artist / participant
Katinka Bock | Rauschen
6March to 17May2020
In the exhibition Rauschen, which will be on view atthe Kestner Gesellschaft from 6 Marchto 17 May 2020, the artist Katinka Bock (*1976 in Frankfurt am Main, lives and works in Paris) explores transitions and boundaryareas of material, historical, social,and political spaces.In addition to 11 sculptures and installations made ofnatural materials such as ceramic, bronze, and wood, the central work inthe exhibition, the monumental sculpture of the same name, deals withthe historical siteof thehigh-rise headquartersof the local newspaperHannoverscher Anzeigerlocated next to the Kestner Gesellschaft and forms a new sculptural space out ofit: the outer skin of the amorphous nine-meter-tallsculpture Rauschen(2019) consists of the original copper panelsthat covered the dome of thislandmark of Hanover from 1928 to 2019.The newspaper becomes the main subjectof the exhibition, due to the fact thatthe artist also turns the Hannoverscher Anzeigerhigh-riseand the newspaper itself into an exhibition space.The show, which was on viewatthe renowned exhibition venueLafayette Anticipations in Paris last autumn, is now returning to its place of origin.
The parameters of temporality and space shape Katinka Bock’s artistic practice: “The most interesting part of a spaceis its edge, its boundaryto another space.”With these words, the artist describes her work process, in which she often connectsexteriorand interiorand eliminates the separation between theexhibition venueand the production site.Her sculptures and installations can give the impression of fleetingness or seemlike a monument that endures through the ages.
The shape of the sculpture Rauschenis the result of a technique that Katinka Bock oftenuses: she wraps objects in ceramic plates, which are then fired in anoven.The object burns, creating a cavity, the volume of which remains visible only through the ceramic.Rauschenis the enlargement of a sculpture created in this way.The historical copper panelslielikea skin around a body that no longer exists and form a new space.Due to its enormous size, the sculpture can never be perceived in its entirety, and thusit canevoke different associations from different angles.In combination with its title, the hollow body of the sculpture mightlook like the shell of a sea snail, for example, in which, in contrast to the widespread notion, onehearsnot the noiseof the sea,but of oneself.Rauschencan also be read as a reference to the origin of the material: the media noise of non-stopnews that surrounds us on a daily basisand the sound of offset printers that never stand still.The newspaper itself also acts like a membrane that connects us to the world on the one handwhile on the other handinsulatingus from it.
One aspect of Katinka Bock’s working method is her engagement with the exhibition venue, which in this case she extends to the former conference room in the Hannoverscher Anzeigertower.There the sculpture Gisant(2019) is presented, which makes an absent body visible by layering ceramic plates around a cavity.Sprawledout on the floor, the sculpture is reminiscent of a resting creatureor the vulnerable bodies in cities that cover themselves with newspaperswhile theysleep.In turn, the conference table, which is normallylocated here, is presented atthe Kestner Gesellschaft.The table from 1929, where the editorial meetingswere traditionally held, is used here by bronze cacti.
The high-rise, which was built as theheadquartersfor the Hannoverscher Anzeiger, is a landmark of the city of Hanover.Within a shorttime, the architect Fritz Höger built thisstriking,51-meter-high building between1927and 1928, which housedthe newspaper’s printing pressesand the editorialoffices.After the Second World War, the news magazines Der Spiegel(1947) and the Stern(1948) were established.Duringthe restorationwork, the dome of the high-risewas removedand the historical material was givento the artist, who maintaineditsoriginal condition so that the traces of the past areclearly visible.The verdigris that developed over the years colored the panelsfrom dark green to turquoise to almost white, depending on their location onthe dome;birds’claws createdirregular grooves in the copper;and even the war left its mark.Improvementsare visible in some places, which looklike bandages ona wound.Katinka Bock was nominated for the renowned Prix Marcel Duchamp in 2019.Her workshave beenexhibited in numerous institutionsin Germany and abroad, including the Kunstmuseum Winterthur (2018), the Lehmbruck Museum in Duisburg (2018), the Museo El Eco inMexico City (2016), Henry Art Gallery in Seattle (2014), MAMCO in Geneva (2013), the Centre Pompidou inParis (2012), and the Kunstmuseum Stuttgart (2010).
The exhibition project is being realized in cooperation with the Lafayette Anticipations FoundationinParis.
The exhibition is generously supported by the Stiftung Niedersachsen and the friends of the Kestner Gesellschaft, the Bureau des arts plastiques atthe Institut français,and the French Ministry of Culture.
Curators of the exhibition at the Kestner Gesellschaft: Lea Altner and Christina Végh
Curator of the exhibition at Lafayette Anticipations: François Quin