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. Continue reading “The Grammar of the Method”
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-“