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

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2 «An opening signals the start of the time of the exhibition but for me it is also an end. I leave the exhibition physically». Christophe Gallois, «Where does the sea end ? Interview with Katinka Bock», Tomorrow’s Sculpture : Sonar, Smog, Radio, catalogue, Roma Publications ; Kunst Museum Winterthur ; Mudam Luxembourg ; Institut d’art contemporain, 2019, p.47. 3 The artist’s words in an interview for the Marcel Duchamp Prize, Centre Pompidou, Paris, https://www.youtube.com/watch ? v=4MSF5Vf-tx8 (our translation). 4 The artist in conversation with Béatrice Gross, The Art Newspaper n°13, November 2019. 5 Palomar II, 2019. 6 During the exhibition «Zarba Lonsa» at the Laboratoires d’Aubervilliers in 2015. 7 Calling to mind the lost-wax process. 8 A «body» made of metal carrying an object at the end of each one of its limbs. 6 Guest Katinka Bock 0 trodden on by visitors during the show’s opening night, and then removed to be fired before rejoining the exhibition a few weeks later : so for the duration of the exhibition and before visitors’eyes, the works created themselves in the absence of their creator. Katinka Bock places herself at some remove and it is the exhibition itself which underscores the many different time-frames forming it. If the artist talks about physically leaving the exhibition, 2 she also gives the works a breath of life enabling them to enjoy an autonomous development. Water evaporates, plants grow, the outside air rushes through a window left open. In these changing environments, it is thus important to take care of works that are precarious, out-of-balance, fragile and unstable, «that need to be adjusted like a clock that is always late». 3 Katinka Bock readily adapts to the random nature of the processes she setsup, «often having the impression of making a tango step between what is random and what is managed». 4 She develops a series of gestures which are imprinted in materials loaded with a telluric energy. She pours molten metal straight onto objects rather than making casts with it, for instance imprisoning cacti in the representation (Smog, 2017). She folds and unfolds, throws and crushes sheets of clay, like so many blank pages whose intrinsic quality is the absence of primitive form. Like news print, they are used to wrap found 5 and collected 6 things before firing them. By disappearing during their combustion 7, while at the same time transferring their essence to their envelope, so-called «objects of desire» become ghostlike forms. Just like the artist’s gestures and the almost performance-like character which they involve, the absence of these objects is the piece’s main subject. In a duel with matter, Katinka Bock underpins, displays and shifts. This ongoing physical movement brings out a keen interest in measurement, throughout her praxis. So Umland 8 (2007-2011), literally translated as «surroundings», is a sculpture where the purpose of its «gestures» is to circumscribe the place accommodating it, define the outlines, and signify them by placing marks on them. In addition to spaces, Katinka Bock also measures bodies in Horizontal alphabet (red) (2014), where, on the ground, she forms an arrangement of clay bricks, each one the exact size of a foot or hand of an inhabitant of Marrakech. Katinka Bock, Landumland (balance for books, warmsculpture, for your eyes only, debout sur feuilles de température), 2019. Cuivre, céramique, chêne, acier, 18 socles d’acier 100 × 40 × 30 cm chaque, 96 cônes de céramique env. 50 cm × 15 cm, poutre en bois/copper, ceramic, oak, steel, 18 steel plinths 100 × 40 × 30 cm each, 96 ceramic cones ca 50 cm × 15 cm, 1 wooden beam ; Le grand citron, 2019, céramique, acier, cuivre/ceramic, steel, copper, 140 × 90 cm. Vue de l’exposition/Exhibition view « Prix Marcel Duchamp 2019, les nommés », Centre Pompidou, Paris. Courtesy Katinka Bock ; Jocelyn Wolff, Paris ; Meyer Riegger Berlin/Karlsruhe, Greta Meert Bruxelles. Photo  : François Douro.
6 Guest Katinka Bock 1 Vue de l’exposition/Exhibition view Katinka Bock « _O_OO », Mercer Union, Toronto, 2017. Courtesy Katinka Bock ; Jocelyn Wolff, Paris. 9 Words of the artist in the video presentation of her exhibition «Tomorrow’s Sculpture/Radio» at the IAC Villeurbanne. The bricks, which are usually standardized, are all different here, once again referring to a varied host of people. With each new show, the works are moved about, put together again, or isolated. They exchange and dialogue in hangings which Katinka Bock describes as «situations 9, in which what is involved is finding the right place for each piece. So they are akin to so many living beings which live together in a given space : they forma social corpus. At Lafayette Anticipations, Rauschen frees itself from restrictions associated with the artist’s body. In it we can see a switch of scale. This work, in all its excess underscored by the place’s architecture, talks about history rather than atmospheric time. It no longer describes a solitary gesture, but addresses visitors by imposing on them, with an almost religious inlIP authority, an awareness of their own bodies. The archaeological aspect of this enigmatic formwhich, one by one, we are permitted to enter, gives rise to nothing less than a contemplative physical experience. If the artist transforms this «historical» raw material and turns it into a sculpture, she also transforms the space playing host to it. The work could be an antrum, a crypt or a futuristic tholos, it might conjureup a geological phenomenon surrounded by mysticism, ancient Egypt and its sacred places, science-fiction, and its post-apocalyptic shelters… Being open, Katinka Bock’s work becomes a metaphrasis of both physical phenomena and philosophical concepts of East and West. Its silence seems to assert, with ever greater self-assurance, that the essence is here, in the simple pendulum motion between a bowl and a fish.



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