MARCK’s video art is not to be separated from the appliances used to show them and the installations that contain them. He is thus firmly in a lineage that started with Wolf Vostell, Martial Raysse and above all Nam June Paik in the 1960s. MARCK tops his predecessors by blurring the lines between video and installation. In his pieces with water in which in the video a woman moves within a basin there is an identical, real frame installed on the monitor.

In the space between the uppermost level of the monitor and the illumination level there is a further part of this real frame. Because all three (the frame on the monitor, that in the space in-between, and the filmed frame) are identical, for the viewer it is unclear what is reality and what is film. Especially as our viewing habits suggest to us that what we see in the monitor is always a video. MARCK thus deceives our sensory perception and lets us think that where there is a real object there is in fact a film.

MARCK’s works thus ask questions about the essence of image and the represented object. Ever since Magritte’s “Ceci n’est pas une pipe” we know: It is not a pipe, it is the image of a pipe. MARCK inverts this and we could alter what Magritte says: “Mais si, c’est une pipe!”: And it is indeed a pipe! !” Because what we consider a video, what we consider an image – is in fact the real object.

Thomas Haemmerli 2016

Live in a square
Live in a square / 2021
Ear / 2021
Patriarchat / 2021
Back and forth
Back and forth / 2021
Split / 2021
Cosmos / 2021
Balance / 2020
Currenty No Television
Currenty No Television / 2020
Video Destroys Machine
Video Destroys Machine / 2019
Human Clock
Human Clock / 2019
Bubbles / 2019
Waterfall / 2018
Schwarzes Haar
Schwarzes Haar / 2018
Child With Dove
Child With Dove / 2018
Rückkopplung / 2018
Redline Butoh
Redline Butoh / 2018
Clockwork Taipe
Clockwork Taipe / 2017
Wasserrad Mini
Wasserrad Mini / 2017
Like This
Like This / 2017
Black and White
Black and White / 2017
Wasserrad / 2017
See More Work