... In his most recent film installation, created especially for the exhibition at Secession, Fünf Skulpturen aus den ägyptischen Heiligtümern im Museo del Sannio, Benevento: n. 252 Hockender Pavian, Diorit; n. 253 Falke, Amphibolit; n. 255 Falke, Gabbro; n. 256 Hockender Pavian, Diorit; n. 280 Apis-Stier, Diorit, Hannes Böck engages in an exemplary fashion with the relationship between archaeology, art history, photography, and the visual languages they invoke. At first glance, the artist seems to confront us with a selection of sculptures in which the sculptures" pose, location, and approximate era can be taken from the film title. On closer inspection, title and film reveal a complex arrangement of - partially concealed - cultural and formal references. Böck"s point of departure is the importance of Egyptian culture for the development of the West, which has been suppressed since the Enlightenment in favor of a pure myth of origins that anchors the birth of the West in the Greco-Roman tradition. By taking artifacts from a Roman Isis temple located in Italy, the paradoxical nature of this claim is emphasized. The dark stone sculptures are presented against a black background and filmed from five different perspectives in long, static shots. Removed from the context of a museum and its presentational logic, and freed of their function as historical "eyewitnesses," they reveal themselves in their literal vulnerability and take on the opportunity to develop their own individuality. The brackets combining the thematic and the formal layers of the film are Böck"s reflection on the role of photography in archaeology and art history and the related mechanisms of inclusion and exclusion in creating a homogenous and linear construction of history...