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)