Marko Zink
FRED&FREDA
November 16, 2012 – December 29, 2012
The title points deliberately to two people. However, on the pictures and the video there is clearly only one person to be seen – a naked man climbing over his tractor, imitating the ignition and engine and shaking backwards and forwards. The mask that resembles the famous name giver is just as disconcerting as the naked body. The blown up belly underlines the grotesque imagination that this man could indeed have such a strange hobby in a barn. What, at the beginning, appears to be funny and amusing causes irritation and shame. The viewer is being personally touched and involved. Is it really appropriate to laugh?
Ingo Springenschmid:
“Marko Zink belongs to the avante garde of photography, as described in ‘The End of Photography’ (Kunstforum Bd.172, 2004), and consequently makes ‘the end’ a subject of his discussion. He juxtaposes a very personally motivated - almost private realism – to the direction of conceptual photography, which cannot be translated into the mechanics of photorealism. He separates from the motif of the occidental art history of the still life a poetic realism, which pauses the release button button for only a short time. He juxtaposes this action to the 'end of photography’. He doesn’t document it but splits the action into phrases in order to build an alphabet. What falls off, peels off or cannot be categorised is tagged and integrated into a list of works. The particles are not left by themselves but become a vehicle to refer to Marko Zink by name. In reasoning the subjective vs. objective, where the subjective becomes the objective and vice versa, lies the intellectual achievement to challenge the genre of photography”.
Ingo Springenschmid:
“Marko Zink belongs to the avante garde of photography, as described in ‘The End of Photography’ (Kunstforum Bd.172, 2004), and consequently makes ‘the end’ a subject of his discussion. He juxtaposes a very personally motivated - almost private realism – to the direction of conceptual photography, which cannot be translated into the mechanics of photorealism. He separates from the motif of the occidental art history of the still life a poetic realism, which pauses the release button button for only a short time. He juxtaposes this action to the 'end of photography’. He doesn’t document it but splits the action into phrases in order to build an alphabet. What falls off, peels off or cannot be categorised is tagged and integrated into a list of works. The particles are not left by themselves but become a vehicle to refer to Marko Zink by name. In reasoning the subjective vs. objective, where the subjective becomes the objective and vice versa, lies the intellectual achievement to challenge the genre of photography”.
