Ryan Bock

Finally releasing the documentation of our ‘Gustav Bock and the String Quartet’ LICH associated event via our esteemed shooter @e1moking 🎥 This was such a memorable night at @kismithgallery in collaboration with @mooncalfnyc where @flukemogul @123funyayayayayaya @kirinmcelwain and last but certainly not least @melialmaguer took to the stage to interpret my painting of the same name. Almost 30 whole minutes of completely improvised sound, movement and music which I will never forget and now offer up to you, the internet. I will be posting the link. Hope you enjoy. These photos are from my dear, old, old friend @jelani.ameer

Before putting the incredible run of my last solo exhibition ‘LICH’ to bed - I will be releasing our artist talk on YouTube - featuring words from my esteemed guests @interstellar_isabellar and @weownwhatwemake moderated by @celine.cunha and documented by the incredible @e1moking in conjunction with the release of the ‘LICH’ exhibition catalogue which I’ll be making available online for the first time (while limited supplies last) if you’re curious about this exhibition there will be no shortage of material readily available to delve into. I’ll be posting the links. Thank you !

Left Hand of Struwweelpeter, 2024, by @bockhaus from our current exhibition “LICH” curated by @celine.cunha 📸: @rophotoman

Three Horses, 2024, by @bockhaus from our current exhibition “LICH” curated by @celine.cunha 📸: @rophotoman

Right Hand of the Struwwelpeter, 2024, by @bockhaus from our current exhibition “LICH” curated by @celine.cunha 📸: @rophotoman

The Headless Hessian, 2024, by @bockhaus from our current exhibition “LICH” curated by @celine.cunha “Based on of the short story ‘Legend of Sleepy Hollow’ first published in 1820 by American writer Washington Irving who traveled extensively in Germany and was inspired by much of Europe’s folklore. I modeled this image after the infamous painting ‘Napoleon Crossing the Alps’ by JacquesLouis David from (1801- 1805) For me, the headless rider (said to be a Hessian mercenary on the side of the British, killed in the American Revolutionary War) represents an extension of the supposed majesty of imperialism as an ideology. A blind actor, he roams the countryside searching endlessly for his head. Always under his control is the powerful steed, the systems with which he maintains his authority. Unfortunately due to his headless nature, he is about to unknowingly trample the frog or toad ‘Ekbert’ (a symbol of good fortune) under hoof. The headless horseman, while usually depicted with a sword- is here weaponless. Instead the true power may lie with meek and modest ‘Ekbert’ whose name can be traced back to old Germanic roots meaning “bright edge” like that of a blade. The character of Ichabod Crane pictured below the Headless Horseman in silhouette is inspired by the work of artist Ernst Moritz Engert who lived and died in Lich.” 📸: @rophotoman

The Brothers Grimm, 2024, by Ryan Bock from our current exhibition “LICH” curated by Celine Cunha. 📸: @rophotoman

Mahfoza Oude 2005, 2024, by @bockhaus from our current exhibition “LICH” curated by @celine.cunha “Based on a well known image of a Palestinian woman clutching the remains of one of her olive trees. There is no description I can provide for the horrors taking place in Palestine. My heart goes out to those innocents who are being martyred and displaced. As a pacifist it’s hard for me to imagine violence ever being justified on either side though I can hold space for those with vastly different lived experiences than my own. These current events may above all else highlight my own privilege in my ability to return to the land my family was once displaced from. Despite the massive destruction caused in WWII, Lich remained completely unscathed- physical structures still stand, amazingly and pristinely preserved, where my ancestors lived. Few will have this privilege in Palestine. We must always remember that people are not their governments though it is the duty of every citizen to hold their governments accountable and remain critical in their thinking. It is imperative we find solutions for us all to live freely, peacefully, equally and together. I quote: “Not in my name” and “never again” not just in regards to the Jewish people, but for all people across the globe.” 📸: @rophotoman

January 6th, 2021 (The Wild Hunt), 2024, by @bockhaus from our current exhibition “LICH” curated by @celine.cunha “Something about the imagery of the attempted insurrection on the capital building in Washington struck me as ancient and tribal as I watched it on TV. I was reminded of the folkloric motif of the wild hunt- a concept identified and named by Jacob Grimm. A supernatural and mythological figure leading a band of ghostly riders across they sky. To witness the wild hunt is surely a sign of catastrophe to come. Just to confirm one’s suspicions, in an esoteric book of pagan antiquity I found the claim of January 6th being the final morning of the Wild Hunt. In this case, a collective surge of ghastly white supremacy and dead ideologies. The throng successfully entered the capital building and proceeded to do exactly what they would have on a scheduled tour: take selfies.” 📸: @rophotoman

Operation Paperclip, 2024, by @bockhaus from our current exhibition “LICH” curated by @celine.cunha “Few Americans are aware of this covert operation which saw many Nazi scientists spirited away to the United States on sweetheart deals in order to help America in the arms race of the Cold War. With these scientists NASA was formed. Watching film noir classic ‘The Third Man’ (1949) directed by Carol Reed and set in the rubble of post- war Vienna inspired this image of three men hidden in a stack of papers being blown perhaps by the wind of ultimate flight into space. They are barely connected together via the paper clip. A silhouetted garland of figures cut from Paper form a chain of bureaucracy above their heads.” 📸: @rophotoman

Gustav Bock and the String Quartet, 2024, by @bockhaus from our current exhibition “LICH” curated by @celine.cunha “One of the figures who has brought me to this location and moment in time, my relative Gustav Bock (1857- 1938) was a prominent art collector, patron and musician in the neighboring town of Gießen. His brother Alfred Bock was a collaborator and successful writer. Together they managed a cigar factory. Gustav eventually donated his collection of paintings to the town of Gießen under the premise that they would always be on display to the public for free. Unfortunately these stipulations have not been met as the majority of the works are currently in storage. Here we see him with his string quartet based on a still existing photograph of the four men. Their humor shines beyond time as they referred to their group as “ DilettantenQuartet” roughly translated to “amateur”. It is both an honor and a privilege to continue the legacy of my family in this place through artistic expression.” 📸: @rophotoman

Grandfather Clock, 2024, by @bockhaus from our current exhibition “LICH” curated by @celine.cunha “During a trip to Berlin in 2023 I happened upon an exhibition of writings by Israeli writer Etgar Keret in the Jewish Museum. The exhibition was comprised of stories from the authors mother and her memories of surviving WWII as a child. Several of the stories struck me but one in particular is burned in my memory. Keret’s grandmother escaped their town in Poland with Keret’s mother (then obviously a child) and another infant sibling who did not survive. Due to the children, they were the last in the procession leaving town; the man in-front of them apparently carried a grandfather clock on his back. For me the absurdity of this story highlights the unimaginable reality of displacement. What do we choose to take with us in perhaps a split second’s notice? No matter what physical objects you would decide on- we all carry time regardless of our choices. 10 circles or ‘spheres’ are hidden within the clock itself - representing ‘Sefirot’ or the image of the “kabbalistic tree of life” derived from Jewish mysticism.” 📸: @rophotoman