Katinka Bock

KatinkaBock

Katinka Bock was born in 1976 in Frankfort and lives between Paris and Berlin. She studied in Berlin and Lyon, was a resident artist at Villa Médici and winner of the Dorothea von Stetten Prize from the Kunstmuseum Bonn and the Ricard Prize. She is principally a sculpture artist, but also works on lm, photography and publishing. Her work deals with questions about language, communal space and sharing. She articulates vocabulary of forms and effects: terracotta, textiles, ow of liquids, straps and webbing, fruit and other ckle materials, arranged together in collections which sometimes appear precarious and vulnerable, other times solid and ready to endure for thousands of years. Her sculptures are the result of an event, sometimes contradictory to the material used. Each of these installations de nes a space, and often seems to wrestle against the claustrophobia of the exhibition spaces, looking for the wall to create an opening, a door or a window by which to escape, or to let in air or rain. She regularly edits other artists’ work as well as working in close collaboration with Paraguay Press Paris (Worte, Werke) and Roma Publications, Amsterdam (“Pazifik” et “Any”).


WORKS

sinistra o destra, diptychon, b/w photograph, 30×45 cm, ed. 2/4 +1AP

solo o, b/w photograph, 30×45 cm, ed. 2/4 +1AP

Monotype, diptychon, 63 x 94 cm, ed. 2/3 +1AP

 

Dexter Sinister

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Dexter Sinister is the compound name of Stuart Bailey and David Reinfurt. Dexter Sinister works as a publishing imprint and an exhibiting artist. Dexter Sinister is also the name of their basement space on New York’s Lower East Side, which operates as a “just-in-time workshop and occasional bookstore.” The workshop is intended to model a “just-in-time” economy of print production, ine realities of large-scale publishing. Dexter Sinister have increasingly been involved in broader gallery and museum projects, most recently at the Centre d’Art Contemporain, Geneva; Whitney Biennial, Venice Biennial New York; The Kitchen, New York; and Somerset House, London. In 2006, Dexter Sinister established a workshop in the basement at 38 Ludlow Street, on the Lower East Side in New York City. The workshop intended to model a ‘Just-In-Time’ economy of print production, running counter to the contemporary assembly-line realities of large-scale publishing. This involved avoiding waste by working on-demand, utilizing local cheap machinery, considering alternate distribution strategies, and collapsing distinctions of editing, design, production and distribution into one efficient activity. In 2011, together with Angie Keefer they set up “The Serving Library”, a not-for-profit cooperatively-built archive that assembles itself by publishing. The project’s engine is Dot Dot Dot’s successor Bulletins of The Serving Library – a journal that circulates as freely downloadable PDFs as well as a biannual print edition. Reinfurt and Bailey decided to make the catalogue the third issue of their journal Bulletins of the Serving Library, which continues the legacy of Dot Dot Dot, their “previous house journal which ran for ten years and twenty issues.” The catalogue/issue acts not as a compendium but a companion piece with thirteen essays, articles and visual works. It begins with “MMMMMMMMMMMM…,” by Andrew Blum, which appeared in The New York Times in 2003 under the title “The Modern’s Other Renovation.” It’s about MoMA’s history of logo redesign, beginning with the controversial 1966 decision to lower the upper case “O” and continuing to Yoshio Taniguchi’s subtle 2004 redesign. (Did you know that the little “o” was initially so unpopular that it wasn’t officially used for twenty years?)

SELECTED EXHIBITION

2017”…meet the Tetracono.”* COLLI independent art gallery – Roma
2015, Yes Yes Yes Alternative Press, 66’- 77’ from provo to punk – COLLI independent art gallery – Roma
2015, On a Unive
rsal Serial Bus – Kunstverein München – Kunstverein München – Monaco
2015, The * of Love – Galerie Martin Janda – Vienna
2014, STAGING of Dexter Sinister’s “The Last ShOt Clock” – CAC – Contemporary Art Centre – Vilnius – Lituania
2013, 55 Esposizione Internazionale d’Arte – Padiglione Lituano (Venezia)
2012, Spring Exhibition and Research Programme: Dexter Bang Sinister – Kunsthal Charlottenborg (Denmark)
2010, Frieze Project with Shannon Ebner
2010, Une exposition (du) sensible – Commissaire invité Mathieu Copeland – Centre d’art contemporain – la synagogue de Delme
2011, Dexter Sinister – ARTISTS SPACE EXHIBITIONS – NY
2010, OOGA BOOGA – Contribution for the bookshop display – Swiss Institute NY
2009, Walker Cinema
2009, Dexter Sinister (carte blanche) – CAM – Contemporary Art Museum St. Louis
2008, Whitney Biennial 2008
2007, HEKTOR MEETS DEXTER SINISTER – Swiss Institute NY

LECTURE

2017, Conférences IKEA Audtorium, ECAL
2016, TALK SHOW – ICA Londra
2016, NEON – Dexter Sinister
2016, PANEL – Swiss Institute NY
2010, The serving gallery – IASPIS STOCKHOLM – The Swedish Arts Grants Committee – Stoccolma
2009, Walker Art Center and AIGA Minnesota Present Insights 2009 Design Lecture Series – Walker Art Center
2008, Forms of Inquiry- IASPIS STOCKHOLM – The Swedish Arts Grants Committee – Stoccolma


WORKS

Dexter sinister, Stampa programmata, 2017, CYAN, 100 x 70 cm, framed, unique.

Dexter sinister, Stampa programmata, 2017, CYAN, 100 x 70 cm, framed, unique.

Dexter sinister, Stampa programmata, 2017, CYAN + MAGENTA, 100 x 70 cm, framed, unique.

Dexter sinister, Stampa programmata, 2017, CYAN + MAGENTA, 100 x 70 cm, framed, unique.

Dexter sinister, Stampa programmata, 2017, CYAN + MAGENTA + YELLOW, 100 x 70 cm, framed, unique.

Dexter sinister, Stampa programmata, 2017, CYAN + MAGENTA + YELLOW, 100 x 70 cm, framed, unique.

Dexter sinister, Stampa programmata, 2017, CYMK, ed of 50 copies numbered and signed, 100 x 70 cm.

Dexter sinister, Stampa programmata, 2017, CYMK, ed of 50 copies numbered and signed, 100 x 70 cm.

Last Shot Clock, Edition of 16 custom-programmed microchip on 7 digit display, set with gloss black steel box.

Last Shot Clock, 2018, Edition of 16 custom-programmed microchip on 7 digit display, set with gloss black steel box, 23 x 10 x 10 cm

Watch Scan 1200 Dpi, 2015, edition of 50 copies, 100 x 70 cm.

Watch Scan 1200 Dpi, 2015, edition of 50 copies, 100 x 70 cm.

 

Dino Fracchia

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Dino Fracchia (b. Milan,1950) lives and works in Milan. He has been trained aeronautical engineer and began photographing professionally in 1974. Since then he has made several photographic reports traveling across Europe, Africa, the Americas and the Middle East, using many different means of transport, often the most unlikely and sometimes even on foot. Dino Fracchia is working or has worked with numerous Italian and foreign magazines, including Panorama, L’Espresso, Epoca, European, Seven, The Friday, La Repubblica, La Stampa, Corriere della Sera, Focus, Grey, New York Times, Time Magazine, Chicago Tribune, Le Monde, Liberation, Stern, etc .; his portfolios have been published in Zoom (French and Italian editions), Progresso Fotografico and Photo. Recently his work has been exhibited at Museo di Villa Croce (Genoa) and Fondazione Forma (Milan)

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Maurizio Nannucci

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Maurizio Nannucci was born in Florence on April 20, 1939. He studied at Florence’s Fine Art Academy and in Berlin before working for many years with experimental theater groups as a set designer. During the first half of the 1960s, he consolidated the basic elements of what would become his visual language by exploring the rapport between art, language, and image, and by creating the first Dattilogrammi, in which words reclaim their strength as symbols. At the same time he was in contact with Fluxus artists, developed an interest for visual poetry, and collaborated with the studio “S 2F M” (Studio di Fonologia Musicale, Florence) to produce electronic music. Nannucci focused on using the voice and words to produce sound installations. In 1967, during his first solo exhibition at the Centro Arte Viva, Trieste, he presented his first neon light texts, thus emphasizing the temporary quality of writing and not the material quality of objects. In 1968 he founded the publishing house Exempla in Florence and Zona Archives Edizioni, both of which published books and catalogues on artists like Sol Le Witt, John Armleder, James Lee Byars, Robert Filliou, and Ian Hamilton Finlay. Nannucci believes that publications and multiples are themselves manifestations of a type of artistic practice that considers art a mental process, one that can be applied to the mass production of everyday objects in order to unify divergent threads in art. The art object may lose its uniqueness, but it gains presence and new freedom. During the 1990s the artist renewed his interest in the relationship between work, architecture, and urban landscape by collaborating with the architects Auer & Weber, Mario Botta, Massimiliano Fuksas, and Renzo Piano. Some of his permanent installations can be seen at the Auditiorium of the Parco Della Musica and Fiumicino airport, both in Rome, and at the Bibliothek des Deutschen Bundestages, Berlin. Nannucci has been a featured artist at the Venice Biennale several times and has participated in Documenta, Kassel, and the São Paulo, Sydney, Istanbul, and Valencia biennials. His work belongs to museum collections all over the world, including those of The Museum of Modern Art, New York; the Stedelijk Museum, Amsterdam; the Centre Georges Pompidou, Paris; and the Paul Getty Art Center, Los Angeles.

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