[1] Lohner's collaboration with Emmy-Award-winning cinematographer and photographer Van Carlson started in 1989, with the biographical art film Peefeeyatko, an intimate music portrait of American composer Frank Zappa.
[9] One11 received positive reviews from film and music critics, with Palm D'Or-winning filmmaker Louis Malle calling it "very strong, very daring, and finally completely mesmerizing.
[11] After Cage died in August 1992, Lohner and Carlson paid homage to the musician with the meticulously "composed film" The Revenge of the Dead Indians, featuring artists such as Dennis Hopper, Matt Groening and Yoko Ono.
[17] Composed from their archive of hundreds of hours of footage, the installation showed interviews as well as landscapes on eleven monitors, with an equal emphasis on speech, pictures and sounds.
[30] German culture critic Detlef Wolff has called Lohner an "unceasingly curious artist capable of looking closely, continuously able to discover the extraordinary in the seemingly ordinary.
"[32] ARTnews magazine commented that Lohner and Carlson were "able to produce extremely meditative scenes, often using the blandest subject matter, such as a flock of geese or sheep aimlessly milling about in high-definition and high-key color.
"[33] The review concluded: "If you've ever wished for a movie to stand still so that you might enjoy a prolonged sequence of pure visual pleasure, these images speak to those spaces that get swallowed up or lost in the interest of a different kind of storytelling.
"[33]Reviewing Lohner Carlson's 2013 exhibition at Galerie Springer in Berlin, which showed a "somewhat retrospective look back at the duo's work as well as new films created by Lohner since his partner's death,"[1] art publication Blouin Artinfo wrote:"Presented on flat panel TVs encased in brown wooden frames, many of the works initially trick the eye into thinking they are indeed still images.
[...] For example, in 'Mineo Rooftops' (2010), the Sicilian scene, Lohner Carlson's steady gaze achieves the narrative sense of place with utmost ease that a still image might have glossed over in its single shot or that a film might have presented to forcibly through dialogue or created storyline.