Katinka Bock

Katinka Bock (c) Katinka Bock


Katinka Bock, Hans Josephsohn, Fabian Marti
Warum ich mich in eine nachtigall verwandelt habe
February 27 – May 29, 2016
Kunstmuseum Luzern
Europaplatz 1
6002 Luzern

Demain dans la bataille pense à moi
December 11, 2015 – February 14, 2016

Group show curated by Magalie Meunier
Institut d’art contemporain
Rhône-Alpes, France

Katinka Bock
Zarba Lonsa
October 15 – December 19, 2015

Les Laboratoires d’Aubervilliers
41, rue Lécuyer
93300 Aubervilliers





Pazifik, Katinka Bock


Published in 2014 for the exhibition Katinka Bock : A and I, presented at the Henry Art Gallery, University of Washington, Seattle, February 1st – May 4th, 2014.

Publisher: Henry Gallery Association / Roma publications, Amsterdam.

Texts: Marie-Cécile Burnichon, Thomas Clerc, Luis Croquer, Sylvia Wolf

ISBN 9789491843150


Born in 1976 in Frankfurt am Main, Germany, Katinka Bock is a graduate of the Berlin Weissenssee School of Art and of the National Art School of Lyon. She now lives in Paris. Villa Medici resident in 2012/2013, she received the 14th Prix Ricard (France) and the Dorothea von Stetten Prize (Germany) in 2014. Her work was at the center of numerous personal exhibitions, including at the MAMCO in Geneva in 2013, and at the Henry Art Museum in Seattle in 2014.

“Whether she works with landscape or creates forms, objects or installations for outdoor spaces, Katinka Bock often reflects on land. (…) Her interest and limitless curiosity for social sciences, physical or mathematical, subtly feed her creations which are striking not only by their formal simplicity but also by their lack of literal discourse. Circles and lines constitute her work’s architectonics as her projects take shape from basic and organic materials (wood, newspapers, tar, rock). This sobriety is not due to the economic constraints most young artists are subjected to, but rather to her desire to use what the “world” makes available to her.  Not ready-mades, nonetheless: Katinka Bock is among those who build, hands in the dirt and eyes to the skies. If she had live in the Antiquity, she probably would have been interested in “auspicium”: to decide where to build a place of worship, priests would cut out a window in the sky and wait for birds to fly through it (a good omen). They then projected the coordinates on the land.”

Marie-Cécile Burnichon, 2007