narrative, which can be read

in different ways, builds up. It doesnt become clear if

the people to whom these shadows belong are related

to each other or to this specific place the prison. It

remains open if the shadows belong to different people

or to the same person, coming to this place from time to

time, probably years in between.


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Untitled, 2012, carbon frottage, dimensions variable

I was invited to participate in the Sinopale 2012 the

Sinop Biennial. The main exhibition area was the Sinop

Kale Cezaevi, the former State Prison of Sinop.

The prison was closed in 1997 and, after being inac-

cessible for some years, reopened for visitors. Todayit is one of the main sightseeing attractions in Sinop.

Most recently its popularity rose because of a televisi-

on series called Parmaklklar Ardnda (Behind Bars),

a Turkish adaption of the German RTL-series Hinter

Gittern Der Frauenknast(Behind Bars The Womens

Prison). For the TV production a former prison cell was

altered and refurnished. Tourists pour into the historical

prison to see the setting of the fictional story. As a result

the prisons history is overshadowed, changed and trivi-

alized. The conditions in the active prison were terrible.

Torture, malnutrition, coldness and constant humidity of

the cells cost more than a few prisoners - many of them

jai led for t hou ght cri mes - the ir lif e.

The historical buildings are littered with countless

graffitis. In every wing of the prison, names, hearts and

drawings are scratched into the walls. Most inscriptions

date from the time after the prison was closed and left

empty. Even today visitors add their names. The over-

lapping signs and characters have grown into meanin-

gless patterns, not unlike wallpaper.

A cl ose l ook rev eal s dat es nex t t o t he nam es, so me of

them go back to the time when the prison was still in

operation. After localizing these inscriptions I covered

them with thin paper. Gently wiping them with carbon Itransferred the names and dates onto the paper. The re-

sulting drawings were hung on the exact same position

they were made. Using this technique, the names of the

prisoners were highlighted, drawn out from a growing

mass of names and dates.


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untitled (rue de 4 septembre / rue de hanovre) , 2006, dcollage, lambda print on aluminium, 60 x 90 cm


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untitled (Pont Neuf), 2006, dcollage, lambda print on aluminium, 60 x 90 cm


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untitled (Santa Maria della Grazie) , 2007, dcollage, lambda print on aluminium, 60 x 90 cm


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All arc hit ect ura l e lem ent s exc ept the scaff old ing

were removed from the photograph of a building

under renovation. The result is an autonomous

drawing, which suggests the form of the erased

building. The scaffolding, normally a temporary

urban structure, was retained whereas the building,

a permanent urban structure, was eliminated.


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whiteout, 2008, video, 118

Whiteout is the product name of an opaque correction

fluid, used to erase errors in a text written or typed with

a permanent ink. In the video work whiteoutdepicts a

ski race from which the ski racer has been removed.

Whiteout can also designate a weather condition in

which snow and diffuse lighting can lead to a situation

where sky and earth melt together and the horizon

disappears. This causes the space to appear completely

empty and infinite and can lead to the loss of orienta-

tion. In the video whiteout the camera looses its point

of reference and seems to be following a void. What

remains in the video is the speed, the mountain, the

bending gates which bend without visible cause and the

audience of this event.


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exhibition view, Biennale of Young Artists of Europe and the Mediterranean / Skopje, 2009


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outshine , 2001, video, 149

A ga me of soc cer is red uce d t o t he sha dow s o f t he

players on the field. All that remains of the game is

the cameras pan, the field with its defining lines and

the moving shadows of the players.


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outshine , exhibition view, ENSBA Paris, 2006


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outshine , exhibition view Galerie Stephanie Hollenstein 2012, screen, black paper masking tape


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A pa per she et in for m o f a bas ke tba ll has

been sticked into a window. The shadow

of the paper moves over the wall within atime periode of several hours. A drawing

of a basketball basket is attached to the

wall. The flight of a basketball normally a

very quick movement has been put into

slow motion by using sunlight and the earth

rotation. Finally the ball doesnt make the

basket. The next day, if the sun shines, the

play starts anew, the ball fails again.


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16:05 Uhr 16:47 Uhr 17:11 Uhr


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Schottische Furche, intervention, Fluc / Vienna, 2010


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winners, 2008, video, 37

The video winners consists of hundreds of

photos showing jubilant winners. So mounted the

video evokes a fluid movement of hands, happy

about their success moving up- and downwards.


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Untitled (medals), 2008, paper, ribbon

Two-dimensional paper objects which can be fold

into three-dimensional medallike objects.


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Untitled (summits), 2008, nitroprint, 29,7 x 42 cm

Untitled (summits)is a series of summits of legendary mountains.


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The seriesUntitled (roofs)shows the tops of the tallest buildings.


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Untitled (Citic Plaza), 2008, nitroprint on glass, 29,7 x 42 cm


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Untitled (International Commerce Center), 2008, nitroprint on glass, 29,7 x 42 cm


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Untitled (Petronas Tower), 2008, nitroprint on glass, 29,7 x 42 cm


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Bubblegum , 2010, acrylic on glass, dimensions variable


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The instant of blowing a Gum Bubble has

been captured in glass and thus became

an enduring, infinite moment.


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Bubblegum , intervention, supermarket Maxima Nida / Litauen, 2011


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from the series: Untitled (Soap Bubble), 2010, fineliner on paper, 42 x 29,7 cm


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Pop Up (ofce), 2009, cardboard, tape, 94 x 275 x 200 cm

in collaboration with Armin B. Wagner

The sculpture can be opened and closed like a book. Using

the technique of Pop Ups a mobile workstation consisting of

a desk, a chair and a laptop appears and disappears.


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Pop Up (Eckbank), 2012, cardboard, tape, 95 x 291 x 396 cm

in collaboration with Armin B. Wagner


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Untitled, 2010, glass, 23 x 11 cm


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Electronic objects for inside use have been installed and

made operable in the forest.


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loom, intervention, 2007


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glance , intervention, 2007


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whiff, intervention, 2007


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glance , intervention, 2008


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Untitled, installation, Heinestrae Vienna, 2006

in collaboration with Oliver Kargl

view outside the room

A di sto rte d i mag e i s p ro jec ted ont o a pro jec tio n

screen. An optical lens that is mounted outside the

room straightens the image and makes the room

itself appear distorted. Two false levels of reality

are united to create an ostensible right.


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untitled, installation, view inside the room Heinestrae Vienna, 2006


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Untitled, 2011, diaprojection, dimensions variable


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Light probes space.

Fluidly, the projected light influences the objects,

the objects determine the form of the light. Soft-

hard. Round-squared. Structured-flat. The light

reveals, veils at the same time.

A sp ace ful l o f o bje ct s a ppe ars emp ty, is new ly

constructed. A rhythm emerges from the alternating

surface qualities. The movement of exploration is

even. Light flows through the space.

Raumfahrt, 2001, video installation 317

projection surface 300 x 400 cm


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LIDDY SCHEFFKNECHT

born in December 1980 in Austria

lives in Vienna

2007 Diploma / University of Applied Arts Vienna; Bernhard Leitner / Ernst Strouhal / Erwin Wurm

2006 Diplme national suprieur darts plastiques / ENSBA Paris; Jean-Luc Vilmouth

Solo Exhibitions

2012 eleven minutes twenty seconds , Kunsthaus Graz

sence, Ex-garage / Maribor

2011 Liddy Scheffknecht, Georg Kargl Box / Vienna

Bubblegums , The Outside Gallery Window / Milan

2008 Take Aways, Galerie Wilma Lock, St. Gallen / Switzerland

whiteout, Galerie Jeune Cration / Paris

2006 scaffoldings , The Outside Gallery Window / Milan

Group Exhibitions (selection)

2013 Elastic Video, Kunstraum Niedersterreich, Vienna, curated by PLINQUE *

2012 Tilt, Zentralkunstgarage, Lustenau

4. International Sinop Biennale, Sinop / Turkey, curated by Isin nol

Genius loci, Kulturpolis, Klaipda / Lithuania, curated by Yulia Startseva and Vytautas Michelkeviius

The Digital Uncanny, Edith Ru Haus for Media Art, Oldenburg, curated by Brigitte Felderer *

2011 This is Happening II, Georg Kargl Fine Arts / Vienna, curated by Fiona Liewehr

Donetsk goes Contemporary, Art Point Donetsk / Ukraine, curated by Andrei Loginov and Steve Schepens

Space Odyssey, Mrz / Linz, curated by Bernd Oppl

Meet everyone at once, start an artist-run- space, 0gms / Sofia

Kaleidoskop , In der Kubatur des Kabinetts - der kunstsalon im fluc, Fluc / Vienna, curated by PLINQUE *Elastic Video, Tokio Wonder Site Hongo / Tokyo, curated by PLINQUE *

2010 HAPPY HOUR, In der Kubatur des Kabinetts - der kunstsalon im fluc, Fluc / Vienna

Bernd Oppl, Liddy Scheffknecht, bb 15 / Linz

Qui vive, 2nd Moscow International Biennale for Young Art / Moscow

Mathias Garnitschnig, Claudia Larcher, Liddy Scheffknecht, c.art / Dornbirn, curated by Gerold Tagwerker

Aus tri a l a v ista, bab y, The Art Foundation / Athen, curated by Christian Rupp

Petit Plinque, Museumquartier / Vienna, curated by PLINQUE *


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Fine Line, Georg Kargl Fine Arts / Vienna, curated by Fiona Liewehr

WIR WOHNEN, Kunstraum Niedersterreich, Vienna *, curated by Ingeborg Strobl

2009 Plinque Projction, Cit des Arts, Paris

Biennale of Young Artists of Europe and the Mediterranean / Skopje *

Plinque Meringue, Contemporary, Vienna

UnOrtnung V, Ankerbrotfabrik / Vienna

2008 Jeune Cration 2008, Parc de la Villette, Espace Charlie Parker / Paris *

GAMES. Kunst und Politik der Spiele , Kunsthalle Vienna project space, curated by Ernst Strouhal, Mathias Fuchs and Florian Bettel *

Plinque , Kettenbrckengasse 8 / Vienna

2007 Wonderland, Galerie Schirman & d Beauce / Paris

Zweiter Frhling, Sezession Wichtelgasse / Vienna *

2006 Premire Vue, 5ime edition, Passage de Retz / Paris, curated by Michel Nuridsany *

2004 Ghostscape , Villa Savoye / Paris, curated by Jean-Luc Vilmouth und Philipp Rahm *

TASTE 0-20, Praterstrae / Vienna, curated by Gertrude Moser-Wagner

2002 The Essence, Knstlerhaus / Vienna, curated by Bernhard Leitner *

2001 Sensoren , Galerie Charim Klocker / Vienna, curated by Bernhard Leitner *

* catalogue

Grants | Residencies

2011 AIR, Nida Art Colony, Lithuania

2010 Startstipendiu m BMUKK

2003 Adlmllerstipendium

Newspaper (selection)

Ines Gebetsroither: Wirklichkeiten - Die Knstlerin Liddy Scheffknecht mit einigen Arbeiten, Parnass, November - Dezember, Heft 4/2012

Ursula Maria Probst: Wir wohnen, Kunstforum, Bd. 201, Mrz - April 2010

Ursula Badrutt Schoch: Liddy Scheffknecht Take Aways, Kunstbulletin, November 2008

Ursula Badrutt Schoch: Take Aways bei Lock, Tagblatt, 4. Oktober 2008

Charim, Isolde: Das Sakrale berstrahlen. taz Berlin, 3. 6. 2008

Isolde Charim: Das Sakrale berstrahlen taz Berlin 3 6 2008


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Isolde Charim: Das Sakrale berstrahlen. taz Berlin, 3.6.2008

Ursula Badrutt Schoch: Liddy Scheffknecht Take Aways Kunstbulletin November 2008


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Ursula Badrutt Schoch: Liddy Scheffknecht Take Aways, Kunstbulletin, November 2008

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