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The video sculptures by Swiss
artist MARCK are more than a simple combination of video
and sculpture: They are a logic consequence of his extensive
examination with films and videos, multimedia based projects,
performances, music and sculptural as well as kinetic
objects. The many years he has been working with these
media have showed him their limits and possibilities thus
founding a basis for the body of works created since 2001.
The determining factor for his video sculptures was-amongst
others-his dissatisfaction with the boring representation
of films on monitors. Hence he started to rebuild them
on the one hand in order to detract the static aspect
from the sculpture and on the other to set real boundaries
for his films/videos. The examination of humans and their
world of feelings is central to MARCK's oeuvre. It is
based on the search for a combination of influence from
the outside and inner conditions. His performers are always
women who are aware of the artistic (and artificial) space
surrounding them which they fathom with their bodies.
At times they appear as if they were locked as in installations
like "Frauenkiste" (Pandoras box, 2007) and "Tuerkisches
Bad" (Turkish Bath, 2009), move on dangerous terrain as
in his wall objects "Dornen" (Thorns, 2008) and "Sichel"
(Sickle, 2009) or in-between the elements water and air
like in the installation "human air system" (2005). MARCK
himself understands his works as emotionally grounded
media sculptures which not only fathom their physical
but also their psychical limitations.
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The women in MARCK's
video installations are locked in narrow spaces. They function
as symbols for a limited space of action provided by society
in which women find themselves. At the same time they also
function as patterns for inter-gender relationships and
communication. His women are limited in their movement,
but use it to explore the narrow rooms provided for them-hoping
for a dissolution of the boundaries and physical limitations
caused by their actions. The earliest installation by the
artist expands the physical space by a historical, socio-cultural
one: In "Maria" (2009) a young woman seeks to doff the costume
of the Virgin Mary, to free herself from her protective
gesture thus also freeing herself from the image of women
represented by her. However, MARCK does not want his art
to function as a mouthpiece for typical and seemingly obvious
women's topics, but chooses the woman to be a symbol for
his observations of society. His works are not meant to
provide answers and targeted interpretations on certain
topics, but raise questions and inspire considerations.
The technical media available to him allow MARCK to cross
borders of perception. The video is not only a messenger
(of a visual message), but due to the sculptural frame also
receives a spacial dimension which in turn he seeks to break
through, e.g. in "Dusche" (Shower, 2008) where water comes
from the frame, in "Sichel" (Sickle, 2009) where the pendulum
is swung beyond the frame of the light box or in "Kreuz"
(Cross, 2009) where a crucified woman is reconstructed using
video fragments. In doing so, MARCK does not allow coincidence,
but builds his works on the foundation of exact contextual
and technical visions. The technique itself is not the priority
but a means to an end-an organ for MARCK's observations
and his urge to evoke certain feelings. MARCK's video sculptures
and installations offer possibilities to their observers
to identify our physical and psychical limitations (anew)
and to break free. |
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