Marko Zink


Galerie Michaela Stock

Il ciclo „nuotatori“ di Marko Zink si presenta come un gioco gioioso che, a tratti, inaspettatamente assume toni drammaticamente seri. Profondi contrasti inconciliabili fra di loro riescono a compenetrarsi, le immagini perdono la nitidezza e prendono a vacillare come l’acqua che si anima in impercettibili movimenti propri, dando vita a un’ ambivalenza in cui ci si perde, senza più sapere se si riemergerà, se si continuerà a nuotare, o se invece si affogherà.

Dapprima ci pervade una magica e vivace leggerezza piena di colore. Sul fondo del mare oggetti ordinari in posizione verticale, orizzontale, o in movimento nell’acqua, assumono forme effimere, in continua trasformazione: sassi rotondi che si sono messi la cuffia, vestaglie cinesi che si esibiscono in una danza seducente, scarpe col tacco a spillo di colore argento che sembrano scherzose poiché perfettamente allineate sul luminoso fondo sabbioso del mare.

In seguito però si avverte, con irrequietezza e disagio, un’assenza, e ci si pongono domande: chi ha portato quelle scarpe? Dov’è finita la persona che le aveva indossate? Si è persa lei o si sono perse le scarpe? E ancora: Di chi era quella vestaglia? Si è liberata da sé o è stata strappata alla donna e ora, ignara di tutto, fluttua nell’acqua, in una danza irreale fra le onde mentre … forse … da qualche altra parte …? qualcos’altro…?
Il primo approccio alle immagini è tuttavia gradevole grazie ai tenui colori e alle morbide forme che tengono a distanza pensieri e riflessioni digressive....
<i>TRA GIOCO E COMPENETRAZIONE</i><span>Read</span>
At first glance, Marko Zink's series "swimmers" is an easy game, sometimes turning profoundly serious. In these games, polar opposites penetrate each other, what is incompatible becomes compatible. In these games, images begin to oscillate just like the invisible inner flows of water, the matter becomes ambivalent, and nobody knows whether one will surface, swim on or drown.

At first, one is enchanted by colourful ease. Everyday objects lie or seem to have been put at the bottom of the sea, drifting through the water, finding a temporary shape that is soon to change. Round pebbles have put on bathing caps, Chinese dressing gowns are flirtatiously dancing, silver-coloured high heels stand cheekily, that is to say neatly, lined up on the bright sand.

All this hints to a certain kind of absence, and the matter is getting out of hand. After all, doesn’t one ask oneself, "Who wore these shoes?" "Where has this person gone?" "Did the shoes get lost or is it the person who will get lost?" Or one might ask oneself, "Who wore the dressing gown?", "Did it loosen itself on purpose?" Or was it ripped off the woman who had been wearing it, the fabric now innocently drifting, dancing the invisible dance of the waves while somewhere else perhaps - ? something completely different?

And yet the pleasant colours dominate, the smooth forms calm our rambling thoughts. One almost gets a holiday feeling, thereby forgetting how much work is put into such productions, how much preparation and preselection are required in order to make the individual...
<i>BETWEEN PLAY AND PERVASION</i><span>Read</span>
It’s just a blink of an eye, a fleeting moment in time between the present and the past, between now and then. It is this metamorphosis, the ephemeral quality of things that Marko Zink captures with his cool look, in pictures that provoke, intrigue, disturb even, but which always retain a respectful distance.
Marko Zink is clearly a photographer of the old school, although his birth year of 1975 wouldn’t necessarily indicate this. What gives it away is the ease with which as a photographer he spans the interface between art and design, and doesn’t allow himself to succumb to the temptations of the latest technological wizardry that promises even more pixels and ever faster exposure times. Analogue not digital is his way; he takes his time, concentrating on his own unique vision. He is a photographer. Not the kind to pack thousands of images onto hard disk memories, just because digital technology allows you to. Marko Zink »dreams his series and concepts, « as he himself says, and they are not the kind of things you can find in the archives of the picture agencies.
In order to understand the work of Marko Zink, you have to know a bit about his background: He graduated in philology, publishing and -communication science at the University in -Vienna, and while there he also attended -lectures on film and photography in the history of art department. After that Zink attended a course in artistic photography before completing his education at the Akademie der bildenden Künste in Vienna with master classes in art, photography and space in...
<i>Panta Rhei</i><span>Read</span>
Is That How It Is?

Of course, that’s not how it is. These images tell us more about what we don’t see than about the things they reveal. They are strangely taciturn, inarticulate, closemouthed; despite their rich colors, they are silent, almost mute. Something is missing and, naturally, one is inclined to think that man as a body (of meaning, of attribution, or one that simply wears clothing) is the missing element. That is not the case, however: The impression of fleeting images, of an vacant center is created by the manner in which Marko Zink arranges his images, the play of presence and absence he presents us with – and not by what we see or cannot see at any given moment. We are faced with compositions in a classic sense that seem to point us to a subject, which is, however, not or no longer present. The movement of water endows floating apparel with fleeting volume; this seems to suggest a body, it has just taken off its clothes right there, it appears the shoes standing at the bottom have been taken off only minutes ago. Zink appeals to our imagination – in a manner we have come to expect from painters but hardly from photographers. Pieces of clothing appear in the ocean as a shimmering whir. Much like the visual illusions of a mirage, they appear only to disappear an instant later.

Was there something there?

A wink, short as a camera’s exposure time. Like afterimages, these photographs stick to the synapses of our world of images. As soon as the eye, the lens opens again, everything has changed. Pieces of clothing...
<i>Is That How It Is?</i><span>Read</span>
MARKO ZINK was born 1975 in Gaschurn/Austria.He lives and works in Vienna.

Marko Zink creates emotional photographic aphorisms, which he – in contrast to their hinted character – freshly defines with every series. Having both studied art and German literature, he works on the unexposed analogue film before he actually uses it. That way unforeseen effects – mostly of rather soft and blurred nature – are created, which give his works an enormous picturesque quality. This explicit procedure constitutes an important aspect of the complete work, is extremely elaborate and constantly varies with each series. For the series schwimmer, tragödien, im kurhotel or Olympia the film footage had been mechanically and chemically altered before it was exposed to light.

Since 2002 Studies of Fine Arts, Photography and Advanced Painting at the Academy of Fine Arts, Vienna (A), with Eva Schlegel, Josephine Pryde, Franz Graf, Judith Huemer und Matthias Herrmann
2001-2002 Degree at the School for Artistic Photography in Vienna (A), headship: Friedl Kubelka
1996-2013 Studied German, Journalism and History of Art at the University of Vienna (A)
1994-1996 Applied courses in the fields of Prose, Poetry & Photography with artist Ingo Springenschmid, Vorarlberg (A)

2016 Between play and pervasion, ÖBV-Atrium, Vienna (A)
2015 Olympia, Kaunas Photo Festival 2015, Kaunas, Litauen (LT)
YoungCaritas & This Human world, Werbesujet, Vienna International Human Rights Film Festival (A)
2014 You...
<i>Marko Zink</i><span>Read</span>