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”).
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
Co-operated by Stuart Bailey & David Reinfurt, Dexter Sinister constitutes a triangle of activities: (a) a publishing imprint, a workshop & bookstore, and a pseudonym making site/time-specific work in art venues. David graduated from the University of North Carolina in 1993, Yale University in 1999, and formed the design studio O-R-G in 2000. Stuart graduated from the University of Reading in 1994, the Werkplaats Typografie in 2000, and co-founded the journal Dot Dot Dot the same year. Dexter Sinister was originally set up to model a ‘Just-In-Time’ economy of print production, counter to the contemporary assembly-line realities of large-scale publishing. This involves 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. Since then, their work has branched (pragmatically) into many different contexts and venues.
Dexter Sinister, Stampa programmata, 2017, installation of the process of the four color printing (CMYK) on Munari’s Tetracono. 100 x 70 cm each, unique copy,
Dexter Sinister, The Last Shot Clock, edition of 16 copies, 23 x 10 x 10 cm, 2018.
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)
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.