Lukas Marxt

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  • 2022 | L11-LB_Y-1792 Assembly Kit
  • 2022 | TEST PIT LOG (I’m gonna realize)
  • 2022 | ENCLOSURE III (I’m gonna explode)
  • 2022 | Marine Target
  • 2022 | Loading Pit_revised
  • 2022 | Ein Haiku über die Passsteinstrasse
  • 2021 | Sehr gepflegt und gut gelegen
  • 2020 | Imperial Irrigation
  • 2019 | Ralfs Farben
  • 2019 | Loading Pit
  • 2018 | Victoria
  • 2018 | Imperial Valley (cultivated run-off)
  • 2017 | Shadowland
  • 2017 | Fishing is not done on Tuesdays
  • 2017 | Current Shot 02
  • 2016 | Echoes from the Sky
  • 2016 | Cape Ground
  • 2016 | Circular Inscription
  • 2015 | Wunderschoen und ruhig gelegen
  • 2015 | Diagonale Trailer
  • 2015 | Captive Horizon
  • 2014 | Black Rain White Scars
  • 2014 | Double Dawn
  • 2013 | Two Skies
  • 2013 | High Tide
  • 2013 | Low Tide
  • 2013 | Reign of Silence
  • 2012 | It Seems To Be Loneliness But It Is Not
  • 2012 | Nella Fantasia
  • 2011 | Rising Fall
  • 2010 | Black Beauty
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Reign of Silence | 07:20 min | 2013

A static shot shows part of a landscape, a serene body of water in front of a mountain. A motorboat enters the picture from the right, obeying the directions sent by radio and forming a spiral in the water´s surface. The boat then turns to the left and leaves the scene; solely its wake is visible for a time.
Reign of Silence records a human intervention in nature. Lukas Marxt employs as aesthetic material and artistic medium an untouched, barren landscape that’s strangely surreal, where humans aren´t really expected. In this reduced setting he plays with the fascinating aspect of an autonomous nature, made visible by his aesthetic action; with the constantly changing relationship between humankind, environment and water; with processes of temporality and perception.
The conceptual reference to Land Art is obvious, and also to Robert Smithson´s iconic Spiral Jetty, which can be read ironically. But Reign of Silence represents more than a kind of filmic memory of a passing moment. The film not only documents something, it actually lays the filmic image over this landscape like a transparency, as a second artistic medium, indicating something beyond it and expanding the perspective. Marxt looks for a perceptual dimension that demands not only a reaction to nature as a spectacle, but also to the circumstances in which it was reproduced, and finds for this purpose a concentrated and playful form. Until it all ends as it began: with a view of serene, undisturbed water and in silence, with a form that finds its way back to itself, and which has transitioned to something different. (Barbara Pichler)

Ausstellungsansicht_20Installation View, Solid Interception, Kunsthaus Graz, 2013

LC00093-057Installation View, Bundeskunsthalle Bonn, 2013