Marck (b. 1964), Balance no.3, 2021

Wood, iron, electronic control, player, screen
176 cm H x 57 cm W x 28 cm D
Unique
Price: £17,800 inc. VAT

Global shipping available 

Marck currently lives and works in Zürich. The artist is internationally recognized for his video sculpture art and his works have been touring worldwide including New York, Miami, Istanbul, Seoul, Basel, London, Munich, Vienna, Bolognia and the Ars Electronica in Linz (Austria). His unique and exquisite technique makes his works highly desirable among collectors. Marck's sculptures can be seen in the Krupp Collection in the Boston Museum in the USA, in the Dosan art center in Korea or in the ArtCenter Borusan in Istanbul. His video sculptures sit next to installations by Nam June Paik in the homes of various private collectors. 

Marck’s dissatisfaction with the conventional representation of film on monitor lead him to reinvent the concept. He detracts the static aspect from the sculptural body and sets real boundaries for his video. His works are more than a simple combination of videos and sculptures. They are a logic consequence of his extensive examination with performances, films and videos, multimedia-based projects and sculptural as well as kinetic objects. The female characters in Marck’s work are depersonalized. They are a symbol for his observations of our society. “My work has no message,” stated by Marck, “they are open for any interpretation whatsoever.” He does not mean to provide answers or targeted interpretations on certain topics, instead, he raises questions and leaves for inspiration. 

The content of Marck's video sculptures always move on a screen that began life as a cathode ray monitor or LCD. The screen cladding is dismantled, newly created or rebuilt. A central part of the process is that the cladding always corresponds to the content and thereby becomes a statement. In the “Woman Case” for instance, the monitors have been reconstructed into a box in which a woman is locked. 

There is nothing unplanned or coincidental in Marck's video sculptures. He starts out with an idea of the sculpture’s content and then begins the construction. Therefore, there is nothing playful about his use of technology, rather the electronics become a means to an end, i.e. the mediator of content. 

This is the precisely the same process with the casing, the packaging of the content. In the 1990s Marck constructed video installations for clubs in Zurich. The content of these installations quickly became rigid and uninteresting for him, triggering his search for how to dissolve the boundaries between content and cladding. In the meantime, he has torn down the boundaries between content and medium. The medium, the cladding of the sculpture, has itself become the content and the message.

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