Nika Kupyrova, White Honey at Galerie 35m2, Prague, 5. 10. – 2. 11. 2018 (curated by Tereza Záchová)
“Roses are red,
Gaming is fun,
‘You are carrying too much to be able to run’.”
Looking into the short history of video game design one may gain insight into much more than the narrative frames pertaining to the various manners of electronically manipulating images. From games like Minecraft, Call of Duty, and other first-person designs, to games like Diablo, World of Warcraft, that is, games utilising a third person perspective and defined as RPGs (role-playing games), the relationship towards possession changes drastically, especially when considering the various approaches toward the inventory, a trusted element of game design. Continue reading “Your Inventory is Full”
The iterations (one towel, two towels, three times a towel) follow in a line that reinstates the identity of an object, the identity of which was never at risk. No threat of dispersion in sight, no misuse of its meaning, function, cultural or societal role — yet they affirm their representational counterpart without ever becoming or fully alluding to one. The collection does not consist of actual towels per se, nor of objects resembling them, but more so of a dynamic between the frame and the fold, the glare and the colourisation.
Continue reading “Živa Božičnik Rebec – Towel Collection”
Nicole Prutsch – La Méthode
MUSA Museum Startgalerie Artothek, Vienna
[*photos of the exhibition: link]
Discerning the precise relationship between various fields of truth, knowledge, meaning or sense production, whatever the task at hand may be, leads to a constant re-articulation of what is or could be denoted by the term science, mathematics, and art — what are their constitutive procedures that define and distinguish them from each other. This may resemble the now distant (although sometimes still to present) tendencies of grand systematisation, however the questions that seem to be most prevalent in this regard are not too concerned with the apparent autonomy of the mentioned fields, but rather with traversing their differences, tracing underlying commonalities and most importantly forming their implicit genealogies.
It is this line of questioning that defines the artistic practice of Nicole Prutsch, at least as presented at her recent exhibition La Méthode at the MUSA Museum Startgalerie Artothek in Vienna. Continue reading “CUT-“