02 n°92 déc 19/jan-fév 2020
02 n°92 déc 19/jan-fév 2020
  • Prix facial : gratuit

  • Parution : n°92 de déc 19/jan-fév 2020

  • Périodicité : trimestriel

  • Editeur : Association Zoo galerie

  • Format : (210 x 297) mm

  • Nombre de pages : 84

  • Taille du fichier PDF : 7,8 Mo

  • Dans ce numéro : Teresa Margolles, Peter Friedl et Corentin Canesson invités de ce numéro.

  • Prix de vente (PDF) : gratuit

Dans ce numéro...
< Pages précédentes
Pages : 60 - 61  |  Aller à la page   OK
Pages suivantes >
60 61
1 Enlargement of the sculpture Wunschkonzert, 2019. 5 Guest Katinka Bock 8 This autumn 2019, the German artist Katinka Bock is showing her work simultaneously in two venues in Paris, where she has now been living for twenty years. The Marcel Duchamp Prize exhibition at the Centre Pompidou and «Tumulte à Higienópolis» at Lafayette Anticipations give us a chance to both rediscover the main themes of her research and explore the developments of her important work in the international art scene. Katinka Bock pays special attention to the places she uses while at the same time often conjuringup an analogical «elsewhere». So the monumental work Rauschen 1, on view at Lafayette Anticipations, is covered with sheets of copper from the old roof of the Anzeiger-Hochhaus, a veritable publishing hub in Hanover, Germany. Since the mid-2000s, the artist’s desire to tackle a specific architectural phenomenon while trying to escape from the place, by opening itup and playing with its boundaries, reveals her fondness for a formof «overflow» : the edge making it possible to be, from the inside, as close as possible to the outside. So for the Printemps de Septembre in Toulouse in 2007 she was already creating, as is often the case with her sculptures, a pendulum motion between a tree tossed into the current and a block of wood shown inside, held in place by a cable (Hysteros, 2007). At the Fondazione Pastifico Cerere in Rome, in 2009, (Geschwister, 2009) and at the IAC in Villeurbanne in 2018 (Personne, 2012, and April Personne, 2013), she linked works in pairs, one exposed to inclement weather outside, the other gradually drying out inside. Each one is incorporated in a given landscape, nature and city for one, the exhibition for the other, evoking Chinese philosophy and its aim to bring other elements regarded as contrasting in Europe : light and shadow, yin and yang, female and male, inside and outside, and thus shedding light on the circulation of forms of energy in all beings and all things. For other shows, this link between «without» and «within» is more the outcome of a study of the socio-cultural context than of the architectural context of the places playing host to it. In «Zarba Lonsa» at the Laboratoires in Aubervilliers in 2015, «o_oo» at the Mercer Union in Toronto in 2016, and «Tomorrow’s Sculpture, Radio», at the IAC in Villeurbanne in 2018, objects were bartered for sculptures on view in city shops and citizen’s homes. The works thus found their way into a butcher’s Katinka Bock — by Leila Couradin shop, a general store, a hairdressing salon and an apartment. Rumours were abroad, with the «here» often referring to an «elsewhere». In «Tumulte à Higienópolis», the sculpture Rauschen conjuresup another space and bears on its surface the stigmata of a previous life —the bombing raids of the Second World War in particular. The passage of time is a pivotal subject in Katinka Bock’s praxis. Each and every work is loaded with a history that is peculiar to it, of a past often leaving traces. Before being exhibited in «Radio Piombino», at The Common Guild Festival in Glasgow in 2018, works were placed in different public and private spots in the city, for a while recording the data of their environment. Once brought together, each one recalling its previous address, they formedan invisible, incomplete and subjective map of the city of Glasgow. In Luxembourg, a first bronze column (Population (high culture), 2018) was shown over a lengthy period of time in bad weather on the roof of the Mudam, while the second (Population (low culture), 2018) was plunged into the river Alzette flowing below it through the city. These twin sculptures, like two witnesses of time passing, were akin to nothing less than negative portraits of Luxembourg. This year, Toxic Fountain, a monumental copper spoon, became oxidized by collecting rain water in front of Lafayette Anticipations, and wide lengths of blue fabric were installed in a street in the Marais neighbourhood several months before the beginning of the Marcel Duchamp Prize exhibition, and became quite literally steeped in their surroundings. So every work produced by Katinka Bock is invariably in a transitory state, a state of metamorphosis : with the liquid becoming solid, the heavy becoming light, the wet becoming dry. Sometimes the entire landscape is reversed, with the horizontal suddenly becoming vertical. These ostensible metamorphoses illustrate the overlay of the exhibition time-frame and the production time-frame, turning the display area into an open studio. It is the materials and processes applied to them which give glimpses of the way a line of thought functions as much as a work methodology. In 2011, the artist installed in the heart of the Skulpturenpark in Cologne some unfired clay sheets which would, here again, record time passing before their firing put a stop to that transformation. At the IAC, in the installation Autumn (2018), these same sheets formeda floor,
5 Guest Katinka Bock 9 Katinka Bock, Gisant, 2019. Céramique, chêne/Ceramic, oak. Courtesy Katinka Bock ; Jocelyn Wolff, Paris. Production Lafayette Anticipations. Vue de l’exposition/Exhibition view Lafayette Anticipations. Photo  : Pierre Antoine/Lafayette Anticipations, Paris Katinka Bock, Wunschkonzert, 2019. Cuivre, bronze, céramique/Copper, bronze, ceramic. Courtesy Katinka Bock ; Meyer Riegger, Karlsruhe/Berlin. Production Lafayette Anticipations. Vue de l’exposition/Exhibition view Lafayette Anticipations. Photo  : Pierre Antoine/Lafayette Anticipations, Paris



Autres parutions de ce magazine  voir tous les numéros


Liens vers cette page
Couverture seule :


Couverture avec texte parution au-dessus :


Couverture avec texte parution en dessous :


02 numéro 92 déc 19/jan-fév 2020 Page 102 numéro 92 déc 19/jan-fév 2020 Page 2-302 numéro 92 déc 19/jan-fév 2020 Page 4-502 numéro 92 déc 19/jan-fév 2020 Page 6-702 numéro 92 déc 19/jan-fév 2020 Page 8-902 numéro 92 déc 19/jan-fév 2020 Page 10-1102 numéro 92 déc 19/jan-fév 2020 Page 12-1302 numéro 92 déc 19/jan-fév 2020 Page 14-1502 numéro 92 déc 19/jan-fév 2020 Page 16-1702 numéro 92 déc 19/jan-fév 2020 Page 18-1902 numéro 92 déc 19/jan-fév 2020 Page 20-2102 numéro 92 déc 19/jan-fév 2020 Page 22-2302 numéro 92 déc 19/jan-fév 2020 Page 24-2502 numéro 92 déc 19/jan-fév 2020 Page 26-2702 numéro 92 déc 19/jan-fév 2020 Page 28-2902 numéro 92 déc 19/jan-fév 2020 Page 30-3102 numéro 92 déc 19/jan-fév 2020 Page 32-3302 numéro 92 déc 19/jan-fév 2020 Page 34-3502 numéro 92 déc 19/jan-fév 2020 Page 36-3702 numéro 92 déc 19/jan-fév 2020 Page 38-3902 numéro 92 déc 19/jan-fév 2020 Page 40-4102 numéro 92 déc 19/jan-fév 2020 Page 42-4302 numéro 92 déc 19/jan-fév 2020 Page 44-4502 numéro 92 déc 19/jan-fév 2020 Page 46-4702 numéro 92 déc 19/jan-fév 2020 Page 48-4902 numéro 92 déc 19/jan-fév 2020 Page 50-5102 numéro 92 déc 19/jan-fév 2020 Page 52-5302 numéro 92 déc 19/jan-fév 2020 Page 54-5502 numéro 92 déc 19/jan-fév 2020 Page 56-5702 numéro 92 déc 19/jan-fév 2020 Page 58-5902 numéro 92 déc 19/jan-fév 2020 Page 60-6102 numéro 92 déc 19/jan-fév 2020 Page 62-6302 numéro 92 déc 19/jan-fév 2020 Page 64-6502 numéro 92 déc 19/jan-fév 2020 Page 66-6702 numéro 92 déc 19/jan-fév 2020 Page 68-6902 numéro 92 déc 19/jan-fév 2020 Page 70-7102 numéro 92 déc 19/jan-fév 2020 Page 72-7302 numéro 92 déc 19/jan-fév 2020 Page 74-7502 numéro 92 déc 19/jan-fév 2020 Page 76-7702 numéro 92 déc 19/jan-fév 2020 Page 78-7902 numéro 92 déc 19/jan-fév 2020 Page 80-8102 numéro 92 déc 19/jan-fév 2020 Page 82-8302 numéro 92 déc 19/jan-fév 2020 Page 84