Clay, bronze, copper, glass, wood, stone, natural and found materials: these are the basic elements out of which Katinka Bock (b. Frankfurt am Main, 1976; lives and works in Berlin and Paris) creates sculptures and installations that probe time and space and bear witness to her sustained engagement with history, topography, and geography. Bock’s practice often connects interior and exterior settings, undoing the division between exhibition site and scene of production. Her works by turns exude an air of evanescence or stand before the beholder as enduring monuments.

The catalogue documents three exhibitions that the artist realized at Pivô, São Paulo, the Kestner Gesellschaft, Hannover, and Anticipations, Paris, from 2019 to 2020, and weaves the different stations together for a new encompassing experience. The three exhibition projects interlink mutually independent historic events on the semantic level. Bronze as a material plays a key role in this connection; to Katinka Bock’s mind, it possesses protective and isolating qualities, but also the capacity to transport energy, making the sprawling installations compelling visualizations of cohesion, the transfer of knowledge, and emotional sympathy. With writings by Lea Altner, Thomas Boutoux, Fernanda Brenner, Adam Budak, Rebecca Lamarche-Vadel, François Quintin, Clara Schulmann, Christina Végh, and the artist.

Katinka Bock’s book ‘Der Sonnenstich’ appears with the first exhibition to focus solely on her photographic work. Parallel to her work as a sculptor, she often takes pictures using an old analogue camera. The subjects are diverse, and when people come into the frame they tend to be anonymised, close-up details of body parts like hands, feet, and necks. The book includes 55 reproductions of analogue photos taken between 2015 and 2023, attesting to the ‘sculptural’ view she has on objects, spaces, bodies, and living organisms. Many of them appeared previously in Bock’s ‘One of Hundred’ publications, an ongoing irregular series in collaboration with graphic designer Louis Lüthi.

‘Tomorrow’s Sculpture’ results from three consecutive exhibitions which took place in 2018: ‘Sonar’ at Kunst Museum Winterthur, ‘Smog’ at MUDAM Luxembourg, and ‘Radio’ at IAC, Villeurbanne/Rhône-Alpes. Around 50 works circulated between the three institutions. In dialogue with the spaces, Katinka Bock displayed the works in different configurations and added site-specific interventions. The photographs by Johannes Schwartz, which were exclusively commissioned for this book, offer a multi-perspectival view on Bock’s sculptures and installations from the past fifteen years. With texts by Simone Menegoi, Christina Végh, François Piron, and Christophe Gallois.

This publication forms the catalogue of three solo-exhibitions of artist Katinka Bock in Paris, London and Toronto that were linked to the work ‘Zarba Lonsa’ which she created during her residency at Les Laboratoires d’Aubervilliers in Paris in 2016.

Particularly interested by the atmosphere of the Quatre-Chemins district where Les Laboratories is located, the artist went to meet merchants to initiate a relationship with them based on the exchange of one of her works for an object of their shop.
This gesture was the starting point of a creative process that has unfolded in several forms – sculptures, installation, films and photos. Renewing the process of this exchange-based relationship in a specific urban context for a new production of works and photographs, a second edition of the project took shape under the title _0_0__0 in June 2017 at Mercer Union in Toronto. To complete the series, a last edition took place at the Siobhan Davies Dance in London under the title Mesonya/ in Fall 2017.

Artist book with photographic work by Katinka Bock dating from 2007 till 2017. It marks the occasion of three interrelated exhibitions by Bock in the space of one year in museums in Kunst Museum Winterthur (Sonar/Tomorrow’s Sculpture), Mudam Luxembourg (Smog/Tomorrow’s Sculpture), and IAC Villeurbanne/Rhône-Alpes (Radio/Tomorrow’s Sculpture). With a text contribution by Louis Lüthi.

For this book, offered in conjunction with a 2016 exhibition at Kunstmuseum Luzern, several series by German artist Katinka Bock are featured, including ‘Seechamäleon’, ‘Winter’, and ‘Formen dieses Meeres’. Bock’s often inscrutable artworks, whether photographs of water, gravel and dried leaves, or oxidised surfaces, nevertheless retain a haptic quality, something which translates especially well into her objects. Besides many reproductions of artworks, the book includes installation views and a text by Thomas Boutoux, wherein he considers how we experience an artist’s work differently in the context of an exhibition opening, a condition that many find unfavourable. Thanks to Roma Publications (Amsterdam).

Richly illustrated book about the work of Paris based artist Katinka Bock. Bock focuses on sculpture as encounter and material transformation. In works that incisively investigate the sites of their production, she questions and highlights the materials that compose them, and meditates on the processes that shape them. For Bock, sculpture is the record and measure of place, space, time, and actions, in continuum.