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poster

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30

/1/

Where the sandy beach of the Salton Sea, the biggest lake in California, begins to crunch harder, it does not even consist of sand any more: Millions of dead fish, plants and insects pile up on the shore to form a highly toxic substance. This is how Derek explains it, a member of a Cahuilla tribe that managed to escape an attempted genocide in the 19th century to the Salton Sea and now sees itself as a protective force for the once flourishing but increasingly deserted area and its outcasts.

poster

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5.8

/11/

Corporate agricultural production interests have been able to successfully cultivate and exploit this geological part of the Sonora desert.

poster

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100

/1/

The roar of the ocean, storms and alternating day and night; light and dark, and time that must be organized and spent in order to make the solitude more bearable.

poster

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6.8

/11/

The Imperial Valley represents one of California's most important regions of industrial agriculture. The system's run-off flows through pipes, pumps and canals leading to the Salton Sea, an artificial lake that is approaching ecological as well as economic disaster. Initially appearing as nothing more than spectacular documents of agricultural monocultures, the shots become increasingly abstract. Is this an actual or artificially simulated landscape? This ambiguity is precisely the point: The Imperial Valley is becoming the "Uncanny Valley", a place that is not yet or no longer natural and thereby appears eerie. Although manmade, it is not a place for people anymore, neither ontologically nor in reality. The post-apocalypse is not a matter of the future, we are already in the thick of it. (Claudia Slanar)

poster

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4.9

/20/

40

/1/

Landscape and cinema form an amalgam here, being both interior spaces of thought and feeling and projected images of an outside.

poster

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50

/1/

A collage hewn of archive material and self-produced pictures and sounds, in which the house is the protagonist.

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64

/8/

A mansion, a lawn, some trees: an unmoved frontal view, 9 minutes long. We hear an off-screen voice. It si the co-director, who commands what goes on in the image. He calls up participants while the other co-director climbs a ladder and holds up a cornet that emits smoke and sparks.

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6.5

/7/

70

/1/

60

/1/

A glacier. Icebergs. Cold fog gliding through the folds.

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70

/1/

Black Rain White Scars depicts a twilight of reality. With the steady shot of a Gotham-like cityscape, Lukas Marxt guides us between vestiges of visionary architecture and narrow planted apartment buildings. As we’re searching for our relational point within it, the overwhelming murmuring of the human, car, and boat traffic, at the same time marginalises our position. We are a part of the scenery, though secluded and apart from it.

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90

/1/

A landscape either prehuman or post-apocalyptic. The movement of the waves, the circling of the birds, the lifting of the cloud cover. A moment of complete disorientation created by the landscape’s sheer endlessness.

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6.0

/19/

70

/1/

60

/1/

The record of a human intervention in nature: 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.

poster

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35

/2/

40

/1/

Around the solar eclipse of March 20, 2015, Marxt and Smiljanic arrange their own turned and extraneous material into a small catalog of cosmic visions: Eclipse hunters put themselves and their vision devices in position; A space-weather fairy analyzes the recent solar storms; A radar early warning station also waits for signals from above, while the thick fog blocks the view forward.

poster

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Humans are social beings. But what are they when isolated and lonely? In It Seems To Be Loneliness But It Is Not Lukas Marxt puts himself in this situation by going to a place where human encounters and exchange can hardly be expected. The artist moves through an inhospitable location. The subjective camera makes his gaze our own as he glides over a variety of structures in the rocky ground of the volcanic Canary Island of Lanzarote.

poster

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Rising Fall is a three-part study on nature as its spectacle, on what Spinoza termed natura naturans, or “nature naturing.” Something happens without the need of a guiding agent. Filmic images are content to quietly watch and listen and wait. And they expect the same of how they are observed. In other words an immanence of nature confiding a secret. This involves movements that are visible, and more importantly audible, though they are not conspicuous in an ordered existence. Possible reasons are that they are too insignificant and evidence too little form, an insufficient amount of purpose. However, alternations, even metamorphoses take place, and they tell their own stories, of those occasional events that do not include humankind, which are fully independent of it.

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Lukas Marxt’s fourth film about the Salton Sea in Southern California focuses on 1944/45, when about 150 dummies, replicas of the bombs of Hiroshima and Nagasaki, were dropped there for ballistic tests. “Marine Target” measures the remains of the wooden target platforms from up close and high above. The disconcerting soundtrack to this fascinating filmic study is provided by a swelling adaptation of the Nigerian hit “Atomic Bomb” by William Onyeabor.

poster

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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)

poster

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The film shows the surfaces of two seas, one at sunrise and the other at sunset. The sea surfaces are mirrored horizontally atop one another, gradually separating. Their mutual horizon breaks down, a new white, artificial horizon appears.

poster

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Salton Sea was the largest inland lake in California. It was also an atomic bomb test zone.

poster

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Dealing with a site of permanent change where historical transformations and border shifts have been fiercely embedded into the landscape.

poster

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In an anticlimactic minimalist staging, the camera stands still in a remote corner of the Utah desert, revealing an atomic bomb loading pit used for military practice, while a voice over reads parts of the unclassified user manual “How to built an Atomic Bomb Loading Pit” released to the public in June 1946. The sonic suspension imposed by the computerized slowness of the subjectless reader frames the deep time dimension of this arid dusty landscape in Wendover. We are led through details of the manual, which suggests forms to best-adapt to the terrain, climate, soil conditions in the pit area, to allow for the needed cleanliness and security precautions for Boeing B-29 atomic bomb loading.

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