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