Download here the Visitor's guide. - Les Ateliers de Rennes
Download here the Visitor's guide. - Les Ateliers de Rennes
Download here the Visitor's guide. - Les Ateliers de Rennes
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40<br />
<strong>Les</strong> Prairies's artists<br />
KATINKA BOCK<br />
Le Grand Bleu (elle), 2012. Courtesy galery Jocelyn Wolff, Paris. Photography : Chloé Philip.<br />
Katinka Bock's sculptures are a combination of material and formal, process based and<br />
constructed. The materials she uses <strong>de</strong>termine <strong>the</strong> nature of <strong>the</strong> works. She favours<br />
natural materials such as earth, wood, iron, copper, lea<strong>the</strong>r and sand – sometimes<br />
unexpected materials such as a lemon. She works with <strong>the</strong>ir intrinsic physical<br />
properties subjecting <strong>the</strong>m to <strong>the</strong> random effects of change produced, for example,<br />
by baking. The artwork is an interplay of opposing and stabilising forces, a stasis – a<br />
harmonious arrangement that acts as a moment of clarity and suspense in <strong>the</strong> comings<br />
and goings of <strong>the</strong> world. Katinka Bock is exhibiting two new productions. One of <strong>the</strong>m<br />
was realised in a process-based context in association with <strong>the</strong> Lycée Bréquigny, a<br />
<strong>Rennes</strong> school housed in a predominantly horizontal Brutalist building <strong>de</strong>signed by<br />
Louis Arretche. Bock installed an area of unbaked clay covered with a red carpet in <strong>the</strong><br />
main thoroughfare of <strong>the</strong> school, a two hundred and twenty metre long corridor used<br />
every day by fifteen hundred people. The installation itself assumed in its significance<br />
<strong>the</strong> artifice of art. The resulting sculpture confoun<strong>de</strong>d expectations. It did not register<br />
any i<strong>de</strong>ntifiable footprints – <strong>the</strong>y were ren<strong>de</strong>red indistinct by <strong>the</strong> ensuing processes,<br />
which inclu<strong>de</strong>d firing. Katinka Bock rejects <strong>the</strong> causalist approach and dismisses<br />
any urge to fetishise imprints. Hers is a material story which encompasses a human<br />
experience within a wi<strong>de</strong>r process. Through it she asserts a position at one with<br />
concrete reality – a reality whose infinite complexity is revealed through her art.<br />
A. B. tr. J.H.<br />
Born in 1976 in Francfort-sur-le-Main (Germany), lives and works in Paris (France).<br />
Production<br />
<strong>Les</strong> <strong>Ateliers</strong> <strong>de</strong> <strong>Rennes</strong> 2012.