Katinka Bock’s work is rooted in a discursive thought of sculpture and language. The shape is often a result of a working process where the rational and the unforeseen meet each other. Her installations often seem to wrestle against the claustrophobia of the exhibition spaces; tending to open doors, windows, walls, holes by which to escape, or to let in rain or air.
Katinka Bock (1976, Frankfurt/Main) has presented solo exhibitions at institutions such as Crac Occitanie in Sète (2023), Fondation Pernod Ricard in Paris (2023), La Loge in Brussels (2022), Artium Museum in Vitoria-Gasteiz (2021), Kestner Gesellschaft in Hanover (2020), Lafayette Anticipations in Paris (2019), Pivo in Sao Paulo (2019), Institut d’Art Contemporain in Villeurbanne (2018), Common Guild in Glasgow (2018) Mudam Luxembourg (2018), Kunst Museum Winterthur (2018), Mercer Union in Toronto (2017), Kunstmuseum Luzern (2016), Henry Art Gallery in Seattle (2014), and Mamco in Geneva (2013). Her work has been presented by the Public Art Fund in New York, and is on view in the city of Shanghai in the Jing’an Sculpture Park. Katinka Bock was a resident of the Villa Médicis in Rome. In 2012, she won the Prix de la Fondation d’entreprise Ricard and the Dorothea von Stetten Kunstpreis. In 2015, she obtained the Visual Arts Grant of the Fondación Botín. In 2019, she was nominated for the Marcel Duchamp Prize. Since 2013 Katinka Bock publishes the series One of Hundred, in cooperation with Louis Lüthi. She publishes regularly with Roma Publications, Mer Paperkunstalle, Abäke, Paraguay Press and Distanz and often collaborates with Morepublisher. She is represented by Jocelyn Wolff, Paris, Meyer Riegger Berlin and Greta Meert, Brussels and 303 in New York. Katinka Bock studied in Berlin and lives and works in Paris.