Anton Kern's guest appearances

Anton Kern

The Conversation Art Podcast

VernissageTV Art TV

Erklär mir die Welt

Jordan Wolfson

Coagula Curatorial

Natasha Degen

Kysa Johnson

Joshua Cittarella

Lisa Soto

De Nichols

Tim Schneider

Stef Halmos

Anne Lindberg

Paolo Cirio

Claire Carter

Matt Gonzalez

Nick Brown

Jeff Weiss

OwlTail

John Bock

This is episode 75 in our series of highlights from our archives. In 2010, German artist John Bock had his fifth solo show at Anton Kern Gallery in New York. The show featured a two-channel video projection, “PARA – SCHIZO, ensnarled”, a group of hanging soft sculptures, and “Büchse” (tin can), a metal sculpture reminiscent of a submarine. We attended the show’s opening reception, which included a dance lecture (performance).VTV Classics (r3): John Bock at Anton Kern Gallery, New York, r3 Series, No. 75. First published on VTV on March 19, 2010.–– Right-click (Mac: ctrl-click) this link to download Quicktime video file.Complete video (43:34 min.):Press text:February 10, New York—The fifth solo show at Anton Kern Gallery of German artist John Bock includes a two-channel video projection, a squid-powered metal sculpture with video, a group of hanging soft sculptures, and a lecture dance-performance on the opening night (March 1), that allows the viewer a unique chance to witness the transformation of words, actions and everyday materials into distinct sculpture. This body of work speaks a new rigorous formal language and shows the artist expanding forms and using new materials.Displayed in the back gallery, “PARA – SCHIZO, ensnarled,” entirely filmed and produced in Korea, is the first double projection in Bockʼs large film and video oeuvre. Seemingly entangled in a love story, the two protagonists are on distinct but parallel paths, converging, clashing, imitating and in the end destroying each other in a cycle of mutual interplay and action. The film is a sequence of situational frames of emotional and formal symmetry in which images and words are intricately composed between the two channels. The script follows a series of word-collages—recomposed classical, modern, and imagined references—forming a language experiment in which the actors become empathetic participants, intuitively responding to Bockʼs text and built environment, where seemingly makeshift objects play a central and active role.“Büchse” (tin can), placed in the center of the gallery, is an ominously dark metal sculpture, cut and built into precise shapes, reminiscent of a submarine or other aquatic vehicle. Here and in the accompanying film Bock employs the language of travel and discovery, and leads the viewer into the dark realm of exploration and terrains unknown. The group of wall-hangings expands Bockʼs vocabulary of assemblage into strictly conceived sewn-fabric soft sculptures. Although incorporating the occasional found object, they have become new formulations of distinct sculptures while following the artistʼs esthetic of diagrams and exploratory drawings.Bockʼs work has been exhibited widely including solo shows at Arko Art Center, Seoul, Korea; REDCAT, Los Angeles (both 2008), Schirn Kunsthalle Frankfurt, Germany (2007); State Opera, Berlin (2006), FRAC, Marseille (2005), the ICA London (2004); and the Museum of Modern Art, New York (2000); as well as participations in the Biennale di Venezia, the Lyon Biennial (both 2005), the Carnegie International (2004), Documenta 11 (2002), and the Yokohama Triennale (2001). A large sculpture-video installation by John Bock is currently displayed in the exhibition “Imaginary Museum: Dakis Joannou Collection” at the New Museum in New York.

This is episode 75 in our series of <a href="https://vernissage.tv/category/series/vtv-classics-r3/" rel="nofollow" target="_blank">highlights from our archives</a>. In 2010, German artist <a href="https://vernissage.tv/blog/tag/john-bock/" rel="nofollow" target="_blank">John Bock</a> had his fifth solo show at Anton Kern Gallery in New York. The show featured a two-channel video projection, “PARA – SCHIZO, ensnarled”, a group of hanging soft sculptures, and “Büchse” (tin can), a metal sculpture reminiscent of a submarine. We attended the show’s opening reception, which included a dance lecture (performance).VTV Classics (r3): John Bock at Anton Kern Gallery, New York, <a href="https://vernissage.tv/category/series/vtv-classics-r3/" rel="nofollow" target="_blank">r3 Series</a>, No. 75. <a href="https://vernissage.tv/2010/03/19/john-bock-anton-kern-gallery-new-york/" rel="nofollow" target="_blank">First published on VTV on March 19, 2010</a>.–– Right-click (Mac: ctrl-click) <a href="https://vtv-videos.s3.amazonaws.com/2021/0121/john-bock-030110-r3.mp4" rel="nofollow" target="_blank">this link</a> to download Quicktime video file.Complete video (43:34 min.):Press text:February 10, New York—The fifth solo show at Anton Kern Gallery of German artist John Bock includes a two-channel video projection, a squid-powered metal sculpture with video, a group of hanging soft sculptures, and a lecture dance-performance on the opening night (March 1), that allows the viewer a unique chance to witness the transformation of words, actions and everyday materials into distinct sculpture. This body of work speaks a new rigorous formal language and shows the artist expanding forms and using new materials.Displayed in the back gallery, “PARA – SCHIZO, ensnarled,” entirely filmed and produced in Korea, is the first double projection in Bockʼs large film and video oeuvre. Seemingly entangled in a love story, the two protagonists are on distinct but parallel paths, converging, clashing, imitating and in the end destroying each other in a cycle of mutual interplay and action. The film is a sequence of situational frames of emotional and formal symmetry in which images and words are intricately composed between the two channels. The script follows a series of word-collages—recomposed classical, modern, and imagined references—forming a language experiment in which the actors become empathetic participants, intuitively responding to Bockʼs text and built environment, where seemingly makeshift objects play a central and active role.“Büchse” (tin can), placed in the center of the gallery, is an ominously dark metal sculpture, cut and built into precise shapes, reminiscent of a submarine or other aquatic vehicle. Here and in the accompanying film Bock employs the language of travel and discovery, and leads the viewer into the dark realm of exploration and terrains unknown. The group of wall-hangings expands Bockʼs vocabulary of assemblage into strictly conceived sewn-fabric soft sculptures. Although incorporating the occasional found object, they have become new formulations of distinct sculptures while following the artistʼs esthetic of diagrams and exploratory drawings.Bockʼs work has been exhibited widely including solo shows at Arko Art Center, Seoul, Korea; REDCAT, Los Angeles (both 2008), Schirn Kunsthalle Frankfurt, Germany (2007); State Opera, Berlin (2006), FRAC, Marseille (2005), the ICA London (2004); and the Museum of Modern Art, New York (2000); as well as participations in the Biennale di Venezia, the Lyon Biennial (both 2005), the Carnegie International (2004), Documenta 11 (2002), and the Yokohama Triennale (2001). A large sculpture-video installation by John Bock is currently displayed in the exhibition “Imaginary Museum: Dakis Joannou Collection” at the New Museum in New York.

VTV Classics (r3): John Bock at Anton Kern Gallery, New York (2010)

Hallstatt ist nicht nur wunderschön, sondern hat auch eine lange Geschichte. Nach dem Ort ist eine eigene Epoche Mitteleuropas benannt, die Hallstattzeit. Es gibt sehr gut erhaltene Gräber, aus denen wir viel über die Menschen lernen - und das älteste Salzbergwerk der Welt. Archäologe Toni Kern erklärt's.Toni Kern ist Prähistoriker, also Urgeschichtler, und arbeitet am Naturhistorischen Museum in Wien und ist dort Direktor der prähistorischen Abteilung. Er erforscht in Hallstatt das Gräberfeld und das dortige, älteste Salzberg der Welt.Hier ist der Link zur Hörer:innen-Befragung 2020. tinyurl.com/befragung2020Hier geht's zum 30-tägigen Test von Audible.Wenn du Erklär mir die Welt wichtig und meine Arbeit wertvoll findest, unterstütze den Podcast bitte. Alle Infos dazu findest du auf erklaermir.at.Du möchtest Werbung im Podcast schalten oder eine Kooperation eingehen? Melde dich bitte per Mail: andreas.sator@gmail.comMusik: Something Elated by Broke For Free, CC BYBeatbox am Ende: Azad Arslantas

Hallstatt ist nicht nur wunderschön, sondern hat auch eine lange Geschichte. Nach dem Ort ist eine eigene Epoche Mitteleuropas benannt, die Hallstattzeit. Es gibt sehr gut erhaltene Gräber, aus denen wir viel über die Menschen lernen - und das älteste Salzbergwerk der Welt. Archäologe Toni Kern erklärt's.Toni Kern ist Prähistoriker, also Urgeschichtler, und arbeitet am Naturhistorischen Museum in Wien und ist dort Direktor der prähistorischen Abteilung. Er erforscht in Hallstatt das Gräberfeld und das dortige, älteste Salzberg der Welt.Hier ist der Link zur Hörer:innen-Befragung 2020. <a href="http://tinyurl.com/befragung2020" rel="nofollow" target="_blank">tinyurl.com/befragung2020</a><a href="https://www.audible.de/?source_code=PNHFAP02004082000D9" rel="nofollow" target="_blank">Hier geht's</a> zum 30-tägigen Test von Audible.Wenn du Erklär mir die Welt wichtig und meine Arbeit wertvoll findest, unterstütze den Podcast bitte. Alle Infos dazu findest du auf <a href="http://erklaermir.at" rel="nofollow" target="_blank">erklaermir.at</a>.Du möchtest Werbung im Podcast schalten oder eine Kooperation eingehen? Melde dich bitte per Mail: andreas.sator@gmail.comMusik: Something Elated by Broke For Free, CC BYBeatbox am Ende: <a href="https://www.instagram.com/ars_azad/" rel="nofollow" target="_blank">Azad Arslantas</a>

#113 Erklär mir Hallstatt, Anton Kern

Brigitte Mulholland

Brigitte Mulholland, associate director at Anton Kern gallery, talks about: Her early turning points that led her away from traditional art history (and early marriage) and into contemporary art and working at galleries; what she loves about working in galleries in general and Anton Kern in particular, including getting to work with and be at the service of artists, especially Chris Martin, whom she adores; how she’s know at the gallery for handling the toughest calls from clients, including being the one who gets yelled at; the troubled realities of the way some collectors behave, from flirting all the way to virtually demanding sexual favors for them to make a purchase, and how Brigitte decided not to wear a wedding ring because, as her married colleagues told her, ‘it would only encourage them;’ how #MeToo has thus far only affected curators and publishers in the art world, and her skepticism that it will take down collectors anytime soon; how she’s somehow both extraordinarily sensitive AND has a thick skin at the same time, and she thinks you need a thick skin to work in the gallery world; and how for her, it’s ultimately about the art and the artists first and foremost…the sales tend to fall into place.

Brigitte Mulholland, associate director at Anton Kern gallery, talks about: Her early turning points that led her away from traditional art history (and early marriage) and into contemporary art and working at galleries; what she loves about working in galleries in general and Anton Kern in particular, including getting to work with and be at the service of artists, especially Chris Martin, whom she adores; how she’s know at the gallery for handling the toughest calls from clients, including being the one who gets yelled at; the troubled realities of the way some collectors behave, from flirting all the way to virtually demanding sexual favors for them to make a purchase, and how Brigitte decided not to wear a wedding ring because, as her married colleagues told her, ‘it would only encourage them;’ how #MeToo has thus far only affected curators and publishers in the art world, and her skepticism that it will take down collectors anytime soon; how she’s somehow both extraordinarily sensitive AND has a thick skin at the same time, and she thinks you need a thick skin to work in the gallery world; and how for her, it’s ultimately about the art and the artists first and foremost…the sales tend to fall into place.

Ep. #226: Brigitte Mulholland, assoc.director at Anton Kern in New York