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 current exhibition in Mauthausen Memorial
10.4. - 31.10.2019 > 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 Obliteration_1, 2017, analog panoramic photograph, 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 Obliteration_2, 2017, analog panoramic photograph, 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, analog panoramic photograph, 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 toward the former concentration camp. http://www.galerie-stock.net/images/marko_zink/pictures/Mauthausen/Die_Ansicht_450px.jpg Repetition_1, 2018, analog photograph, Lambda print mounted on 2mm PVC, framed with museum glass, 41.5 x 61.5 cm, edition: 3 + 2 AP Location: entrance area to the Mauthausen site with fire pond and garage yard http://www.galerie-stock.net/images/marko_zink/pictures/Mauthausen/Die_Wiederholung_1_450px.jpg Repetition_2, 2018, analog photograph, 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: 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, analog photograph, 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: 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, analog photograph, 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: 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, analog photograph, direct print on 3mm Dibond, 120 x 180 cm Location: Stairs of Death
Looking into the Void, 2018, analog photograph, Lambda print mounted on 3mm Dibond, 104 x 158 cm, edition: 5 + 2 AP Location: Barracks interior Measuring Strategies 2018, analog photograph, 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, analog photograph, fine-art pigment print on handmade paper, 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 Score! 2018, Tabula scalata, direct print on 2mm Dibond, 91 x 128 cm, multiple: 3 + 2 AP Location: soccer field 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, Tabula scalata, direct print on 2mm Dibond, reflective foil, 91 x 128 cm Location: Adolf
Hitler’s speech in the Dynamohalle, archival 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, analog photograph, pigment print on handmade paper, framed with museum glass, 30 x 45 cm / frame 41, 5 x 55, 5 cm, edition: 3 + 2 AP Location: garage yard you must not, 2018, analog black-and-white photograph, fine art pigment print on handmade paper, 30 x 45 cm, edition: 3 + 2 AP Location: ash fill http://www.galerie-stock.net/images/marko_zink/pictures/Mauthausen/1_du-sollst-nicht_450px.jpg and yet, 2018, analog black-and-white photograph, fine-art pigment print on handmade paper, 30 x 45 cm, edition: 3 + 2 AP Location: ash fill http://www.galerie-stock.net/images/marko_zink/pictures/Mauthausen/2_dennoch_450px.jpg Marbacher Linde, 2019, analog photograph, 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 Authoritarian Structures_1, 2019 analog photograph, 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 Authoritarian 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, analog photograph, series of 4 individual photographs, C-Prints, 88 x 30 cm (each 22 x 15 cm) Location: Gas Chamber http://www.galerie-stock.net/images/marko_zink/pictures/Mauthausen/Ungeheuerliches450px.jpg despite all invisibility_1, 2020, analog photograph, Fine-Art pigment print on handmade paper, 30 x 45 cm, framed, edition: 3 + 2 AP despite all invisibility_2, 2020, analog photograph, Fine-Art pigment print on handmade paper, 30 x 45 cm, framed, edition: 3 + 2 AP despite all invisibility_3, 2020, analog photograph, Fine-Art pigment print on handmade paper, 30 x 45 cm, framed, edition: 3 + 2 AP despite all invisibility_4, 2020, analog photograph, Fine-Art pigment print on handmade paper, 30 x 45 cm, framed, edition: 3 + 2 AP Unconsciousness_1, 2021 analog photograph, direct print on Dibond 3mm, 30 x 45cm, edition: 3 + 2 AP http://www.galerie-stock.net/images/marko_zink/pictures/Mauthausen/Besinnungslosigkeit_1_450px.jpg Unconsciousness_2, 2021 analog photograph, direct print on Dibond 3mm, 30 x 45cm, edition: 3 + 2 AP http://www.galerie-stock.net/images/marko_zink/pictures/Mauthausen/Besinnungslosigkeit_2_450px.jpg Consciousness Is Clouded_1, 2021 analog photograph, Lambda print, mounted on 2mm Dibond 60 x 40 cm, framed, edition: 3 + 2 AP Consciousness Is Clouded_2, 2021, analog photograph, Lambda print, mounted on 2mm Dibond, 60 x 40 cm, framed, edition: 3 + 2 AP
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 as it 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 before exposure.
Concept: The title The View is ambiguous: On
the one hand, one looks at Mauthausen from a hunter`s blind; on the
other a black blotch 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 boiled and perforated in
two places before exposure.
Concept: The two circles (semi-circular
perforations) are symbols of a broken infinity or double figure eight. Visible on the left-hand
side is the fire pond, whose function remains unclear. In 1951, the former
concentration camp received an inquiry as to whether the pond could be used for swimming
lessons.
Technique: The negatives were boiled, hole-punched
and marked with pins.
Concept: The photographs were taken from a hunting blind at a certain distance, and contextualize the perpetrators`perspective. The repeating depiction of the same motif is reminiscent of a
film loop. The destructive treatment
of the photographic material conveys terror (Mühlviertel Hare Hunt, 1945).
Technique: The negatives were boiled, hole-punched
and marked with pins.
Concept: The photographs were taken from a
hunting blind at a certain distance, and contextualize the
perpetrators`perspective. The repeating depiction of the same motif is
reminiscent of a
film loop. The destructive treatment
of the photographic material conveys terror (Mühlviertel Hare Hunt,
1945).
Technique: The negatives were boiled, hole-punched
and marked with pins.
Concept: The photographs were taken from a
hunting blind at a certain distance, and contextualize the
perpetrators`perspective. The repeating depiction of the same motif is
reminiscent of a
film loop. The destructive treatment
of the photographic material conveys terror (Mühlviertel Hare Hunt,
1945).
Technique: The negative was boiled before exposure.
Concept:
A mirror was positioned on the
Stairs of Death to optically lengthen the stairway into infinity. Yet a
different perspective is revealed: rather than recognize infinity or
one`s reflection, one is made to question human self-awareness. A
warning that all images and
forms are simply reflections to remind us of history.
Technique: Five hundred individual photographs
were assembled; the negatives were boiled.
Concept: The geometric rigour of the image indicates order, obedience, and discipline as fundamental characteristics of the
Nazi era. The composition also yields an ornamental structure. The individual
photographs were always taken from the same perspective, sometimes in focus,
sometimes blurred. The image`s size corresponds to the size of a window
in the barracks. The five hundred individual images stand for the five hundred people who were housed
in one barracks, thus symbolizing five hundred pairs of eyes that once looked out of
the window: ‘Looking into the Void.’
Technique: The negative was boiled and
scratched before exposure.
Concept: The scratch marks operate like
measurement lines, but their arrangement is arbitrary and only linear in certain places. The room in its current state displays an emptiness, which is augmented by the missing ‘furniture’. The room’s measurements document its size: a
barracks had dimensions of just 52 x 8 metres and was intended for five hundred people (at
times even eight hundred people). This photograph complements the work ‘Looking into the Void’.
Technique: The negative was boiled and
sprinkled with ink eraser.
Concept: The artwork takes its name from luminol, a substance used in criminology to detect and make visible traces of blood that have been wiped away at crime scenes. By burning the negative with an ink
eraser solution, something that has no longer been visible is made visible. The image shows the bunker, the prison within the prison.
Technique: Tabula scalata; the negatives were boiled multiple times before exposure.
Concept:
Turning pictures have a long
tradition and show three views depending on where you stand (tabula
stritta). In the work
‘Score!`, these three views have been reduced to two. The first
perspective shows the sports field located in front of the
concentration camp. During the Nazi era, ir regularly served as a venue
for national tournaments, to which civilians were also invited. The
second
perspective shows Mauthausen’s wire fence, which is framed in such a way
that it represents a "goal".
Technique: tabula scalata
Concept: The first view of this three-way
picture is a mirrored surface, which only gives a hazy reflection of the person
looking at the picture. The other perspectives show the large crowds gathered for Hitler`s speech in Berlin`s Dynamohalle.
Technique: The negative was boiled and
treated with transparent paint before exposure.
Concept: For many years after the war, exhumed
bodies were stored behind these doors for identification and repatriation to
their "homeland". The photograph shows a frontal view of the garage yard, its manipulated pink haziness transporting this place of loss into a
poetic space of limbo. The title dispels the poetry and
confronts the viewer with him- or herself.
Technique: The negative was boiled multiple times, perforated with pins, and partially treated with transparent paint.
Concept: The two landscapes shot in black-and-white entitled ‘you must not’ and ‘and yet’ depict the area of the former ash fill.
The alterations to the negatives create ash clouds billowing in the
sky. They appear timeless, like mute witnesses. The title refers to
commandments that have not been observed.
Technique: The negative was boiled multiple times, perforated with pins, and partially treated with transparent paint.
Concept: The two landscapes shot in black-and-white entitled ‘you must not’ and ‘and yet’ depict the area of the former ash fill.
The alterations to the negatives create ash clouds billowing in the
sky. They appear timeless, like mute witnesses. The title refers to
commandments that have not been observed.
Technique: The negative was boiled before exposure.
Concept:
Shortly before the liberation of the
Mauthausen concentration camp, the crematorium furnaces` capacity was
insufficient to burn all the dead. Thousands of corpses were therefore
hastily
buried in the area around the concentration camp, including underneath
the Marbach
linden tree. This place, situated less than two hundred metres from the former concentration camp, has remained a popular destinatio to this day. No markers or plaques indicate what took place there.
Technique: The negative was boiled before exposure.
Concept:
The photograph was taken in the former laundry barracks. It shows a triangle bearing
balloons in the colors of the Austrian flag. Past, present and future
overlap in this performative arrangement. The red-white-red colour scheme
activates nationalist ideas and the scene of the crime, raising the question of who were the perpetrators. It was also a triangle that 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 (Authoritarin Structures_1) and is its continuation. The
question of the perpetrators has been answered. By placing ‘Authoritarian Structure_1’ and this installation one below the other, an hourglass is formed.
Technique: The negative was boiled; the pictures were
taken with the self-timer
Concept: In their radical, reduced
abstraction, the four photographs are reminiscent of Mondrian’s grid paintings.
The appear brutal and cold, but also rigid and fragile, shifting between
geometry and free form. This images show the pipes in the gas chamber, yet
closer inspection reveals that the showerheads are missing. It is not clear when and why
they disappeared or by whom they were stolen.
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
