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

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 .

Oculus . A precisely constucted hole in form of an ellipse has been cutted out. 2011 .A window has been covered with white paper. At 5. an oval light spot appears on the floor of the room. Just for a very short moment during the day the installation is „correct“. When the sun shines. Every other moment it seems that the lamp has lost control over its flare.01 pm the light spot becomes circular and reaches the position directly under the lamp. creating the illusion of a swichted on lamp. installation view.

dimensions variable . lamp. paper. 2011. sunlight.3:12 pm 4:25 pm 5:01 pm 5:25 pm 5:54 pm 6:25 pm Oculus .

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

Vienna 2011 .exhibition view. Georg Kargl Box.

exhibition view. Vienna 2011 . Georg Kargl Box.

and recontextualized. The photograph’s proximity to reality as well as the course of the shadow. the semantics of the image need to be sought in the difference between the two media. Accordingly. Photography “embalms time”: with this –still today one of the most famous descriptions of the phenomenon – André Bazin sought to understand its distinction from a different medium: film. movement and standstill are two characteristics that are usually treated as a contradiction. a photographer operates before the outside wall of a building on the shutter release button of a stereo camera placed on a tripod. enlarged. As a perceiving authority.Liddy Scheffknecht’s Media Hybrids When it comes to photography. (. Scheffknecht generates a media hybrid. In this superimposition of two visual levels. . and thus emerges as an independent “double”. statically and enduringly. whereby the limits separating the two media are both violated and visualized as transparent. The discursive strategy of media appropriation serves to visualize the aforementioned differences between photography and film. for it adds the very element that defines the limits of photography: the definition of a temporal sequence by way of movement. makes Scheffknecht’s work slip into the uncanny-surreal. Film goes beyond photography. the photographic medium not only arrests a moment. This is made concretely visible in an elementary motif: the video of a shadow is precisely projected onto the photograph.. it dominates the statistic elements and divorces itself from the narrative context.) 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. but due to its autonomous form the shadow separates itself from the causality of its reference. this proves to be an illusion: the shape of the shadow can thus not be explained as a logical visual transformation. but also mixes photography and film. On closer examination. and staged in an enduring fashion. its continuously changing shape seems not to be an “imprint” or the result of the photographer. immobile. As a cut through space and time. he or she is thus inscribed as the midpoint between model and depiction. but rather suggests an invisible light source. which initially appears to be logical. yet ultimately cannot be traced back to the photographer. it also stages that moment in an image. On first glance. and the referent of this shadow seems to be the photographer depicted. Liddy Scheffknecht’s work 7 Minutes 13 Seconds clearly corresponds to the characteristics of photography: static. By way of conclusion. but is a visual product made by an anonymous photographer that Scheffknecht appropriated. On first glance. As the only mobile element. if a silhouette appears in Scheffknecht’s picture that no longer possesses any referent in the photograph itself. reproduction and construction. It slowly moves across the image and by way of its changing shape not only visualizes a temporal sequence. The photograph was not taken by the artist herself. it includes an additional authority addressed by the camera of the photographer: the viewer. the shadow reveals an important characteristic that goes beyond the photographic medium: movement. In so doing.. just as between photographic “reality” and its restaging in film.Walter Moser: A Moving Standstill .

2011. video projection on photography. mediaplayer . videoprojector.33´´ 1´ 16´´ 2´ 13´´ 2´ 59´´ 4´ 02´´ 4´ 35´´ 5´ 27´´ 6´ 08´´ 7 minutes 13 seconds . video 7‘13‘‚ pigment print 100 x 133 cm.

computer This work shows two computer-animated shadows projected onto the photograph of two people.1/250 . 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. video projection on photography video 11´20´´. c-print 148. 2006/2011. video projector.5 x 198 cm. The animation and the photography are so precisely synchronized that they can barely be perceived as seperate entities. .

exhibition view. 2006 . ENSBA Paris.1/250 .


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

19´´ 1´ 22´´ 3´ 08´´ 4´ 19´´ 5´ 11´´ 5´ 40´´ .

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

pigment print 100 x 133 cm.4´ 56´´ 4´ 32´´ 3´ 48´´ 3´ 19´´ Untitled (Mica) . 2011 computer. video projection on pigment print. video 6‘ 25‘‘ .

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

On the first glance it seems to be a still picture. The photography shows a wall with an open door. As the people who are casting these shadows seem to stand behind the wall or outside the field of view. Over a time period of approximately 40 minutes figurative shadows are growing slowly into the image. which can be read in different ways. a fragmented narrative. It doesn’t become clear if the people to whom these shadows belong are related to each other or to this specific place – the prison. . Only after a little while the spectator discovers movements in the picture. probably years in between. frozen in time. a single moment. visible through the open door. coming to this place from time to time. builds up. One shadow appears behind the wall. Onto this photography a video is projected. taken in the outside area of the former prison of Sinop. 2012 The installation consists of a photography and a video.Untitled (Sinop Kale Cezaevi) . It remains open if the shadows belong to different people or to the same person. Other shadows are rising in front of the wall.


The main exhibition area was the Sinop Kale Cezaevi. coldness and constant humidity of the cells cost more than a few prisoners . Torture. Most recently its popularity rose because of a television series called Parmaklıklar Ardında (Behind Bars). after being inaccessible for some years. In every wing of the prison.Untitled. malnutrition. The prison was closed in 1997 and. Most inscriptions date from the time after the prison was closed and left empty.their life. Today it is one of the main sightseeing attractions in Sinop. changed and trivialized. A close look reveals dates next to the names. the names of the prisoners were highlighted. As a result the prison‘s history is overshadowed. Gently wiping them with carbon I transferred the names and dates onto the paper. Using this technique. not unlike wallpaper. The conditions in the active prison were terrible.many of them jailed for “thought crimes” . names. . some of them go back to the time when the prison was still in operation. dimensions variable I was invited to participate in the Sinopale 2012 – the Sinop Biennial. The historical buildings are littered with countless graffitis. Tourists pour into the historical prison to see the setting of the fictional story. drawn out from a growing mass of names and dates. the former State Prison of Sinop. After localizing these inscriptions I covered them with thin paper. carbon frottage. reopened for visitors. For the TV production a former prison cell was altered and refurnished. hearts and drawings are scratched into the walls. The overlapping signs and characters have grown into meaningless patterns. a Turkish adaption of the German RTL-series Hinter Gittern – Der Frauenknast (Behind Bars – The Women’s Prison). Even today visitors add their names. 2012. The resulting drawings were hung on the exact same position they were made.

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

untitled (Laaer Straße) . 60 x 90 cm . lambda print on aluminium. décollage. 2007.

décollage.untitled (Pont Neuf) . 2006. 60 x 90 cm . lambda print on aluminium.

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

a permanent urban structure. was retained whereas the building. The scaffolding.All architectural elements except the scaffolding were removed from the photograph of a building under renovation. which suggests the form of the erased building. normally a temporary urban structure. . The result is an autonomous “drawing“. was eliminated.

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 . This causes the space to appear completely empty and infinite and can lead to the loss of orientation. 1´18´´ Whiteout is the product name of an opaque correction fluid. . 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. the mountain. What remains in the video is the speed. 2008. video. the bending gates which bend without visible cause and the audience of this event. In the video whiteout the camera looses its point of reference and seems to be following a void.

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

2001. All that remains of the game is the cameras pan. . the field with its defining lines and the moving shadows of the players.outshine . video. 1´49´´ A game of soccer is reduced to the shadows of the players on the field.

ENSBA Paris.outshine . 2006 . exhibition view.

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

The flight of a basketball – normally a very quick movement – has been put into slow motion by using sunlight and the earth rotation. if the sun shines. the play starts anew. . The next day. the ball fails again.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. Finally the ball doesn’t make the basket. A drawing of a basketball basket is attached to the wall.

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

intervention. Fluc / Vienna.Schottische Furche . 2010 .

2008.and downwards. 37´´ The video winners consists of hundreds of photos showing jubilant winners. . happy about their success moving . So mounted the video evokes a fluid movement of hands. video.

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

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

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

2008.7 x 42 cm . nitroprint on glass. 29.Untitled (Citic Plaza) .

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

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

2010.Bubblegum . dimensions variable . acrylic on glass.

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 .

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

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

2010.7 cm . 42 x 29.from the series: Untitled (Soap Bubble) . fineliner on paper.

cardboard. 2009. Using the technique of Pop Ups a mobile workstation consisting of a desk. . 94 x 275 x 200 cm in collaboration with Armin B. Wagner The sculpture can be opened and closed like a book. a chair and a laptop appears and disappears. tape.Pop Up (office).


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


glass. 23 x 11 cm . 2010.Untitled .

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

loom , intervention, 2007

glance , intervention, 2007

2007 .whiff . intervention.

intervention.glance . 2008 .

Two “false” levels of reality are united to create an ostensible “right”. installation. 2006 in collaboration with Oliver Kargl view outside the room A distorted image is projected onto a projection screen.Untitled . An optical lens that is mounted outside the room straightens the image and makes the room itself appear distorted. . Heinestraße Vienna.

view inside the room Heinestraße Vienna.untitled . 2006 . installation.

dimensions variable .Untitled . 2011. diaprojection.

The light reveals. the projected light influences the objects. . the objects determine the form of the light. Softhard. Round-squared. Structured-flat. video installation 3´17´´ projection surface 300 x 400 cm Light probes space.Raumfahrt . A rhythm emerges from the alternating surface qualities. The movement of exploration is even. Fluidly. is newly constructed. Light flows through the space. A space full of objects appears empty. veils at the same time. 2001.



Tokio Wonder Site Hongo / Tokyo. start an artist-run-space. Georg Kargl Box / Vienna Bubblegums . Kunsthaus Graz sence . curated by Fiona Liewehr 2011 Donetsk goes Contemporary .art / Dornbirn.der kunstsalon im fluc. The Outside Gallery Window / Milan 2008 Take Aways . In der Kubatur des Kabinetts . Liddy Scheffknecht . Museumquartier / Vienna. The Outside Gallery Window / Milan Group Exhibitions (selection) Elastic Video . Galerie Wilma Lock. Lustenau 2012 4. Sinop / Turkey. Fluc / Vienna. In der Kubatur des Kabinetts . Klaipéda / Lithuania. März / Linz. bb 15 / Linz Qui vive . baby . Art Point Donetsk / Ukraine.LIDDY SCHEFFKNECHT born in December 1980 in Austria lives in Vienna 2007 2006 Diploma / University of Applied Arts Vienna. Kulturpolis. St. International Sinop Biennale. curated by Andrei Loginov and Steve Schepens Space Odyssey . curated by PLINQUE * . Zentralkunstgarage. Kunstraum Niederösterreich. curated by PLINQUE * 2013 Tilt . Vienna. Georg Kargl Fine Arts / Vienna. Liddy Scheffknecht . Galerie Jeune Création / Paris 2006 scaffoldings . curated by Brigitte Felderer * This is Happening II . Claudia Larcher. c. Oldenburg. curated by PLINQUE * HAPPY HOUR . curated by Yulia Startseva and Vytautas Michelkevičius The Digital Uncanny . Fluc / Vienna 2010 Bernd Oppl. curated by Christian Rupp Petit Plinque . 2nd Moscow International Biennale for Young Art / Moscow Mathias Garnitschnig. Bernhard Leitner / Ernst Strouhal / Erwin Wurm Diplôme national supérieur d’arts plastiques / ENSBA Paris. curated by PLINQUE * Elastic Video . curated by Isin Önol Genius loci . curated by Gerold Tagwerker Austria la vista. The Art Foundation / Athen. Gallen / Switzerland whiteout . Edith – Ruß – Haus for Media Art. Jean-Luc Vilmouth Solo Exhibitions 2012 eleven minutes twenty seconds . Ex-garage / Maribor 2011 Liddy Scheffknecht . curated by Bernd Oppl Meet everyone at once.der kunstsalon im fluc. 0gms / Sofia Kaleidoskop .

curated by Ingeborg Strobl 2009 Plinque Projéction . Cité des Arts. Galerie Charim Klocker / Vienna.April 2010 Ursula Badrutt Schoch: Liddy Scheffknecht – Take Aways. Kunstraum Niederösterreich. Kunsthalle Vienna project space. taz Berlin. Georg Kargl Fine Arts / Vienna. 201. Kunstforum. curated by Jean-Luc Vilmouth und Philipp Rahm * TASTE 0-20 . Contemporary. März . Praterstraße / Vienna. Kunst und Politik der Spiele . Galerie Schirman & dé Beauce / Paris Zweiter Frühling . curated by Bernhard Leitner * * catalogue Grants | Residencies 2011 2010 2003 AIR. 5ième edition. Passage de Retz / Paris. Villa Savoye / Paris. curated by Gertrude Moser-Wagner 2002 The Essence . Vienna UnOrtnung V . curated by Ernst Strouhal. Vienna *. Kunstbulletin. 2008 . Sezession Wichtelgasse / Vienna * 2006 Première Vue . Parc de la Villette. November 2008 Ursula Badrutt Schoch: Take Aways bei Lock . Künstlerhaus / Vienna. Paris Biennale of Young Artists of Europe and the Mediterranean / Skopje * Plinque Meringue . Parnass. Tagblatt. Bd. Fine Line . curated by Bernhard Leitner * 2001 Sensoren . 6. Oktober 2008 Charim. 4. Kettenbrückengasse 8 / Vienna 2007 Wonderland . Nida Art Colony. Espace Charlie Parker / Paris * GAMES.Dezember. 3.Die Künstlerin Liddy Scheffknecht mit einigen Arbeiten . Mathias Fuchs and Florian Bettel * Plinque . Isolde: Das Sakrale überstrahlen . curated by Fiona Liewehr WIR WOHNEN . Heft 4/2012 Ursula Maria Probst: Wir wohnen . Ankerbrotfabrik / Vienna 2008 Jeune Création 2008. November . Lithuania Startstipendium BMUKK Adlmüllerstipendium Newspaper (selection) Ines Gebetsroither: Wirklichkeiten . curated by Michel Nuridsany * 2004 Ghostscape .

Isolde Charim: Das Sakrale überstrahlen . taz Berlin.2008 . 3.6.

November 2008 .Ursula Badrutt Schoch: Liddy Scheffknecht – Take Aways. Kunstbulletin.

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