Marion Fink

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*1987 Lindenberg i. Allgäu
2010–2012 Gerlesborgsskolan School of fine Art, Stockholm
2012–2016 Hochschule für bildende Künste Hamburg, master student Prof. Andreas Slominski
  Lives and works in Berlin and Potsdam

Grants / Scholarships

2015 Deutschlandstipendium
2014 Publikumspreis „(Un-)Sachlich - Jung und Gegenständlich“
2010 Våga Se Artist Grant, Stockholm

Solo exhibitions

2022 Expanding Orbits, C42 Gallery, New York, USA
2021 Truth-Makers, Evelyn Drewes | Galerie, Hamburg
2020 Many Worlds, Setareh, Düsseldorf
  Another Level Of Assumption, Studio D’arte Cannaviello, Milan, Italy
2019 A Curious Imprint Of Reality, Beers London, London, UK
  Analogous Dimensions, C24 Gallery, New York, USA
  On Paper, Evelyn Drewes | Galerie, Hamburg
2017 Neue Arbeiten, Kunstraum C/O Waschhaus, Potsdam
2014 Soliloquy, Nau Gallery, Stockholm, Sweden
2012 Sweet Inner Bastard, Nau Gallery, Stockholm, Sweden

Group exhibitions

2022 Contemporary Istanbul, C24 Gallery, Istanbul, Turkey
2021 Art on Paper, C24 Gallery, New York City, USA
  Messe In St. Agnes, König Galerie Berlin
2020 1+1+1+1+1+1+1, Villa Schöningen, Potsdam
  Smiley, Evelyn Drewes | Galerie, Hamburg
  Messe In St. Agnes, König Galerie, Berlin
  Women In Art: Memories Of Now, Tacheles, Berlin
2019 Body Forms, Galerie Rundgænger, Frankfurt
  Augmented Dreams, Bethanien, Berlin
  Nichtsalsschoenheit, Eigen + Art Lab, Berlin
  Think In Pictures, Amelchenko, New York City, USA
  Nude - Female Bodies By Female Artists, Villa Schönigen, Potsdam
  Eigen + Art Lab Ping Pong Basel 2019, Switzerland
  I Am A Conversation, Which Has Decided, It Exists., Aperto Raum, Berlin
  Painting Painting Painting, Raum Vollreinigung, Berlin
2018 Nachts Allein Im Atelier #5, Evelyn Drewes | Galerie, Hamburg
  Rbma @ Funkhaus, Curated By Johann König, Berlin
  Offen Vol.2, Galerie Eigen + Art, Berlin
2017 Dionysos - Spuren Eines Mythos. Mit Markus Lüpertz, Otto Dix U.A., Galerie Czestochowa, Polen Und Rotes Haus, Meersburg
2016 Hfbk Absolventenausstellung, Hamburg
2015 Wir Nehmen Das Pferd Von Hinten, Curated By Gregor Hildebrandt, Konzulát, Berlin
  Cold Hands Warm Friends, Goldsmiths, London, UK
  Don´t! Touch Touch Screen Eine Tagung Für Michael Diers, Kw Institut For Contemporary Art, Berlin
2014 Hiscox Kunstpreis, Kunsthaus Hamburg
  (Un-) Sachlich, Galerie Bodenseekreis, Meersburg
2013 Sommarsalong, Np33, Kunsthalle Norrköping, Sweden
2012 Vårsalong, Liljevalchs Kunsthalle, Stockholm, Sweden
  Young Swedish Contemporaries, Vaasa Kunsthalle, Finland
  (Un-) Ding!, Galerie Bodenseekreis, Meersburg

Undaunted, she showed bitterness wrapped in sweetness. The new works on paper by Marion Fink

A young artist, from the Allgäu, arrives via stations in Stockholm (training, exhibitions), Hamburg (training) and Berlin (stopover) a good half year ago in Potsdam, where she takes an apartment and studio and immediately gets to work, so that she can soon with freshly created works a larger show. The title of the exhibition - however succinct - is only seemingly less eloquent. It eschews anything booming or playful and stays strictly to the point. „Works“ today commonly stands for „works.“ But the latter already sounds far more grave, and it is by no means meant to be so. More specific in the sense of the genres (re-)presented would be „painting, drawing, and sculpture,“ but that again would possess the skin-gout of the academic. „Paintings and Objects“ could have been another alternative, but would also not have been sober enough and therefore attractive in the sense of an understatement.

Titles are no trifling matter, as Gotthold Ephraim Lessing said, and it goes without saying that they should be chosen with care. In any case, „New Works“ can be understood quite simply and factually as a double reference, on the one hand to the fact that art, as Karl Valentin already knew, is beautiful, but also requires a lot of work, and on the other hand to the fact that the works shown were all created only in the past few months (and on site). Implicitly, of course, this also means that they are preceded by older works, and that this is by no means the artist‘s very first exhibition. This can be quickly confirmed by looking at the curriculum vitae. There, group and individual shows in Sweden, Finland and Poland are listed. But in Potsdam, with „New Works“, the first extensive exhibition is now being shown in Germany. And when one learns that Fink‘s studio is not far from the Neue Palais in Sanssouci Park, the attribute „new“ almost takes on a topographical note.

But after all, it‘s not about local art. On the contrary. The questions that Marion Fink‘s work addresses have nothing to do with any kind of tinkering. It is about sounding out and presenting a relationship to (one‘s own) world that always remains questionable. This does not go hand in hand with self-centeredness or vanity, but stems from the fact that the artist, starting from her experiences, takes a look at herself and the state of the earth and tries to capture both perspectives connected with each other in her pictures. In each case it is a question of a statement, through which the viewer is urged to comprehend the offers for ‚problem solving‘ - visually achieved through poetic irritation and uncertainty. Art, as one reads in Peter Sloterdijk, lives like thinking always in self-experimentation. The panorama that Marion Fink opens takes place in a kind of social theater. Here mostly lonely figures appear, enclosed in today‘s interiors, bored, melancholy or pensive, sometimes with blank stares, often surrounded by objects that are to be understood as a kind of toy and serve like attributes for a closer but diffuse identification. Many of the figures have their age in common with the artist, because it is not least about their own generation, which here and there seems lost (or in search). There is no certainty.

Prof. Dr. Michael Diers (excerpt from catalog essay)