LIDDY SCHEFFKNECHT

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.

Lapse , 2011, installation, outside view

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

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A window has been covered with white 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 installation 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

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

exhibition view, Georg Kargl Box, Vienna 2011

exhibition view, Georg Kargl Box, Vienna 2011

Walter Moser: A Moving Standstill - Liddy Scheffknechts Media Hybrids When it comes to photography, movement and standstill 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 enduringly. Photography embalms time: with this still today one of the most famous descriptions of the phenomenon Andr Bazin sought to understand its distinction from 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 enduring fashion, a photographer operates before the outside wall of a building on the shutter release button of a stereo 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 appropriated, enlarged, and recontextualized. The discursive strategy of media appropriation serves to visualize the aforementioned differences between photography and film. This is made concretely visible in an elementary 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 goes beyond 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 hybrid, 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 underscored 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 source. 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 thus inscribed as the midpoint between model and depiction, reproduction and construction, just as between photographic reality and its restaging in film.

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

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 projected onto the photograph of two people. The animation 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 photography and video and contrasts the brief exposure time (1/250) against the long duration of the video.

1/250 , exhibition view, ENSBA Paris, 2006

6 minutes 38 seconds , video projection on photography, 2009 computer, c-print 90 x 120 cm, video 6 38

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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

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

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 little while the spectator discovers movements in the picture. Over a time period of approximately 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 these shadows 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.

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 inaccessible for some years, reopened for visitors. Today it is one of the main sightseeing attractions in Sinop. Most recently its popularity rose because of a television 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 trivialized. 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 jailed for thought crimes - their life. 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 overlapping signs and characters have grown into meaningless patterns, not unlike wallpaper. A close look reveals dates next to the names, some 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 I transferred the names and dates onto the paper. The resulting 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.

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

untitled (Laaer Strae) , 2007, dcollage, lambda print on aluminium, 60 x 90 cm

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

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

All architectural elements except the scaffolding 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.

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 whiteout depicts 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 orientation. 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.

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

outshine , 2001, video, 149 A game of soccer is reduced to the shadows of the 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.

outshine , exhibition view, ENSBA Paris, 2006

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

A paper sheet in form of a basketball has been sticked into a window. The shadow of the paper moves over the wall within a time 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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Schottische Furche , intervention, Fluc / Vienna, 2010

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.

Untitled (medals) , 2008, paper, ribbon Two-dimensional paper objects which can be fold into three-dimensional medallike objects.

Untitled (summits) , 2008, nitroprint, 29,7 x 42 cm Untitled (summits) is a series of summits of legendary mountains.

The series Untitled (roofs) shows the tops of the tallest buildings.

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

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

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

Bubblegum , 2010, acrylic on glass, dimensions variable

The instant of blowing a Gum Bubble has been captured in glass and thus became an enduring, infinite moment.

Bubblegum , intervention, supermarket Maxima Nida / Litauen, 2011

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

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

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

Pop Up (office), 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.

Pop Up (Eckbank), 2012, cardboard, tape, 95 x 291 x 396 cm in collaboration with Armin B. Wagner

Untitled , 2010, glass, 23 x 11 cm

Electronic objects for inside use have been installed and made operable in the forest.

loom , intervention, 2007

glance , intervention, 2007

whiff , intervention, 2007

glance , intervention, 2008

Untitled , installation, Heinestrae Vienna, 2006 in collaboration with Oliver Kargl view outside the room

A distorted image is projected onto a projection 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.

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

Untitled , 2011, diaprojection, dimensions variable

Raumfahrt , 2001, video installation 317 projection surface 300 x 400 cm

Light probes space. Fluidly, the projected light influences the objects, the objects determine the form of the light. Softhard. Round-squared. Structured-flat. The light reveals, veils at the same time. A space full of objects appears empty, is newly constructed. A rhythm emerges from the alternating surface qualities. The movement of exploration is even. Light flows through the space.

LIDDY SCHEFFKNECHT born in December 1980 in Austria lives in Vienna 2007 2006 Diploma / University of Applied Arts Vienna; Bernhard Leitner / Ernst Strouhal / Erwin Wurm 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) Elastic Video , Kunstraum Niedersterreich, Vienna, curated by PLINQUE * 2013 Tilt , Zentralkunstgarage, Lustenau 2012 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 * This is Happening II , Georg Kargl Fine Arts / Vienna, curated by Fiona Liewehr 2011 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 * HAPPY HOUR , In der Kubatur des Kabinetts - der kunstsalon im fluc, Fluc / Vienna 2010 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 Austria la vista, baby , The Art Foundation / Athen, curated by Christian Rupp Petit Plinque , Museumquartier / Vienna, curated by PLINQUE *

 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 2010 2003 AIR, Nida Art Colony, Lithuania Startstipendium BMUKK 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

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