Lohner Carlson

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Henning Lohner and Theodore van Carlson Berlin Park Teenager Portraits on Bench Birds on a Wire Friesland Green Trees & Couple Geese Closeup Girl Smoking Kostheim Swimmers 2 Amorphous Water Reflection Osaka Hotel Room LD Asian_Homeless On Air: Lohner Carlson The ikono On Air Festival is showing hte following films by Lohner Carlson: Berlin Park Teenager Portraits on Bench Birds on a Wire Friesland Green Trees & Couple Kostheim Swimmers 2 Girl Smoking Melrose Avenue, Los Angeles, September 26, 1994 A young woman — pale skin, red lips, medium- length, black hair. She is wearing a short, pale- brown pleated skirt. She looks extremely slender, a bit too thin. The young woman stands there leaning at a store entrance. To the left of the entrance we see an upright sequence of letters that spell out: »ance«. Maybe the complete sign reads »Table Dance«? Or »Romance«? Smoking a cigarette she observes her surroundings attentively. A human scanner. Something outside the picture attracts her attention. A car draws up and the young woman makes contact with the driver. She is still in front of the store entrance. She points to the entrance. She smiles and flirts with the driver. Suddenly she looks almost happy. Then she walks out of frame toward the right, presumably to the car that has stopped. By her gait you can tell she is wearing high heels. She soon comes back. no luck. She waits. She smokes. A man enters the picture from the right. He puts his wallet away, straightens his shirt and greets the young woman — he seems to want to engage with her. However, now another person enters the frame from the right: unfortunately he is not alone. A couple, maybe on a shopping trip. The woman has collected the man from work and now they are out shopping in town. The young woman watches them both go by. Then she stands there again. Smoking. Another car draws up. You mean me? Maybe this time she’ll get lucky. iA Geese Closeup Herzsprung, Germany, August 25, 2008 The image contains nothing but geese. An undulating sea of white feathers, slim necks and orange beaks. countless pairs of black round eyes look steadfastly into the camera. The geese are on their guard: always watchful and alert. At any moment adversity could threaten the flock — a fox or a human wanting to get hold of their feathers. Soon the flock moves to the right, then it turns, as if on command, to the left moving back in the opposite direction. Their bodies undulate and their necks sway. Their heads are generally entirely still. is this a choreography? And then the geese stop still again. Watching. Very carefully. And curiously. At first sight all the geese look the same. On second glance — indeed the longer you watch them — the more individual they look. They differ in their ›facial expressions‹, in the shape of their heads, eyes and beaks, in the position of their nostrils and earholes, in their posture and gait and in the curvature of their necks. The plum- age on one goose is smooth while on the other it is more ruffled. Some geese seem to gently laugh in the sea of steadfast glances. And others seem quite raffish. iA The indefinite Wait it seems that animals are always waiting. except for when they are hunting, should they be preda- tors, they seem to be driven by a both constant and floating attention, preoccupied by everything and nothing, until their stomach growls, begging them to search for some food. This is why we rarely look at them for any length of time. it bores us to see them doing nothing, whereas we humans have so much to do. Geese in a gaggle are no exception to the rule, their head with an orange beak planted on top of a neck with the grace of an angel is like musi- cal notes on the score of time itself, flowers whose random oscillations witness that, maybe, time doesn’t go by, it languorously sways. not much movement in appearance, but an interplay of subtle vibrations until an unpredict- able decision is made within the group, a large movement emerges, immediately followed by a return movement. The geese form a light wave, retained by an invisible string on which the trembling of the feathers composes a second melody, ornamental and fragile. And then a muffled voice from the depths of history cries forth: »Vae Victis!« (»Woe to the vanquished ones!«)it is Brennus, the chief of the Gauls who accepted to postpone the Sack of Rome in exchange for a large amount of gold; when his deception to extort more money from the Romans than previ- ously agreed was discovered, he uttered these famous words. The geese were the only ones to sense the dan- ger of the enemy troops approaching by night. They saved Rome. They were honored while the dogs, who heard nothing, were exposed to public contempt, probably tired of waiting for nothing. Such are men like us facing the images that assail and haunt us! They slowly turn us from geese into dogs, satisfying our longing for mirages that fulfill us in a way, yet let us fall asleep in the face of danger. JlP Amorphous Water Reflection Berlin, August 28, 2008 This Active Image belongs to the Time Pieces series which focus on rhythmic patterns that emerge from within the uncut image over certain time spans. Here, too, the point of departure is a water surface. This creates different amorphous shapes on account of its reflections — of both the light source itself and the qualities of light in between. every so often these reflections are penetrated by shadows. compared to the almost oily-looking reflections the shadowy forms are flat and appear to keep flickering into the center of the picture. little air pockets alone drift unswervingly towards them on the surface of the water and float away over them. Every so often the water surface is disturbed by little circular ripples clearly produced by some- thing below the surface that remains invisible to the viewer. Unlike Stockholm Dark Water apart from the suggestion of an electric light source that creates the brightest reflection, no reflected object can be discerned here. Only the title sug- gests the location of this video, a museum at the tip of Berlin’s museum island dividing the water of the River Spree like a ship’s bow, a museum whose lights reflecting in the water at night could be a possible cause of these light effects. And suddenly, with this knowledge at the back of our minds, we believe we can discern fragments of the architecture in the refractions of color. They emerge as unexpectedly as the shadows and disappear again just as quickly. constantly, in frac- tions of a second the picture changes and yet the video exudes contemplative calm, a deceleration that is also conveyed by the air bubbles moving slowly from left to right. As observers we question what we can actually see: our fascination sways between the stimulating interplay of light and the urge to identify a recognizable object, between the dynamic and leisurely perception of time. TT Osaka Hotel Room LD A frame within a frame, this image could just be an activated painting by René Magritte. The foreground of the digital canvas is simply a still life shot of a hotel room illuminated by a standard lamp. A window opens up a vista onto the darken- ing city. This window is similar to a cinema screen. The movie shown is the light show of the city. The darker it gets, the more lights are switched on in the opposite buildings. The homelike atmosphere in the softly lit hotel room finds its sharp contrast with the aggressive neon light animation on an outside building. Also disturbing are some reflec- tions of animated neon lights on the window pane. Although the view out of the window of a hotel room suggests three-dimensional spatial depth, the visual impression more resembles a flat, multilayer composition. The still life of the hotel room beside the glass plane of the window, the façades of windows and the sky over the city seem to be just differently colored, two-dimensional planes. Different timescales compete with each other in this composition. On one side there is the un- changing scene of the hotel room. On the other there is the slowly darkening sky over the city. A third timescale is defined by the rarely changing lights in the windows of the city buildings and a rotating neon ad on top of a skyscraper. The fastest process is an animated neon light cube. The observer enjoys a ballet of light. MK Asian Homeless East Los Angeles, May 19, 1994 »The physician enjoys a wonderful opportunity actually to witness the words being born. Their actual colors and shapes are laid before him car- rying their tiny burdens which he is privileged to take into his care with their unspoiled newness. He may see the difficulty with which they have been born and what they are destined to do. no one else is present but the speaker and ourselves, we have been the words’ very parents. nothing is more moving. »But after we have run the gamut of the simple meanings that come to one over the years, a change gradually occurs. We have grown used to the range of communication which is likely to reach us. The girl who comes to me breathless, staggering into my office, in her underwear a still breathing infant, asking me to lock her mother out of the room; the man whose mind is gone — all of them finally say the same thing. And then a new meaning begins to intervene. For under that language to which we have been listening all our lives a new, a more profound language, underly- ing all the dialectics offers itself. it is what they call poetry. That is the final phase. »it is that, we realize, which beyond all they have been saying is what they have been trying to say. They laugh (For are they not laughable?); they can think of nothing more useless (What else are they but the same?); something made of words (Have they not been trying to use words all their lives?). We begin to see that the underlying meaning of all they want to tell us and have always failed to communicate is the poem, the poem which their lives are being lived to realize. no one will believe it. And it is the actual words, as we hear them spoken under all circumstances, which contain it. it is actually there, in the life before us, every minute that we are listening, a rarest element —.« - William carlos Williams, Autobiography, new Directions Publishing, 1967, p. 361/2 Writers: IA: Dr. Inke Arns, curator and author, artistic director of Hartware MedienKunstVerein in Dortmund, Germany, since 2005. She has worked internationally as an independent curator, writer and theorist specializing in media art, net cultures, and eastern europe since 1993. Recent exhibi- tions & publications include History Will Repeat Itself (2007), Sounds Like Silence (2012). JLP: Dr. Jean-Louis Poitevin is a writer and art critic. He is the author of numerous books and articles, particularly on contemporary art and literature, as well as of works of fiction. Since 2005 he has hosted a private seminar on the image and post history. Some of his work and conferences are available online at: www.TK-21.com. MK: Dr. Michael Klein TT: Tina Teufel completed post-graduate studies at the European Management Programme for the Arts and Media. She worked at the international Summer Academy of Fine Arts Salzburg and in the curatorial Department of the Dia Foundation, new York, before becoming curator at the Museum der Moderne Salzburg, in 2006.