While FischGrätenMelkStand (2010), John Bock’s latest major exhibition project in Berlin for the Temporäre Kunsthalle, still offered an abundance of visual impressions, here, in contrast, there is nothing to see on first sight. Nothing is added to the gallery space. Only various elements of the rooms’ architectural structure such as window casements, doors and doorknobs, as well as a skirting board, seem to be set into motion just by themselves.
They close and open again, rattle and clatter to and fro, and thus create a cacophonic, at times poetic, but mostly rather irritating and even nerve-wracking background noise. Its flows and rhythms are quasi composed by the artist by means of a sketched score. Already the title is a reference to a world of raw sounds: the Walachei (Ohr means ear), a bit of a now dated derogatory and colloquial term for a place way far out, beyond the polished and cultivated civilization.
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