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Lohner Carlson

Van Carlson (1950–2011)
was born in Colorado, studied philo- sophy and lm making (with Stan Bra- ckage, et al.) and moved to Hollywood in 1978. As a video cinematographer he received 10 Emmy Nominations, and 3 Emmy Awards for Photography in 1978, 1980, 1985. His work took him around the world, from Amazonia to the Virgin Islands. Van Carlson worked with directors like Steven Spielberg, David Lynch, Mark Frost and many others; and for productions with arte/ ZDF, PBS, Lifetime, History Channel, HBO/Dreamworks, and A&E.

Henning Lohner (born 1961)
was raised in California to German emigrant parents. In 1984 he became assistant to composer Karlheinz Stockhausen, while in 1985 composer Iannis Xenakis became Lohner‘s lifelong mentor. Lohner began working in the medium of lm and video during Stockhausen‘s opera production Licht at La Scala di Milano. Subsequently, Lohner was both musical advisor and apprentice director for Louis Malle on May Fools (1989). Collaborations with Frank Zappa and John Cage led to the music lms The Revenge of the Dead Indians (1993) and In a Metal Mood (1996). Since 1996 Henning Lohner has been a member of the Remote Control lm composers‘ group founded by Hans Zimmer. Lohner‘s documentary Ninth November Night was shortlis- ted for the Academy Awards in 2005. Henning Lohner lives in Berlin and Los Angeles, and teaches in Zurich.
"From Raw Material to Active Images
As the notion implies, the basis of most of the Active Images by Lohner Carlson is raw material. It consists of footage and atmospheric sequences taken during the shooting for film productions all over the world. Neither the locations nor the sceneries are uncommon. Everyone can find such spots or perspectives, but rarely does anybody pay attentions to these plain, random everyday events. Not even the clients use the raw material for more than a few seconds in the final film productions to strengthen mood and atmosphere . Raw material in a sense is rubbish. Not so for Lohner Carlson. They discovered their love for these lost images, these pictures that always pass. Raw material is a treasury of its own - Active Image Art."

Stand-Alone Active Images
Active Images motivate the beholder to pay attention to them for their own sake and linger on the individual experience of painting in time. To allow them to unfold their own intrinsic beauty they should stand alone. This, the development of the future technology of a digital canvas maybe well be motivated in this case by digital art lovers contemplating beauty of Active Images floating in the field of vision.”

(Michael Klein with Hans H. Diebner, INM - Institute for New Media , Frankfurt am Main, Germany, October 10, 2012)
Courtesy of Galerie Springer, Berlin
©Henning Lohner

Image Credits: Lohner Carlson, Bright Clouds 1 Wolken, 2008, Video