The Grammar of the Method

Image courtesy of Nicole Prutsch.

Working with seemingly different methods of the present and past, including the ‘scientific method’ and methods of art practice, Nicole Prutsch follows their subtle commonalities that surround their otherwise disparate constitutions. She utilises the luring effects of unexpected juxtaposition, resembling the distant surrealist play with the unconscious, to create a visual genealogy of the method, the methodological and the role of the gaze in the latter.
Her interdisciplinary work, encompassing photography, graphic medium, video, installation, and objects, is often based on historical archive material used to connect and confront various references from Western knowledge and culture tradition. She opens the systematically used material to coincidence by intervening into the measured and documented object; to automatisation by making apparent the implicit arbitrary remainders of measurements and gained information; all-in-all alluding to the non-sense rooted in the sense-centred tradition, however, by the end enclosing it into a discernible spacial patchwork that makes the intricate relationship between knowledge and power tangible, if not even utilisable.

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