analog underwater photography

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.

Matthias Herrmann: Is it like this? (excerpt). In: Blinde Flecken. Werkkatalog Marko Zink. Vienna 2010.

analog photography

analog photography

analog panorama photography

Are those animals? No, they’re we-ings, but with interspersions of animals. Animals without power fantasies, which only humans have. Animals simply eat, including their opponents, if necessary. Animals fail to gauge their size when they push through undergrowth, be it without duress or under duress, for instance because someone is running after and chasing them in order to own them and then subject them to decisions when they can’t go on running. Therefore, they often decide to try to escape, what else should they decide to do?, yes, to also attack because they are hungry or covet their neighbor’s wife, a nice hind for example.

Elfriede Jelinek: In the Forest. (excerpt). In: Blinde Flecken. Werkkatalog Marko Zink. Vienna 2010.

analog underwater photography

analog photography

analog photography

analog photography

It is indeed a slightly dizzy feeling that befalls the viewer when he or she notices the shifting imagery in Marko Zink’s forests. A feeling of unease arises when we realize that on the visual plane, the artist tells a wholly different story than the one suggested by the intense green of young pine needles, the silence between the tree trunks, and the sublimity of the forest.

Anne Katrin Fessler: Fateful Forest. (excerpt). In: Blinde Flecken. Werkkatalog Marko Zink. Vienna 2010.

analog photography

Through his method of taking photographs – his film material has been chemically and mechanically altered in advance – and the selected scenes, Marko Zink emphasizes a strictly vertical arrangement of the tree trunks and their brittle structures. He has reduced the forest theme to the dullness and aggressiveness of the tree stumps that seem almost merged into an impenetrable, hard wall and are arranged in a military-style order – a far cry from idyllic solitude.

Andrea Domesle: That’s how it is. (excerpt). In: Es ist so. Galerie Michaela Stock (http://www NULL.galerie-stock NULL.net/), Vienna 2008.

analog underwater photography

analog photography

analog photography

The famous metaphor of the photograph as a footprint ­ which is caused by touch and contact just as the exposure of the photographic image results from light falling onto a negative ­ is depicted in the “Kornhäusl” series in the true sense of the word. A photograph is an imprint of something that has long ceased to exist. It is a vestige of a referent that has vanished.
In these images, however, it is not only the villa that has disappeared by now but also its one-time occupant and his personal history, which is nevertheless portrayed and preserved in a photographic image. In this dialectic between things past and their continuing presence lies the significance of the photograph as memory. Photography creates objects that touch off a process of recollection in the viewer¹s mind.

Walter Moser: In Search of Traces. Marko Zink’s “Kornhäusl” series. (excerpt).
In: Blinde Flecken. Werkkatalog Marko Zink. Vienna 2010.

Analoge Fotografie

analog photography

Marko Zink counters the camera-work of “staged photography” with a subjectively motivated, almost private materiality which, unlike staged freeze-frames, cannot be translated into the mechanisms of photorealism. Quite to the contrary, it wrings a poetic concreteness from the subject of the Nature Morte of Western art history as it seems only for a limited period of time to capture that which triggered the shutter release, meaning it also contains its undoing, its disembodiment.

Ingo Springenschmid: About Marko Zink. (excerpt); previously unreleased.

analog photography

Sometimes, gasoline, chlorine, or emery paper is responsible for the uniquely haptic quality of the images, for example, the series „thisisnotgsus“. Here, Zink worked with „an eye for dissolution“, as he puts it. A face is fixed, and the changes that often take place in fragments of segments are captured: the first signs of a complete dissolution from which there is no escape.

Ursula Philadelphy: On the Boarder of Painting. (excerpt). In: EIKON: International magazine for photography and media art # 65. Vienna 2009.

analog b/w photography