Marlene Stark
Der Roman >>M.<< erscheint 2019 bei Matthes & Seitz Berlin in gemeinsamer Autorenschaft mit Anna Gien.
*Das Protokoll einer Ermächtigung des eigenen Körpers, des eigenen Begehrenens und das der anderen. Zugleich ein Bericht über das Ausbeutungsgefüge im Kunstbetrieb – in einer Sprache, die schonungslos die Entwicklung der Erzählerin von einer zynischen Beobachterin zur strippenziehenden Regisseurin bis hin zur illusionsfreien Romantikerin vollzieht.
Superposition. curates events in different venues, galleries and clubs to create a new perception of music as a immaterial form of art.
Marlene Stark live Dj excerpt – Club Cosmic @ Sameheads 25.08.18
INFINITY DRIFT (2018) from Lena Marie Emrich on Vimeo.
Dead Air
History of Dead Air… #Fruit #DreamEnabler #Lucidity #Collectivity #2019 #peer-to-peer #HumanStrike #72-hrs #Egregore #BurnTheMachine #LoveCry #EmotiveDiscourse#Code&Digitalization #gossip #RaveRage #NoBorders #Anti-State #TulpaCall #Bodying#BleedCrush #Trancing #Queering #Blindspot #DeepNation #AbsoluteCommunity#SkinWalkers #ShadowPlay #UnSystem #Zen #Speed #LifeStyle #punkisdada #TheSocialNovel
Abstraction as a hyper material enables a meta existence of motion, CORE REMISSION will
unpack this notion through the mediums of painting and techno.
Abstraction modulates reality, yet to enact it collectively it requires a physical field. The architecture of clubs and galleries often offer this territory. A public cube is always a place of latent potentials: near visibility, against almost constraint. One could liken these sites of collectivity, i.e. the club, the gallery, the cinema to voluntary prison cells for those seeking a moment of abstract hyper density outside of their constructed reality.
YOLO often comes to mind when I think of abstraction. Thousands of novel or risky acts becoming reduced to a universal (un)unique after sound: YOLO. This neo-word, YOLO is both coltish and euphoric, as is any scene slang. The word seems to have hijacked both yellow and hello, mashing them into a hyper density gesture. A bold linguistic action. It renders both a moment of adrenaline and resignation into a cute contemporary cipher. The act requires a desire to become YOLO. Desire must bleed between life and the abstract. Knotting into turbulence, ruptures, and autonomous functioning cells to be able to exist.
We can at this point likened desire to a scripted life scenario and abstraction as the overlay of all possible realities of the plot. Eventually, the script will turn into clandestine gossip, and we all know gossip is more stimulating than life.
An exhibition or set list by its very nature is temporary and queer, much like gossip thus it remains a functional proposition. Be it a colour field or a re-verb the process of abstraction is ultimately an extension of the customary room with a view, a suicide of the now, a stage-death that just stood up for the encore.
text by penny rafferty
A mutualism of architecture, artwork and user: the utopia of a futurist life. A stimulating environment in which art arouses and soothes, is no longer only viewed but absorbed, a constitution of social space, therapeutic center and artwork.
Marlene Stark has designed a cork chaise lounge for this purpose. The exhibition visitor or user is invited to lie down on the furniture piece.
The chaise lounge is equipped with a swivel arm on which a cork dis- play is mounted. The user can individually adjust its position and ang- le, thus experiencing art and the exhibition space in a meditative way.
The measurements of the cork display corresponds to standard hand- held devices, allowing the viewer to sink into the accustomed 16:9 aspect ratio. With this the artist addresses and shifts the usual viewing habits of exhibition visitors, harmonizing the user with her-/himself and the art.
The chaise lounge also offers the user an opportunity for social inter- action. Unlike a museum bench, this seat facilitates communication. The usable sculpture gives the visitor room for conversation. Exhibiti- on spaces become socio-artificial spaces in accordance with Bordieu‘s definition of social space and the elucidations of Zur Ästhetik des sozia- len Raumes (eds. Susanne Hauser, Christa Kamleithner, Roland Meyer).
Marlene Stark combines many of her proclivities with art.She works as a visual filter of her times and surroundings, collaging individual components of her filtered interests into a polylogue within her work.
Stark questions the medium of painting, pushing the boundaries of the canvas, subverting the hierarchy of the process of painting, shifting from two dimensions into the third.
Her objects recall paintings, and always have a strong connection to architecture, as they are installed site-specifi- cally, addressing the architecture of the exhibition space or the situations of the exhibition. The artist often makes use of materials that are shiny or reflective to further integrate the environment within her works, and to sensitize the viewers for the situational aspects of encountering her art.
Stark‘s works are often variable units, building blocks or flexible components, recombined according to needs andlocations.
She uses industrially produced materials, clothing or furni- ture fabrics, to “dress” her objects, combining shape and color. The bikini fabric folds around the shape of a wooden frame, playing with the sensuality of the original purpose of the material. The car-seat-pleather paints a haphazard fall of folds.
The artist‘s works always have a strong reference to the mo- ment, mirroring the temporality of her surroundings, the palpable acceleration of our time and the complexity of our influences.