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LIDDY SCHEFFKNECHT

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.
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 stand-
still 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
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 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 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 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 thus
inscribed as the midpoint between model and depiction,
reproduction and construction, just as between photo-
graphic reality and its restaging in film.
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
1/250, 2006, video projection on photography
video 87, c-print 100 x 125 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
0 1 16 2 51
3 09 3 35 4 21
5 09 5 30 5 51
6.36 min, lambda print, video, projector, computer, 2010
6 min 38 sec, video projection on photography, 2009
computer, c-print 90 x 120 cm, video 6 38
19 1 22 3 08
4 19 5 11 5 40
Untitled (Mica), video projection on pigment print, 2011
computer, pigment print 100 x 133 cm, video 6 25
3 19 3 48 4 32 4 56
whiteout, 2008, video, 118

The video shows a ski race without skier. What remains is the speed, the
mountain and the movement of the camera.
exhibition view, Biennale of Young Artists of Europe and the Mediterranean / Skopje, 2009
outshine, 2001, video, 149
A game of soccer was reduced to the shadows of the players. All that
remains is the camera pan and a mere reference to the
persons.
outshine, exhibition view, ENSBA Paris, 2006
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.
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, 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.
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
Il buono, il brutto, il cattivo, exhibition view 3480 x 800 / Reumannhof Vienna 2011
Il buono, il brutto, il cattivo, 3 channel video installation, 2011, 1 35
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
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 space full of objects appears empty, is newly
constructed. A rhythm emerges from the alternating sur-
face qualities. The movement of exploration is even. Light
flows through the space.
Raumfahrt, 2001, video installation 317
projection surface 300 x 400 cm
LIDDY SCHEFFKNECHT
born in December 1980 in Austria
lives and works 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

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)

2011 Kaleidoskop, In der Kubatur des Kabinetts - der kunstsalon im fluc, Fluc / Vienna
Elastic Video, Tokio Wonder Site Hongo / Tokyo, curated by PLINQUE *
2010 HAPPY HOUR, In der Kubatur des Kabinetts - der kunstsalon im fluc, Fluc / Vienna
Mathias Garnitschnig, Claudia Larcher, Liddy Scheffknecht, Galerie Michael Sturm / Stuttgart
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 / Wien *
Fine Line, Georg Kargl Fine Arts / Wien
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
2010 Startstipendium BMUKK
2003 Adlmllerstipendium
Newspaper (selection)
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