|1972||Born in Lienz, works and lives in Lienz, Austria.|
|1995||to 1999 Universitiy of Applied Arts (Master Class, Hrdlicka, Kowanz), Vienna, Austria|
|1999||Stipend Rom, Atelier Paliano|
|2001||Moving out, Mumok, Vienna, Austria|
|2014||Art Austria, Art Fair, Vienna, Austria|
|2014||and 2015, Lecture, Salzburg International Summer Academy of Fine Arts|
|2015||Viennafair, International Art Fair, Vienna, Austria|
|2015||Collection, Museum Ferdinandeum|
In his recent work, Peter Niedertscheider has dedicated himself to marble reliefs - a classical
technique transformed by the artist’s use of contemporary imagery.
Crowds of people in museums, in cultural sites, as well as on beaches and in discos, inhabit these bas-reliefs. The graceful way the subject matter is treated on Italian and Austrian marble demonstrates a high level of skill. Niedertscheider’s work is characterized by his implementation of temporal intersections and amalgamations of realities. In his work, everyday life meets art while the present day and the historical past overlap.
Sculpture touches its limits in the sphere of the non-graspable, atmospheric, and fleeting. However, there is no other medium in which the sculptor can be more closely compared to the painter than in the medium of relief art. While the viewer of a centrally perspective image usually gets along with one eye and a single angle to take in the object, the viewer of a sculpture needs two eyes and additionally two legs (and sometimes hands). The kinesthetic perception of a relief tends to oscillate visually and is similar to the stereoscopic point of view that takes place due to the viewing distance.
To create the illusion of space the painter lets contours blur and pale. The sculptor, who does not have the means of color at his disposal, flattens out the relief. Contrary to the painter, blurriness for him can mean the loss of spatial data, so he feels along – as in Alois Riegl – from the haptic to the optic. Where the painter begins to develop his genuine profession, the sculptor becomes a draftsman or engraver. This is shown in a comparison of late acrylic brush drawings with the stone engravings for the “Kunst-am-Bau“ project “Wohnpark Süd“, which were done about the same time.
Conversely, sculpture requires exterior lighting, while light in paintings is created through the colors used by the artist. Light and shadow, lightness and contrast are not characteristics of sculpture, they occur from outside. That and how this fact takes place in the rivalry of the arts to the advantage of sculpture’s higher demand on reality, sheds light on the role perception of the recipient: The sculpture is projected – aside of its perception through the sense of touch – more directly than the painting or the video into the reality, the existing space of the viewer.
In Niedertscheider’s reliefs this fact takes on a double meaning. Due to its purity, whiteness, permanence and suitability to the monumental, marble has been the preferred material for depicting the gods and cult scenes since antiquity. Contrary to the figures for the performances created from polyester, Niedertscheider is now committed to the ideal anticipation of beauty that is manifested by the material and its history.
As a surrogate for the sculpture’s original context the museum shows, for example the “Sleeping Hermaphrodite” at the foot of its viewers, with whom it shares not only its size but also its material appearance. Only the artist and with him the observer of the scene are able to see the image from all angles, in their knowledge of the double nature of the theme. And this although they are assigned an immovable location through the orthogonal boundaries, cut off by the borders of the picture at eye level with the typical random ensemble of museum visitors. What the video develops in the chronological process is summarized here simultaneously