Oliver Mark

  • 2020–today
  • 2010–2019
  • 2000–2009
  • 1972–1999
  • Ventotene Pictures
  • Collaborations I
  • The Artist
  • Natura Morta
  • Neue Nationalgalerie
  • Exhibitions
  • Publications
  • Press
  • About the Work
  • Contact

Oliver Mark

  • 2020–today
  • 2010–2019
  • 2000–2009
  • 1972–1999
  • Ventotene Pictures
  • Collaborations I
  • The Artist
  • Natura Morta
  • Neue Nationalgalerie
  • Exhibitions
  • Publications
  • Press
  • About the Work
  • Contact
  • Oskar Roehler, Berlin 2006

    Oskar Roehler Print.

    Fom­ab­rom Vari­ant 111 baryta paper.
    Sel­en­i­um toned and unique. Size 30,0 x 39,8 cm (Print 2025)

    March 2025
  • 24.Februar 2025

    24.Februar 2025 II.

    heute sind wir alle Ukrain­er.
    António Costa, EU-Rat­s­prÀsid­ent
    Kyjiw 24.Februar 2025

    February 2025
  • Here There And Everywhere – February 11th, 2025

    Here There And Everywhere.
    This pic­ture was taken after the speech by US Vice Pres­id­ent JD Vance at the Munich Secur­ity Con­fer­ence (MSC). It is called: Here There And Every­where – Feb­ru­ary 11th, 2025
    Named after the song com­posed by Paul McCart­ney, which was first released on the album Revolver by the band The Beatles in 1966.
    It shows a European flag. It was placed wet in a refri­ger­at­or, frozen and then formed into a moun­tain. C‑Print, 27 dif­fer­ent formats.
    February 2025
  • Okwui Enwezor, Kassel 2002

    Okwui Enwezor for Vogue.

    The pho­to­graphs of Okwui Enwezor were taken in the Karls­ruhe State Park dur­ing Documenta11 in Kas­sel for VOGUE.
    Mark visu­ally trans­lated the concept ini­ti­ated by Enwezor and his cur­at­ori­al team at Documenta11 — an explor­a­tion of demo­cracy as an open, evolving pro­ject and an unfin­ished pro­cess.
    He depic­ted this idea through a green plat­form: a flat, elev­ated struc­ture designed for someone or some­thing to stand on, offer­ing space for reflec­tion and interpretation.

    February 2025
  • Neue Nationalgalerie

    The New National Gallery in a snowstorm.
    February 2025
  • Jeff Koons , Berlin 2000

    Jeff Koons lying on gymnastic ball with one of his Easyfun paintings.
    Wie kom­mt ein Gum­miball in das Deutsche Gug­gen­heim? Wenn Mark ein PortrĂ€t von Koons macht. Mark hatte dieses Utensil mit­ge­b­racht, um eine Bez­iehung zwis­chen der Arbeit von Koons und dem GebĂ€ude zu erstel­len. Nach ein­i­gen star­ren Auf­nah­men („Koons saß auf dem Ball wie in ein­er Straßen­bahn“) schlug Mark vor, dass Koons sich doch mal auf den RĂŒck­en legen solle. Koons zögerte, seine Mut­ter war anwesend, ließ sich dann aber doch lachend auf den Vorsch­lag ein. Es entstand fol­gendes, wie ich finde, unglaub­lich stim­miges PortrĂ€t. Koons vor seinem Werk Lips (2000, Öl auf Lein­wand, 304,8 x 427,7 cm) – playful!
    January 2025
  • Julie Delpy, Berlin 2005

    Julie Delpy, Berlin 2005 Bromine silver baryta paper 250g, Selenium toned and unique. sewing machine markings, sewing machine marks Size 38,0 x 28,8 cm (Print 2025).

    Brom­ine sil­ver baryta paper 250g, Sel­en­i­um toned and unique
    Size 28,7 x 38,0 cm (Print 2025)

    Sie sehen hier das Bild eines Bildes – nicht eine Foto­grafie im digitalen Sinne, son­dern die Abbildung ein­er ana­lo­gen, manuell entwick­el­ten und bearbeiteten Foto­grafie auf dick­em, kar­ton­arti­gem Baryt­papi­er. Die Kanten des Papi­ers wöl­ben sich leicht nach oben, wĂ€hrend das Schwarz im Hin­ter­grund beson­ders satt erscheint.
    Die obere HĂ€lfte wurde in ein Entwick­ler-Bad getaucht. Nach dem Heraus­neh­men wurde das Papi­er gedre­ht, wodurch die charak­ter­istischen LĂ€ufer in der unter­en Bild­hĂ€lfte entstanden. Die klein­en, zufĂ€l­li­gen Spritzer wur­den per Hand hin­zuge­fĂŒgt und ver­lei­hen der Arbeit eine spon­t­ane Dynamik und Tiefe. Durch das Zen­trum des Bildes ziehen sich ver­schlun­gene NĂ€hte und mit ein­er NĂ€h­maschine gelochte Lini­en. Da sie kein­en Anfang oder kein Ende zei­gen, schein­en sie unend­lich fortzu­laufen und ver­bind­en optisch die obere und untere Bild­hĂ€lfte sow­ie Vorder- und Hin­ter­grund mitein­ander. Dieses Werk them­at­is­iert fĂŒr mich die Frage nach der Bedeu­tung von Zeit. Die Zeit­spanne wird hier sicht­bar – in der Dauer der Bearbei­tung, aber auch im Abstand zwis­chen der ursprĂŒng­lichen Auf­nahme im Jahr 2005 und der Bearbei­tung im Jahr 2025. So inter­pretiere ich die end­los wir­belnden Lini­en, die das Gesicht nicht stören, son­dern neue Eben­en der Betrach­tung eröffn­en. WĂ€hrend sich Mark handwerk­lich zurĂŒck zu sein­en AnfĂ€n­gen bewegt, schlĂ€gt er, in Anlehnung an die Col­lab­or­a­tions-Seri­en, gleichzeit­ig ein neues Kapitel in sein­er kĂŒnst­lerischen Arbeit und sein­er Aus­ein­ander­set­zung mit PortrĂ€ts auf.
    Zu sehen ist hier ĂŒbri­gens Julie Delpy, bekan­nt durch ihre Hauptrolle und Ko-Autorenschaft in der „Before Sunrise“-Trilogie. Diese Film­reihe beschĂ€ftigt sich inhalt­lich und zeit­lich mit einem Liebespaar und drei ihr­er Begegnun­gen ĂŒber ein­en Zeitraum von 18 Jahren: Before Sun­rise (1995), Before Sun­set (2004) und Before Mid­night (2013).

    January 2025
  • Ventotene Pictures

    Ventotene Pictures Oliver Mark.

    (untitled, from the series Vent­otene Pic­tures) 2024
    Sil­ver Gelat­in Baryta Print, framed
    Sel­en­i­um toned and unique.
    Size 38,7 x 28,6 cm
    prin­ted 09. Oct. 2024, signed in pen­cil on the back

    November 2024
  • °CLAIRbyKahn Gallery, Paris Photo 2024

    Paris Photo Oliver Mark.
    November 2024
  • °CLAIRbyKahn Gallery, Paris Photo 2024

    (untitled, from the series Vent­otene Pic­tures) 2024
    Sil­ver Gelat­in Baryta Print
    Sel­en­i­um toned and unique.
    Acryl­ic Paint, Sew­ing Machine Marks
    Size 38,4 x 28,1 cm
    prin­ted 09. Oct. 2024, signed in pen­cil on the back

    November 2024
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© 2025

Oliver Mark

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