Katinka Bock
Nebenwege

For her show Nebenwege, Katinka Bock brings together existing sculptures and a new work in progress in the hemicycle room. The sculptures, the way they relate to each other as separate building blocks, and their relation to the room, are based in movement, in the idea that everything could be interconnected. Inspired by Paul Klee’s Hauptweg und Nebenwege (1929), in which the painter sets out side-roads as alternative canals of thought, Bock draws everyday, otherwise unnoticed micro- processes into the exhibition room. This leads to fluid gestures and austere sculptures.

Perception in Bock’s installation Panama and The Panama Light depends on the availability of rainwater and visitors passing by to make the lamp glow. The new work Moskau (November) is also subject to minimal local processes: each time someone turns the nearby tap on, water runs onto the salt-covered sheet of copper. The ensuing reaction results in an imprint of the linen on the copper that will only fully reveal itself at the end of the exhibition.

In the centre of the room, Farben dieses Meeres Balance (einfach) and Farben dieses Meeres Balance (zweifach) are suspended from the glass dome. These two mobiles consist of objects chosen to create a precise balance. A mobile symbolizes changeability, a moving balance, and may perhaps also serve as a metaphor for Bock’s methods. Like so many of her other works, they are balanced amalgams of natural materials, ostensibly unaffected by the laws of gravity, in which a current of air or some other external factor produces movement and dialogue.

At KIOSK, Bock shines a subtle light on the way the campus goes through its daily routines, time leaves its indelible traces, a deflated and discarded football appears in the street, and a lemon simply exists.

exhibition text / press release / poster