Lukas Marxt

  • VERLAG FÜR MODERNE KUNST
  • BOMB Magazine
    • ______________
  • Distribution
  • Contact
  • CV
  • ______________
  • 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
  • ____

victoria_still__1.15.1Victoria | 62:00 min | 2018

The hypnotic wasteland of Southern California is infused with the free-spirited nature of Easy Rider, the alienation and uprootedness of Michelangelo Antonioni, and the deep transcendence of Werner Herzog. It speaks to us through fragments of dialogues from iconic films, and yet it remains elusive and dissolves into abstract shapes, rhythms, and compositions. The landscape as a captivating and intangible, all-encompassing and insubstantial yet full emptiness becomes the means for the transgressive experience of two temporalities – the “real” time of people and the time of natural processes.

“How much further do we have to go? I don´t know. Not much further. That´s what you said this morning. I sometimes say it all day. Really? You say it all day? We don´t have much longer. We´ll be there soon.” (L. Marxt)