FREMD/STRANGE

analog underwater photography, started 2010

Magdalena Pressel: “strange”

“In „FREMD“ (STRANGE) Marko Zink approaches the topic of Underwater Photography in a different kind and manner. Zink picks up on the topic of his series „SCHWIMMER“ (SWIMMER), in which he depicts the impermanence of all existing things. But this time the subject of „Alienation and Transformation of Anthropogenic Objects“, experiences a more distinguished and deeper significance as well as reinterpretation.

The artist abducts us into an underwater world and drags us deep down into the unknown. Fishnets become a theater’s curtain, which rises for us, similar to the first act of a play. The sea floor reveals itself as a stage. As the photographer’s ambition to catch a moment, memories and moments get caught in the fishnet itself. It is clearly not a coincidence that the viewer comes across a white rabbit in the depths of the ocean.

We follow it down, like Alice in „Alice’s Adventures in Wonderland“, through the wormhole into a paradox dreamworld. Within this universe, the rabbit as well as the beholder can move apparently easely through the waves. This alienation is persuaed by Zink with the „entrance“ of a Chinese luckdragon. The mythical creature of numerous legends, experiences a double reinterpretation, as the title of the photograph „Riemenfisch“ („oarfish“) shows. This deepsea fish, which reaches lengths of 11 meters lenght, seems to be origin to many old tales.The harmless beauty is reinterpreted for its first time.  The non-dangerous fish becomes a mighty mythical creature through mankind’s tales and stories. Zink brings us from this interpretations back tot he harmless – it becomes a papery, colourful luckdragon. The anthropogenic objects are awakened to their own, new life in „FREMD“.

While in „SCHWIMMER“ and the series „BURKA“ („BURQA“) objects and clothes are barely recognisable in their original functions. The original items and their human functionality are always visible to the eye of the beholder. Their new life form under water becomes ist own paradoxon, which rips apart elements of human civilasition out of their context. Through the exposure to the elements they experience a new function.

With the absence of humans, massage devices and mannequin hands become plants which seem to reach for the surface and sway in the water flow. The artist lets the viewer dive into a world wich is both; eerie and beautiful at the same time. In another photography, tents glide swarm-like over the sandy ground. Swept away from the tides, Zink guides us back again to the topic of impermanence, the glimps oft he moment, which will have dissipated in the next second. The content of a suitcase, which opens like Pandora’s box, is torn apart into the expanse of the sea, like the pages of the book „Odyssey“ (ἡ Ὀδύσσεια). Human history is dissolved, gets rearranged by the environment in a novel manner and carried out ino the vastness oft he world. Yet, at the same time it opens up a new chapter.”

Homepagetext. Vienna (A), 2014.