Unique Active Images

16 November 2017 – 9 February 2018

Thursday, 16 November and
Friday, 17 November 2017
6 – 9 pm




»What was adjacent to music was music.« [Michael Ondaatje, Divisadero]

The ›still image‹ is, in a literal way, an image that is adjacent to others. It is called ›still‹ as it is an outtake from a moving image, a frame within a series of frames, becoming meaningful and taking on significance only as time unfolds. The ›still image‹ approximates the photographic image without ever becoming one. It is an image that could start moving at any time.

Lohner Carlson call their moving images that look like stills Active Images. Their images partake in both the photographic and cinematographic tradition, but are, to use the term again, different from both, precisely ›adjacent.‹ This adjacency is the effect of a move that counters any expectation of narrative, spectacle, or conclusion. Lohner Carlson deactivate the eventfulness of the moving image. They frame an image only to unframe it in our perception. And it is this activity of sidestepping that paradoxically produces an Active Image because it embodies the potential to become an image by chance — an image actively in search of its status as an image.

Lohner Carlson open up a field of vision that resonates with the subjectivity of the viewer and is based upon a serendipitous encounter between a place, a camera, a series of often minimal actions, and a subjective gaze of the viewer. All four elements in this configuration do their best to come across as effortless, and it is in this everyday encounter of non-intention that something occurs that might not look like art but that we experience as art.

From their first major achievement as visual artists with the long video-essay The Revenge of the Dead Indians in 1992 to their current series of Active Images, initially outtakes of this early essay, Lohner Carlson's recurring topic is to let John Cage's »silence« happen in film. Their attention to small gestures, oblique perspectives, and uneventful nonsites require, however, a similarly ›active‹ viewer who doesn't look at an image but rather observes it in passing, who doesn't study it but lives with it.

As I write these notes, I look out of an airplane window into the blue sky of 30,000 feet alti- tude. The image is diagonally crossed by the airplane's grey wing. I sense that this could be an Active Image but I don't record it. An artist on the contrary does, and it is an artist who sees the difference and gives it the time and attention it takes to make it art.

Rudolf Frieling, curator of media arts at SFMOMA, October 4, 2012, between Dallas and San Francisco

Henning Lohner (1961)
is a German-American composer and film-maker best known for his lm scores written as a long-standing member of Hans Zimmer’s music cooperative Remote Control Productions. Lohner's creative output embraces diverse fields within the audio-visual arts. Lohner’s documentary Ninth November Night was shortlisted for the Academy Awards as Best Documentary Short Subject. As creator of the Active Images he has developed a digital canvas that amalgamates the digital image to allow for unique, singular, and original digital media artworks.

Van Theodore Carlson (1950 – 2011)
was a Los Angeles-based video cinematographer. He received 10 Emmy Nominations and 3 Emmy Awards for Photography in 1978, 1980, and 1985 and worked with directors such as Steven Spielberg, David Lynch, Mark Frost.

Van Maximilian Carlson (1994)
is a Los Angeles-based director and editor who has worked on numerous projects including documentary feature films, commercials, and dramatic films. He has received accolades such as Grand Jury Best Documentary Award, Documentary Audience Award, and Best Director Award.

Lohner Carlson Solo Shows

Galerie Hus, Paris

Egeskov Fine Arts, Copenhagen
Felix Ringel Galerie, Düsseldorf
Ars Electronica, Linz
Ikono TV, Worldwide Broadcast

Galerie Löhrl, Mönchengladbach

Egeskov Fine Arts, Copenhagen
RSA Antiquitäten, Wiesbaden
INM – Institute for New Media, Frankfurt am Main
Galerie Springer, Berlin

Erik Thomsen Gallery, New York
Galerie Brachfeld, Paris
SEZ – Sport- und Erholungszentrum Berlin

Billirubin Gallery, Berlin

Galleria Traghetto, Rome
Galerie Springer & Winckler, Berlin

Galerie Springer & Winckler, Berlin

Goethe Institute Rome (Festival Internatio- nale della Installazione Sonora), Rome

Pfalzgalerie, Kaiserslautern
12th International Video & Film Festival, Kassel

Lichthaus, Bremen
Hessisches Landesmuseum, Wiesbaden
Foro Artistico in der Eisfabrik, Hannover

Lohner Carlson Group Shows (Selection) 2012

Raum – Räume, Galerie Springer, Berlin
Dennis Hopper: The Lost Album, Martin Gropius Bau, Berlin
John Cage and ..., Museum der Moderne, Salzburg
John Cage and ..., Akademie der Künste, Berlin
A House full of Music, Mathildenhöhe, Darmstadt
Sounds like Silence, Hartware Medienkunst- verein Dortmund
Warsaw Autumn, Exhibition Space of the Austrian Embassy, Warsaw

INM 20th Anniversary Exhibition, Ministry of Economics, Wiesbaden
Tendencies in Contemporary Art, Wirtschafts- forum, Berlin
Heisig – Oh – Lohner Carlson, Galerie Son, Berlin

Realismus, Kunsthal Rotterdam, Rotterdam
Realismus, Kunsthalle der Hypo-Kulturstiftung, Munich
Realismus, Kunsthalle Emden, Emden
Performance Art, SFMOMA, San Francisco
Tendencies in Contemporary Art, Galleria Tragheto, Venice

World Wide Videofest, Gemeente Museum, The Hague
National Art Gallery of Malaysia,
Kuala Lumpur
Portland Art Museum, Portland, Oregon

Artist in Residence, INM – Institute for New Media, Frankfurt am Main
Videofest, Podewil, Berlin

Rolywholyover a Circus, The Menil Collection, Houston
Artists of the INM, Galerie der Stadt Sindel ngen

Rolywholyover a Circus, MOCA, Los Angeles
European Media Arts Festival, Osnabrück
Secondo Colloquio internationale di Musica Contemporanea, Palermo

30 Years Fluxus, Kunstverein Wiesbaden, Wiesbaden

Classique en Images, La Scala, Milan
Classique en Images, Louvre, Paris