24.1.2019 - 2.3.2019
Opening: Thu, 24.1.2019, 6PM
Introduction: DDr. Barbara Glück / director Mauthausen Memorial
galerie michaela stock
Cooperation Mauthausen Memorial
more information about the exhibition in Mauthausen Memorial / opening: 10.4.2019, 6 pm > HERE
MARKO ZINK | M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E exhibition views by Matthias Bildstein Marko Zink M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E, exhibition view, galerie michaela stock, 2019, photo: Matthias Bildstein Marko Zink M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E, exhibition view, galerie michaela stock, 2019, photo: Matthias Bildstein Marko Zink M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E, exhibition view, galerie michaela stock, 2019, photo: Matthias Bildstein Marko Zink M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E, exhibition view, galerie michaela stock, 2019, photo: Matthias Bildstein Marko Zink M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E, exhibition view, galerie michaela stock, 2019, photo: Matthias Bildstein Marko Zink M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E, exhibition view, galerie michaela stock, 2019, photo: Matthias Bildstein Marko Zink M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E, exhibition view, galerie michaela stock, 2019, photo: Matthias Bildstein Marko Zink M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E, exhibition view, galerie michaela stock, 2019, photo: Matthias Bildstein Marko Zink M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E, exhibition view, galerie michaela stock, 2019, photo: Matthias Bildstein Marko Zink M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E, exhibition view, galerie michaela stock, 2019, photo: Matthias Bildstein Marko Zink M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E, exhibition view, galerie michaela stock, 2019, photo: Matthias Bildstein Marko Zink M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E, exhibition view, galerie michaela stock, 2019, photo: Matthias Bildstein Marko Zink M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E, exhibition view, galerie michaela stock, 2019, photo: Matthias Bildstein Marko Zink M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E, exhibition view, galerie michaela stock, 2019, photo: Matthias Bildstein Marko Zink M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E, exhibition view, galerie michaela stock, 2019, photo: Matthias Bildstein Marko Zink M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E, exhibition view, galerie michaela stock, 2019, photo: Matthias Bildstein Marko Zink M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E, exhibition view, galerie michaela stock, 2019, photo: Matthias Bildstein Marko Zink M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E, exhibition view, galerie michaela stock, 2019, photo: Matthias Bildstein Marko Zink M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E, exhibition view, galerie michaela stock, 2019, photo: Matthias Bildstein Marko Zink M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E, exhibition view, galerie michaela stock, 2019, photo: Matthias Bildstein Marko Zink M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E, exhibition view, galerie michaela stock, 2019, photo: Matthias Bildstein Marko Zink M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E, exhibition view, galerie michaela stock, 2019, photo: Matthias Bildstein Marko Zink M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E, exhibition view, galerie michaela stock, 2019, photo: Matthias Bildstein Marko Zink M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E, exhibition view, galerie michaela stock, 2019, photo: Matthias Bildstein Marko Zink M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E, exhibition view, galerie michaela stock, 2019, photo: Matthias Bildstein
REVIEW
ORF ZIB, 26.1. > Mauthausen-Fotoprojekt von Marko Zink
ORF Ö1, Leporello, 25.1. > Kunst am Schauplatz: Barbara Glück and Marko Zink in conversation with Christa Eder
ORF matinee / Die Kulturwoche, 27.1. > AusstellungsTIPP Marko Zink / galerie michaela stock
MARKO ZINK | M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E Eradication_1, 2017, analogue panoramic photography, Lambda print mounted on 3mm Dibond, edition: 3 + 2 AP, 56 x 140 cm (other sizes: 66 x 160 cm and 290 x 118 cm) Location: Roll call area http://www.galerie-stock.net/images/marko_zink/pictures/Mauthausen/Auslschung_1_450px.jpg Eradication_2, 2017, analogue panoramic photography, Lambda print mounted on 3mm Dibond, edition: 3 + 2 AP, 66 x 160 cm (other sizes: 56 x 140 cm and 290 x 118 cm) Location: Roll call area http://www.galerie-stock.net/images/marko_zink/pictures/Mauthausen/Auslschung2_450px.jpg The View, 2017, analogue panoramic photography, Lambda print mounted on 3mm Dibond, edition: 3 + 2 AP, 56 x 140 cm (other sizes: 66 x 160 cm and 290 x 118 cm) Location: View of Mauthausen from afar, looking
southwest towards the former concentration camp http://www.galerie-stock.net/images/marko_zink/pictures/Mauthausen/Die_Ansicht_450px.jpg Repetition_1, 2018, analogue photography, Lambda print mounted on 2mm PVC, framed with museum glass, 41.5 x 61.5 cm, edition: 3 + 2 AP Location: Entrance area to Mauthausen with
fire pond and garage courtyard http://www.galerie-stock.net/images/marko_zink/pictures/Mauthausen/Die_Wiederholung_1_450px.jpg Repetition_2, 2018, analogue photography, pigment print on KOH-I-NOOR, framed with museum glass, 30 x 45 cm / frame 41.5 x 55.5 cm, edition: 3 + 2 AP Location: The photographs (Repetition_2 to
_4) show a view of the barracks http://www.galerie-stock.net/images/marko_zink/pictures/Mauthausen/Die_Wiederholung_3_450.jpg Repetition_3, 2018, analogue photography, pigment print on KOH-I-NOOR, framed with museum glass, 30 x 45 cm / frame 41.5 x 55.5 cm, edition: 3 + 2 AP Location: The photographs (Repetition_2 to
_4) show a view of the barracks http://www.galerie-stock.net/images/marko_zink/pictures/Mauthausen/Die_Wiederholung_2_450px.jpg Repetition_4, 2018, analogue photography, pigment print on KOH-I-NOOR, framed with museum glass, 30 x 45 cm / frame 41.5 x 55.5 cm, edition: 3 + 2 AP Location: The photographs (Repetition_2 to
_4) show a view of the barracks http://www.galerie-stock.net/images/marko_zink/pictures/Mauthausen/Die_Wiederholung_4_450px.jpg Repetition_5, 2018, analogue photography, direct print on 3mm Dibond, 120 x 180 cm Location: Stairs of Death View into nothing, 2018, analogue photography, Lambda print mounted on 3mm Dibond, 104 x 158 cm, edition: 5 + 2 AP Location: Barracks interior Measurement strategy, 2018, analogue photography, Lambda print mounted on 2mm PVC, framed with museum glass, 41.5 x 61.5 cm, edition: 3 + 2 AP Location: Barracks interior http://www.galerie-stock.net/images/marko_zink/pictures/Mauthausen/vermessung_450px.jpg Luminol, 2018, analogue photography, fine-art pigment print, mounted, framed with museum glass, 80 x 120 cm, edition: 3 + 2 AP Location: Bunker / camp prison http://www.galerie-stock.net/images/marko_zink/pictures/Mauthausen/5_Luminol_450px.jpg Scoring! 2019, three-way picture, direct print on 2mm Dibond, 91 x 128 cm, multiple: 3 + 2 AP Location: Football pitch and wire fence http://www.galerie-stock.net/images/marko_zink/pictures/Mauthausen/lamellenbild_450px.jpg I you he she it we you they_1, 2018 three-way picture, direct print on 2mm Dibond, reflective foil, 91 x 128 cm Location: Adolf
Hitler’s speech in the Dynamohalle, archive photograph (Copyright: “Rede von
Adolf Hitler in der Dynamohalle der Siemens-Schuckert-Werke in Berlin 1933”,
Scherl / Süddeutsche Zeitung Photo 1933) http://www.galerie-stock.net/images/marko_zink/pictures/Mauthausen/IMG_4960_b_450px.jpg I you he she it we you they_2, 2018, analogue photography, pigment print on Hahnenmühle Bamboo, framed with museum glass, 30 x 45 cm / frame 41, 5 x 55, 5 cm, edition: 3 + 2 AP Location: Garage courtyard you shalt not, 2018, analogue photography, pigment print on handmade paper, 30 x 45 cm, edition: 3 + 2 AP Location: Ash dump http://www.galerie-stock.net/images/marko_zink/pictures/Mauthausen/1_du-sollst-nicht_450px.jpg but, 2018, analogue photography, pigment print on handmade paper, 30 x 45 cm, edition: 3 + 2 AP Location: Ash dump http://www.galerie-stock.net/images/marko_zink/pictures/Mauthausen/2_dennoch_450px.jpg Marbacher Linde, 2019, analogue photography, Lambda print mounted on 2mm Dibond, 131.3 x 91.8 cm Location: Marbach linden tree, view from
Mauthausen http://www.galerie-stock.net/images/marko_zink/pictures/Mauthausen/MarbacherLinde.kl_450px.jpg authority structures_1, 2019 analogue photography, Lambda print mounted on 2mm PVC, 60 x 40 cm Location: former Laundry barracks http://www.galerie-stock.net/images/marko_zink/pictures/Mauthausen/Autorittsstrukturen_450px.jpg authority structures_2, 2019, installation (wooden triangle with burst balloons), 200 x 120 x 40 cm Location: Former infirmary http://www.galerie-stock.net/images/marko_zink/pictures/Mauthausen/Autorittsstrukturen_2_450px.jpg gas chamber, 2019, analogue photography, series of 4 individual photographs, C-Print, 88 x 30 cm (each 22 x 15 cm) Location: Gas chamber http://www.galerie-stock.net/images/marko_zink/pictures/Mauthausen/Ungeheuerliches450px.jpg
M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E
Mauthausen. In Austria, probably also in the rest of Europe, and possibly even all over the world, the name of this Upper Austrian town with a history of nearly 1000 years can never be heard neutrally again. Between 1938 and 1945, at least 90,000 people were killed at the Mauthausen concentration camp and its sub-camps.
During his visits to the Mauthausen Memorial, Austrian artist Marko Zink made a disturbing discovery: For many visitors, the memorial site is a sightseeing location today, selfies included. In his new project, Zink now attempts to give the site its dignity back by using photographic techniques. His goal is to make a dual disappearance visible: the extinction of people and the eradication of memories.
In April 2019 (opening is on 10th of April , 6 pm), Zink will show his project at the Mauthausen Memorial. Selected works from this series will first be exhibited at Galerie Michaela Stock. They prove the seriousness of the approach to the topic and the complexity of its artistic execution. Zink's aim is not to document, but to irritate. He forces us to take a closer look and opens up a multi-faceted discussion.
The art form Marko Zink has chosen is analogue photography. He subjects the films to treatment before exposing them. He cooks or punches them, treats them with chlorine or ink eraser. With this delicate film material, he takes photos of selected places within or outside the former concentration camp – the camp road, the former sports ground or Marbacher Linde, where thousands of bodies were buried and which is a popular viewpoint today (without even indicating what happened there).
The photos are presented in a variety of media, for example as panorama images, as three-way pictures, where perspectives change erratically, as well as conceptual developments. In one of the works, Zink shows a room in which 500 prisoners were held, using a screen of 500 individual photos, each of them in a slightly shifted perspective symbolizing 500 pairs of eyes gazing through the window: "View into nothing".
At times, Zink's photographs seem like historic objects, taken quickly and secretly, bleached by the sun, half destroyed by the impact of time. Sometimes the photos with their defects seem to give an account of the atrocities that took place here less than eight decades ago at a separate level. And sometimes they seem to make visible what only seemingly cannot be seen anymore. With his work, Marko Zink reminds us that it is possible: what is a reminder of the past and what is a warning of things to come. Everything could be seen. If only we wanted to see.
Wolfgang Huber-Lang / Translator: Barbara Wrathall-Pohl
Technique: The negative was boiled and treated
with ink eraser and acid before exposure
Concept: The work’s title is taken from Adorno’s
essay ‘Education After Auschwitz’. The photo shows the empty roll call area
from the viewpoint of the perpetrators in a panoramic image (Greek: ‘to see
all’). The photo evokes the impression of a nostalgic shot from the 60s/70s and
reflects repression in all its beauty.
Technique: The negative was boiled and
treated with ink eraser and acid before exposure
Concept: The chemical treatment has made an
ear or a funnel appear on the right-hand side of the photo. Zink confronts us
with the present, while this has already long become history. The visitors who
happened to be caught on film seem to be fleeing (in order to avoid considering
the question of guilt and responsibility).
Technique: The negative was boiled,
perforated and folded
Concept: The title ‘View’ is ambiguous: on
the one hand you see a view of Mauthausen from a high vantage point, on the
other a black mark stares out at the viewer. Could this be history, its pupil
trained on us, or the reverse – is it the viewer who is just now perceiving
history’s blind spot?
Technique: The negative was perforated in
two places
Concept: The two circles (semi-circular
perforations) are symbols of a broken infinity or a double eight. But they also
permit further interpretation (broken dreams, handcuffs). Visible on the left-hand
side is the fire pond, whose function remains not quite clear. In 1951 the former
concentration camp received an enquiry as to whether it could be used for swimming
lessons.
Technique: The negatives were boiled, hole-punched
and marked with pins
Concept: The photographs were taken from a high
vantage point, from a certain distance, and situate the perspective of the
perpetrators. The repeating depiction of the same motif is reminiscent of a
film loop, of a never-ending coil. The influence of the destructive treatment
of the film material portrays atrocity (Mühlviertel Hare Hunt).
Technique: The negatives were boiled, hole-punched
and marked with pins
Concept: The photographs were taken from a high
vantage point, from a certain distance, and situate the perspective of the
perpetrators. The repeating depiction of the same motif is reminiscent of a
film loop, of a never-ending coil. The influence of the destructive treatment
of the film material portrays atrocity (Mühlviertel Hare Hunt).
Technique: The negatives were boiled, hole-punched
and marked with pins
Concept: The photographs were taken from a high
vantage point, from a certain distance, and situate the perspective of the
perpetrators. The repeating depiction of the same motif is reminiscent of a
film loop, of a never-ending coil. The influence of the destructive treatment
of the film material portrays atrocity (Mühlviertel Hare Hunt).
Technique: The negative was boiled
Concept: A mirror was positioned on the
Stairs of Death to lengthen the stairway optically into infinity. Yet a
different view opens up; not a recognition of infinity or the reflected image,
but a questioning of people’s self-awareness. A warning that all images and
forms are simply reflections to remind us of our history.
Technique: 500 photographs / single shots
were assembled, the negatives were boiled
Concept: The geometric rigour of the image
points to order, obedience and discipline as fundamental characteristics of the
Nazi era, as well as attaining an ornamental structure. The individual
photographs are always taken from the same perspective, sometimes in focus,
sometimes blurred. The size of the picture corresponds to the size of a window
in the barracks. The 500 individual images stand for the 500 people who were housed
in one of the barracks, symbolising 500 pairs of eyes that once looked out of
the window: ‘The View into nothing.’
Technique: The negative was boiled then
scratched
Concept: The scratch marks operate like
measurement lines. Yet their arrangement is arbitrary and linear only in
places. The room in its current state displays an emptiness, which is augmented
through the missing ‘furnishings’. The room’s measurements document its size: a
barracks had dimensions of just 52 x 8 metres and was intended for 500 people (at
times even 800 people). This photograph complements the work ‘View into
nothing’.
Technique: The negative was boiled and
sprayed with ink eraser
Concept: The artwork takes it name from ‘Luminol’.
A process used in criminology to detect and make visible traces of blood which
have been wiped away at crime scenes. Through burning the negative with an ink
eraser solution, something no longer visible is made visible.
Technique: Three-way picture or turning
picture, boiled negative
Concept: Three-way pictures have a long
tradition and show three views depending on where you stand. In the work
‘Scoring!’ (‘Tor!’), these three views have been reduced to two. The first
perspective shows the football pitch/sports ground located in front of the
concentration camp. During the Nazi era, this was the venue for regular
national tournaments, to which civilians were also invited. The second
perspective shows Mauthausen’s wire fence, which in this view constitutes the
actual ‘Tor’ (meaning both goal and gate in German).
Technique: Three-way picture or turning
picture, the negative was boiled
Concept: The first view in this three-way
picture is a mirrored surface, which only gives a hazy reflection of the person
looking at the picture. Zink confronts us with the present as it becomes history.
The other perspectives show the massed crowds gathered for a speech by Adolf
Hitler in the Dynamohalle in Berlin. The title creates an opposition between the
present and history. The viewer is called on to seek reassurance in him or
herself.
Technique: The negative was boiled and
treated with transparent colour
Concept: For years after the war, exhumed
dead bodies were stored behind these doors for identification and repatriation to
their ‘home’land. The photographic image shows a head-on view of the garage
courtyard, its manipulated pink haziness transporting this place of loss into a
poetic space of the intermediate image. The title dispels the poetry and
confronts the viewer with him or herself.
Technique: The negative was boiled several
times and perforated with pins
Concept: The two landscapes shot in b/w
with the titles ‘you shalt not’ and ‘but’ show the area of the former ash dump.
The alterations to the negatives create ash clouds, which spread out into the
sky. They appear timeless, like mute witnesses; the title refers to
commandments which have not been observed.
Technique: The negative was boiled several
times and perforated with pins
Concept: The two landscapes shot in b/w
with the titles ‘you shalt not’ and ‘but’ show the area of the former ash dump.
The alterations to the negatives create ash clouds, which spread out into the
sky. They appear timeless, like mute witnesses; the title refers to
commandments which have not been observed.
Technique: The negative was boiled
Concept: Shortly before the liberation of the
Mauthausen concentration camp, capacity in the crematorium ovens was
insufficient to burn all the dead. Thousands of corpses were therefore hastily
buried in the area around the concentration camp, including by the Marbach
linden tree. This place, situated less than 200 metres from the former concentration camp, remains a very
popular and recreational excursion spot today. Nowhere are information boards
about what took place here to be found.
Technique: The negative was boiled
Concept:
The photograph was taken in the former laundry barracks. It shows a triangle bearing
the Austrian flag formed out of balloons. What is past, present and future
overlap in the performative arrangement. The red-white-red colour scheme
activates nationalist ideas and the site of the events. The question of the perpetrators
has been raised. The triangle itself marked the prisoners and divided them into
groups.
Technique: Installation, performative
wooden object
Concept: The triangle has been turned on
its head and the balloons have burst. The geometric installation corresponds to
the photograph behind it (authority structures_1) and is its continuation. The
question of the perpetrators has been answered. By placing ‘authority
structure_1’ and this installation one below the other, an hourglass is formed.
Technique: The negative was boiled and shots
taken with the self-timer
Concept: In their radical, reduced
abstraction, the four photographs are reminiscent of Mondrian’s line paintings.
The appear brutal and cold, are simultaneously severe and fragile, shifting between
geometry and free form. This image shows the pipes in the gas chamber. Yet
closer inspection reveals the missing showerheads. It is not clear when and why
these disappeared.
exhibition leporello > click HERE
PRESS
press release: MARKO ZINK | M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E
press image 1:
Marko Zink, Eradication_2, 2017, analogue panoramic photography, Lambda Print mounted on 3mm Dibond, 66 x 160 cm, edition: 3 + 2 AP, Courtesy: Marko Zink / Galerie Michaela Stock
press image 2:
Marko Zink, The View, 2017, analogue panoramic photography, Lambda Print mounted on 3 mm Dibond, 56 x 140 cm, edition: 3 + 2 AP, Courtesy: Marko Zink / Galerie Michaela Stock
press image 3:
Marko Zink,Repetition_1, 2018, analogue photography, Lambda Print, mounted on 2mm PVC, framed 41,5 x 61,5 cm, edition: 3 +2 AP, Courtesy: Marko Zink / Galerie Michaela Stock
press image 4:
Marko Zink, View into nothing, 2018, analogue photography, Lambda Print, mounted on 3mm Dibond, 104 x 158 cm, edition: 3 + 2 AP, Courtesy: Marko Zink / Galerie Michaela Stock
press image 5:
Marko Zink, Luminol, 2018, analogue photography, Fine-Art Pigmentprint, mounted, framed, 80 x 120 cm, edition: 3 + 2 AP, Courtesy: Marko Zink / Galerie Michaela Stock
