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

Clockwork Miami
Clockwork Miami / 2022
Bon appétit
Bon appétit / 2022
Live in a square
Live in a square / 2021
Ear / 2021
Vape / 2021
Shame / 2021
Patriarchat / 2021
Back and forth
Back and forth / 2021
Split / 2021
With the eyes of the opposite
With the eyes of the opposite / 2021
Cosmos / 2021
Clean windows
Clean windows / 2021
Sleepless / 2021
Soup bowl
Soup bowl / 2020
Balance / 2020
Currenty No Television
Currenty No Television / 2020
The golden cage
The golden cage / 2020
Strip-o-mat / 2019
Video Destroys Machine
Video Destroys Machine / 2019
Human Clock
Human Clock / 2019
Bubbles / 2019
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