Lukas Roth

1965 born in Regensburg
lives and works in Cologne
1984 Summer School Salzburg, Ausria, class of Verena von Gagern

1987-1990 Studies at the Ecole Nationale Supérieure de la Photographie, Arles 

1996 guest professor at the Hochschule der Künste (Art Academy) Bremen

2000 guest professor at the Technische Universität (Technical University) Darmstadt 

2004 Awarded "Otto-Steinert-Award" from the Deutsche Gesellschaft für Photographie (German Society of Photography) 

On Lukas Roth's photography: “When confronted with Lukas Roth’s photography one is immediately struck by its variety of subject, because the work doesn’t follow a single unified theme. The photos present urban scenes, isolated architecture and housing blocks as well as landscapes. People move about within these spaces but they could just as well be empty. It isn’t the objective documentation of an object or a situation that is the focus of interest here in the sense of an “industrial archaeology”, but rather the opposite. The pictures seem to be covering things up instead of documenting or objectively clarifying anything, the images thus give rise to questions. The effect of this albeit subliminal lack of information is at once exciting and unsettling. [...] 

By choosing not to look for the sum of visual consensus for that which is unsettling or eerie and instead searching for the greatest possible distance to it through absolute subjectivity, a subtle break with the viewer’s conventional habits of seeking takes place. These pictures refuse to be taken in by the perspective of the viewer, they themselves are only reflections of pictures already seen, filtered through a process of subjective perception and then thrown back. This creates in each piece a specific, almost physical and hermetic cosmos which is projected “into” the viewer, without he or she having the ability to occupy the perspective of the “composing” viewer, namely the artist. In this way the “failure of gaze” is at the centre of Lukas Roth’s work, making perceptible the experience of not being able to overcome the “blind spot”. The experience of this failure is in the end a profitable one, for the impossibility of recognition touches off a continuous of one’s own depths as a viewer.”

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