analog photography
2019-2022 | 75x50cm | 120x80cm

KERSTIN STREMMEL | Four Questions for Kerstin Stremmel 

Via Photonews and an acquisition Museum der Moderne Salzburg received as a permanent loan from the federal government, I learned about Marko Zink’s series “When the Animals Left the Forest”, in which the subject of environmental destruction is astutely and humorously staged in what we call “nature.” 

Art blog Foto Kunst Theorie | Interview with Kerstin Stremmel | curator of photography, Museum der Moderne, Austria

ARIANE GRABHER | A Well-Stocked Fridge and Animal Hookers

Marko Zink’s presentation of entirely new works at Künstlerhaus Palais Thurn und Taxis Bregenz (22.01.2022 – 06.03.2022) turns out to be both a happy reunion with and a perfectly staged evolution of themes and motifs that in one way or another run like a thread through the artist’s oeuvre. They’re all there, the subjects and habits we know—or think we know—from his repertoire and have been looking for in his works like junkies seeking drugs: the forest, the animals, the ambiguous activity between showing and hiding, the deeply artificial in the natural world, the lingering between drama and prank, the incongruities that challenge us. The artist, who was born in Gaschurn in the Montafon valley in 1975, chose his favorite forest as the site for parts of his new series “Als die Tiere den Wald verließen” (When the Animals Left the Forest). The forest, an “enchanted place” (Zink) in the Lower Austrian district of Neunkirchen that was planted as a monoculture in the time of Maria Theresia and where forest fires have not been infrequent, has served the artist as a backdrop for many an apocalyptic scene. Again acting as his own model in this series, the artist dons animal masks ranging from dog and rooster to monkey and swan to explore the question of what animals might do for a living if their natural habitat were destroyed. Bereft of their home and forced into gainful employment, the animals move toward the city, where they—beholden to their animal essence—become prostitutes. The photographs’ very close hanging gives the impression of a film reel, which is amplified by the use of corresponding film footage.

Exhibition review published in Zeitschrift für Kultur und Gesellschaft | Edition 10 – 2021, Austria

EXHIBITION VIEWS | Künstlerhaus Palais Thurn & Taxis Bregenz, Austria