The work Der magische Krug shows how a film which was shot according to these sorts of storyboards could look like. In an installation resembling a movie theatre, the viewers can sit down and watch the fifteen-minute-long, black-and-white film. The painterly stage design, the gesturally exaggerated actions of the characters, as well as the piano music accompanying the film are reminiscent of both the language of silent movies and the gloomy scenarios of expressionistic film. The plot seems like an absurd dance alternating between comedy and violence, based on an absurd logic. The climax frightens the viewer at the end of the film: The screen opens, and the main protagonist literally steps through it in the form of a doll. In a horror scenario turned excruciatingly real, the body of this doll splits apart as well and opens the view onto a homunculus figure which only vaguely resembles a human being.

The central piece of Knick-Falte in der Schädeldecke is the new installation Unzone Eierloch, in the middle of which the same-named, 48-minute-long film is projected onto a wall in a large format. At first, the work seems to adhere to the “rules” of movies with which the viewer is familiar from cinema. But this logic is soon conducted to utter absurdity through the constant blending of dream sequences with an apparently regular plot level. Moreover, confusion is caused by various borrowings from all possible film genres. Unzone Eierloch is simultaneously an experimental film, horror film, road movie, romantic comedy, gangster film, science-fiction film, trash film, and criminal drama. It is both a narrated film and a free, associative play with words, objects, and narrative fragments. What begins as a strange love story culminates in a slaughter violating all the limits of good taste and perpetrated by a masked, disguised serial killer upon a artificial, human-animal body.

Shown on a substructure are items derived from the film which runs in a loop: the amorphous corpse, various diagrams, and other objects which play an important role in the film. In addition, five monitors show the dream sequences which are only hinted at in the film in their full length. John Bock calls this sort of total work of art a Summenmutation (mutation of sums).

The term which Bock employs most often in relation to his works is that of Kunstwohlfahrt (art welfare). The idea of artistic social services seems to stand in stark opposition to this work which violates all certitudes and conventions. But Bock is serious in this matter: Quite aware that there exists no such thing as an ideal viewer, he endeavors with his highly invasive works to attack each viewer individually, to shake him up privately, and thereby to induce him to reconsider the terms and ideas upon which he has uncritically established the foundations of his life.