John Bock / Rudolf Schwarzkogler – Die Eierlegendewollmilchsau des Herren Schwarzkogler mit Melkfett einschmieren




Die Eierlegendewollmilchsau des Herren Schwarzkogler mit Melkfett einschmieren

Opening: May 29, 2024, 19PM
Duration: May 30 – August 30, 2024

Galerie Krinzinger presents an exhibition with John Bock, who includes works by Rudolf Schwarzkogler in his presentation. A selection of works by Rudolf Schwarzkogler, which John Bock has chosen from the gallery’s collection, will be shown in the showroom of the gallery.

»John Bock presents his installation “SOLO for 2 Doubles (Kalb + Peep Madam (Muse)” and integrates photos by Schwarzkogler into the same. The installation consists of diagram instruments that the artist used in his lecture “SOLO for 2 Doubles”. Within the installation, the visitor sees the film of the same name, which was photographed using the stop-motion technique.

This is what you see:
1. John Bock arranges the Kleinodtotsods perfectly on the light couplings.
2. The Peep-Madame is brought up to speed.
3. A scratched farmer sculpture is set into a gyrating turbulence scene with a bovine birthday helper instrument according to an optimal analysis plan.
4. The utopia for a giant building in Vienna is demonstrated and concrete parts are already poured approach.
5. Lumps of pus are being pumped out of a beaten milking machine.
6. Robert Smith’s face rests in the nest.
7. LPs are played, accompanied by a flood of images from a classic horror movie book.

In the second room, the recipient moves around in a net cover of socks. There you can watch the movie “Hell’s Bells”. A western with absurd language-object combinations in the style of a spaghetti western. The main characters in the western are portrayed by Lars Eidinger, Bibiana Beglau, Frank Seppeler and Laurenz Leky. Something like that may just happen there: The Chief-Bad-Guy licks his fill of snails. The black dot, the evil par excellence, is staged first. Evil crawls and dwells in the body of a small child. Lots of bad guys lurk around in their disgusting horrible mind mash. The showdown Death is staged on a measly stage. A brothel scene drenched in red is also shown, lustfulness-libidinousness-drabness. A sticky operation is staged in the festering light. There is only a happy ending for one.

The third room shows boxes. Color resonates and cuts coldly into the white. In the last two rooms Schwarzkogler photos are presented. A specific selection of Schwarzkogler photos is integrated into the installation rooms. The Schwarzkogler photos merge with the object instruments and enhance the staging with the perfect value of the aura-aroma. The object instruments dance with the Schwarzkogler photos, a jinglejangle-rose-waltz on the parquet of