Filmmakers: Peter Kubelka, Paul Sharits, Kurt Kren, Leslie Thornton, Virgil Widrich, Philipp Fleischmann, Saul Levine, Eve Heller, Jodie Mack, Mónica Sávirón, Mike Piso, Douglas Urbank, Björn Kämmerer, Dietmar Offenhuber, Viktoria Schmid.

Curated by Nicole Prutsch, Mike Piso, and Wenhua Shi.

Thursday, May 4th, 2023, 8 PM
Revolutions Per Minute Festival, UMass Boston, University Hall 2300, Boston, MA

Saturday, May 6th 2023, 7:30 PM
Millennium Film Workshop, 167 Wilson Ave, Brooklyn, NY

In the early 1960s, a number of filmmakers emerged in the United States and Europe to produce remarkable films that challenged any previous formal tendency in avant-garde filmmaking. The Structuralist filmmakers—including Peter Kubelka, Tony Conrad, Paul Sharits, and Kurt Kren––arranged their shots according to mathematical principles, attempting to produce non-narrative and non-illusionist films to oppose the cinematic apparatus. Similar to the advent of Minimalism in painting and sculpture, structural films insisted on shape, and their content was minimal and subsidiary to the outline. For instance, in his film 2/60: 48 Heads from the Szondi-Test (1960), Kurt Kren employed a strictly serial sequence technique to present 48 portraits from the Szondi Test for “experimental diagnosis of human impulses” in various frame sizes and pre-specified lengths. Meanwhile, Peter Kubelka used the most radical version of Structural arrangements to produce the first Flicker Film, Arnulf Rainer (1960), which consisted solely of black or white frames coupled with either silence or white noise on the soundtrack. Tony Conrad’s The Flicker (1966), another landmark in Structural filmmaking, gradually increased the frequency and pattern complexity of black and white frames to create stroboscopic effects that could cause visual hallucinations and even epileptic seizures. Paul Sharits’ T,O,U,C,H,I,N,G (1968) further complicated the frame-by-frame approach with chromatically-varied frames and combinations of visual and auditory repetition.

The Structural Film movement and its aesthetic principles—including serial cuts, static frames, and flicker effects—influenced several filmmakers of the next generation. Leslie Thornton, for instance, a student of both Kubelka and Sharits, further developed the Structuralist approach in her debut experimental film X-TRACTS (1975), which features cut-up readings of her high school diary paired with images of herself, once again exploring the territories of rhetoric, linguistics, and narrative structures. Kubelka’s co-founded institutions, the Anthology Film Archives in New York and the Austrian Film Museum in Vienna, along with filmmakers like Saul Levine, continued to pass on the strategies of Structural Film to inspire younger generations of filmmakers to continue pushing the boundaries of structure and materiality of film. The upcoming screening program, Notes After Long Silence, which takes its title from one of Levine’s films, traces the historical conversation of Austrian and American experimental film to the present day and explores the aesthetic and cultural limits pushed by filmmakers from both countries. The program features works from members of the AgX Film Collective in Boston and the Schule Friedl Kubelka in Vienna, with films distributed by sixpackfilm, Canyon Cinema, and Filmmakers’ Coop.

Presented by Revolutions Per Minute Festival and Millennium Film Workshop.

Supported by the Austrian Federal Ministry for Arts and Culture (BMKOES), Austrian Cultural Forum New York, UMass Boston (Art and Art History, cinema studies), and Millennium Film Workshop.

Special thanks to Genevieve Carmel, Stefan Grabowski, AgX Film Collective, sixpackfilm, Canyon Cinema, Joe Wakeman, Filmmakers’ Coop, Millennium Film Workshop, Umass Boston, Austrian Federal Ministry for Arts and Culture (BMKOES), and Austrian Cultural Forum New York.

Resonance. Selections from the AgX Film Collective.

Saturday, June 11th, 2022
No Name Cinema
2013 Pinon St, Santa Fe NM 87505
Doors: 7:30pm ~ Films: 8:00pm

Resonance was curated by Susan DeLeo and features 10 shorts created by members of the AgX Film Collective including Douglas Urbank, Wenhua Shi, Brittany Gravely, Nicole Prutsch and Susan DeLeo. There will be a post-screening Q&A with curator & filmmaker Susan DeLeo.

Is it Me? Am I the Drama?

Salzburger Kunstverein Annual Exhibition 2021
Hellbrunner Straße 3, 5020 Salzburg, Austria
Exhibition dates: 05.02.2022 – 13.03.2022
Opening: Friday, February 4th 2022 | 7pm

The title “Is it Me? Am I the Drama?” (quoted from American drag queen and online sensation, Scarlet Envy) provides a narrative and performative space for the diversity of different artistic positions to discuss contemporary issues. In numerous Tik Tok and Instagram reels, this quote by Scarlet Envy is used to comment ironically on others. This action of appropriating a varied construction of otherness and self-image within a queer identity is thus a curatorial reference for the exhibition. The intention is to open up the diversity of all possible starting points for the artists’ work and to resist making separable differences in the sense of the diversity of this work and its varied meaning.

Artists: Motahar Amiri, Alpine Gothic, ARTgenossen, Julia Brennacher, Jari Genser, Johannes Gierlinger, Lisa Großkopf, Gunda Gruber, Elisabeth Grübl, Katharina Gruzei, Tina Hainschwang, Isabella Heigl, Eginhartz Kanter, Margareta Klose, Sigrid Langrehr, Christiane Peschek, Nicole Prutsch, Beate Ronacher, Elisabeth Schmirl, Manuel Tozzi, Micha Wille, Julia Zöhrer

Curator: Karin Pernegger

Hypnotic Suggestions: Recent Works by the AgX Film Collective

After nearly a year and a half of relative quiet, the AgX Film Collective reemerges with an outdoor program of film and live sound, co-presented by our friends at Non-Event. Bringing together single and double 16mm projections, single-channel video and live sound, this program showcases a range of formal approaches and interests pursued by our members over the last several years.

Saturday, August 14, 2021 at 5:00 PM EDT – 7:00 PM EDT
Norman B. Leventhal Park
Post Office Square, Boston, MA 02110

Hosted by AgX Film Collective and Non-Event

nicole prutsch. beyond the measuring principle.
DISTANZ Verlag Berlin, Nov 2020

DISTANZ Publishing Preview Spring/Summer 2021


The cut is the central element in Nicole Prutsch’s (b. Austria, 1980; lives and works in Boston and Vienna) work. The artist harnesses historic materials from the archives of anthropology, subjecting them to processes of fragmentation, defamiliarization, and automation as well as repetition. Analyzing anthropological researchers’ methods and the provenance of their visual sources, Prutsch undertakes a critical scrutiny of the standards and stratagems that sustain a scientific claim to objectivity. In photographs, videos, and installations that integrate the archival materials, Prutsch frames anachronistic margins of free play where natural science encounters philosophy and psychology, and raises probing questions concerning the genesis of knowledge and facticity.

The publication beyond the measuring principle was produced in conjunction with the exhibition of the same title at Neue Galerie Graz. With an essay by Andreas Spiegl and a conversation between the artist and Domen Ograjenšek.

Recent Works from the AgX Film Collective at Waltham Virtual Open Studios

Douglas Urbank, Susan DeLeo, Brittany Gravely, Wenhua Shi, Stefan Grabowski, Ethan Berry, Nicole Prutsch, Peach S Goodrich, Sarah Bliss, Natalie Minik, Ernesto Livon-Grosman

Sunday, November 8, 2020
3:00 PM 4:00 PM EST

Visible/Invisible – AgX films at Fort Point Open Studios

AgX in collaboration with Fort Point Theatre Channel presents Visible / Invisible, a 16mm film program curated by AgX members Ernesto Livon-Grossman and Susan DeLeo. “In film, between one image and the next, there is an invisible moment that our consciousness does not recognize and yet it makes possible the next visible image. With every frame a formal device becomes a metaphor of the medium and a paradox of our perception: the presence of an image depends on the absence of the previous one.”

Wenhua Shi, Douglas Urbank, Stefan Grabowski, Susan DeLeo, Brittany Gravely, Nicole Prutsch, Tim Wojcik, Anto Astudillo, Ethan Berry, Robert Todd

Saturday, October 19th, 2019, 7:00 PM, during Fort Point Arts Community’s 40th Annual Open Studios event, Midway Production & Performance LAB, 15 Channel Center Street, Fort Point, Boston. Free admission.

Boston Short Film Festival 2019

July 8th -12th, 2019
Somerville Theatre
55 Davis Square, Somerville, MA 02144

Visible/Invisible. AgX Film Collective

June 10th, 2019
L’Abdominable Paris
Sous l’ecole Joliot-Curie
30 rue de Genève 93120 La Courneuve, France

June 16th, 2019
Zumzeig Cinema Cooperativa
Carrer de Béjar, 53, 08014 Barcelona, Spain

Fig. 2 – Brishty Alam, Nicole Prutsch

Curated by Domen Ograjenšek

Exhibition Opening: Friday, April 19th, 2019 at 7 pm
Exhibition Dates: April 20th – June 16th, 2019

Center for Contemporary Arts Celje – Likovni Salon Gallery
Trg celjskih knezov 8, 3000 Celje, Slovenia

Fig. 2 is a reference to an enclosed image. It refers to “Fig.” or “Figure”, which serves as a clear way to cite and index images or illustrations in scientific publications. It is as much a proxy of the image as an extension of its cognitive function; it is the image itself, evading the anachronistic loopholes of its own phenomenal nature.

The exhibition juxtaposes the art practices of Brishty Alam and Nicole Prutsch, both characterised by a unique use of elements taken from the visual culture of science, which primarily involves various forms of visualisations, such as graphs, temperature scales, topological structures of molecules, etc. Such scientific visualisations do not only serve as illustrative or educational tools but are an integral element of scientific research and acquisition of knowledge.

In their otherwise different practices, the two artists strongly emphasise this element, bestowing considerable autonomy upon it through artistic translation (in the case of Alam, translating the scientists’ gesticulation into a choreography of a water molecule, in the case of Prutsch, translating the cuts of scientific measurement into graphs and temperature scales). In such a way, notions of a yet to be established and not yet sufficiently comprehensible readability of this visual language are being sketched out – a readability that is resolved from the normativity of the source code (its function as a tool) but maintains its integral proximity with the production of knowledge.

The exhibition is therefore not simply concerned with the removal of the epistemological value of scientific visual tools in exchange for the introduction of an aesthetic one, but a resolute renunciation of the binarism between science and art on the basis of which questions can be reopened on the future of the relationship between visual culture and the production of knowledge, the depiction of the world governed by this relationship, and consequently the role of art in the emergence of new horizons of social reality.

Brishty Alam approaches the visual culture of science through the use of established visualisations of chemical compounds, more precisely, topological structures of the water molecule. She substantiates the latter with her body, anthropomorphises it and gives it a level of agency that seems absurd within the context of the formal means of visualisation. Such absurdity points to the performative level of the scientific practice itself, which the artist translates into a choreography of a molecule; it points to its material base in the scientist’s body, in his or her hand gestures, in his or her eye and vision; to the generally ignored bodily elements that are constitutive for the functioning of formal and objective means on which science relies (in the process of acquiring and transferring knowledge).

Nicole Prutsch approaches the visual culture of science from a rather different perspective. Her practice is characterised by the method of cutting and layering visual material (often photographic material of anthropological studies from the beginning of the 20th century), by which she marks the presence of implicit values and decisions of the scientist in the seemingly objective methods of measuring and acquiring information. This method is accompanied by an additional process of translating the marked visual signs or figures into graphs and topographic scales, which exceeds the mere deconstruction of the interweaving of knowledge and power in scientific practices and leads the artist to an additional speculative level, where a new, still incomprehensible readability is emerging.

11th Annual Student Art Show of Harvard University

Presented by: Harvard Student Art Collective

Opening Reception: Friday April 5, 2019, 6pm – 9pm
Exhibition Dates: April 5 – May 5, 2019

Richard A. and Susan F. Smith Campus Center
1350 Massachusetts Ave, Cambridge, MA 02138

Shaking the Frame: Experimental Film from AgX Film Collective

Kathryn Ramey, Susan DeLeo, Robert Todd, Wenhua Shi, Douglas Urbank, Brittany Gravely, Peaches Goodrich, Stefan Grabowski, Nicole Prutsch, Tim Wojcik, Kimberly Forero-Arnais and Sarah Bliss

Thursday, March 21st 2019, 7:30-9 pm
Clark University, Worcester (MA)
Traina Center for Visual & Performing Arts

Revolutions Per Minute Festival

UMass Boston
Special Program I, AgX Film Collective
Saturday, February 2nd 2019, 9:00PM – 10:30PM
University Hall 2310
University Drive North
Boston, MA 02125

Non-Event Year-End Concert and Fundraiser

Forbes Graham & Dan Wick, Jake Messina Meginsky (DJ set), Rob Noyes, Mary Staubitz & Tim Johnson, Victoria Shen,
Id M Theft Able

Installation and video:
Lani Asuncion, Linda & Mike Bullock, Mark Cetilia, Erika Nesse & Allida Warn, Morgan Evans-Weiler, Michael Rosenstein, Jed Speare, Kimmie Phan Stattman, Asha Tamirisa, Nicole Prutsch, Katya Popova, Kevin Micka, José Rivera, Cleo Miao & Richard Austin Covell

Saturday, December 15th, 2018
The Yard (John Hancock Tower, 6th Floor)
120 St James Avenue (use Clarendon Street entrance)
Boston, MA 02116
Doors: 7:30pm, Show: 8pm
Tickets: $20 | Free with new membership sign-up or renewal

AgX at AFW

Susan DeLeo, Wenhua Shi, Nicole Prutsch, Robert Todd, Peach S Goodrich, Matthew McWilliams, Kimberly Forero-Arnias, Luis Arnias, Stefan Grabowski, Brittany Gravely, Douglas Urbank

Thursday, December 13th 2018, 8pm
AFW/Arena Project Space, 2 Kerr St., Fitzroy 3065, Melbourne, Australia

Función Especial: AgX Boston Film Collective

Douglas Urbank, Susan DeLeo, Brittany Gravely, Wenhua Shi, Stefan Grabowski, Ethan Berry, Nicole Prutsch, Peach S Goodrich, Sarah Bliss, Natalie Minik, Ernesto Livon-Grosman

Thursday, December 13th 2018, 7-10pm
Kino Palais
Riobamba 985, 1116 Buenos Aires, Argentina

Nicole Prutsch. Beyond the measuring principle


Eröffnung: 14.06.2018, 18 Uhr
Ort: Neue Galerie Graz, Studio
Kuratiert von: Roman Grabner

10th Annual Harvard Student Art Show

Presented by:
Harvard Student Art Collective,
Crossings Gallery – Harvard Ed Portal and
Gallery 224, Office for the Arts at Harvard

Exhibition Dates: March 31 – April 29, 2018
Opening Reception: March 31st, 2018, 5pm – 7pm
Arts First Allston Closing Reception: Sunday, April 29th, 2018, 1pm – 5pm

Gallery 224 and Crossings Gallery, 224 Western Avenue, Allston, MA


The exhibition organisers are Professors Marius Turda (Oxford), Maria Teschler-Nicola (Vienna), and Adrian Majuru (Bucharest), representing the collaboration between the following institutions: the Bucharest Municipality Museum, the Naturhistorisches Museum Wien, Austria, the Centre for Medical Humanities, Oxford Brookes University, UK, the University of Oxford, UK and the Arts & Humanities Research Council, UK.

The exhibition will also show a video entitled MASSNAHME (2013), by Viennese artist Nicole Prutsch that focuses on an anthropological research project of Austrian anthropologist Josef Weninger and his team, carried out in the 1930s in the Swabian village of Marienfeld in the Banat region of Romania, where 1081 people were measured and catalogued in order to establish a method for proving paternity. This research project also provided a genetic-biological basis for the discussion of various ‘racial issues’ in anthropology.

By using documentation and archive material that depicts the researchers at work, Prutsch performs a reenactment of the measurements. By ‘removing’ the proband, she turns the subjects of the gaze back onto the scientists and the very objects they observed, their research stations and their gestures.

Opening March 24th,
Bucharest Municipality Museum
Bulevardul Ion C. Brătianu 2, București 030167, Romania



An exhibition of the artist Ivan Moudov, guest participants Marleen Andreev, Nicole Prutsch, Marie Civikov and Jakob Schieche.
12 January 2018 – 04 February 2018
Part of the exhibition “Shifting Layers”

Sofia City Art Gallery
1, Gen. Gurko Street
1000 Sofia Center, Sofia, Bulgaria


27 Künstlerinnen | 27 Positionen
27 Artists | 27 Positions

Eröffnung | Opening: 13.9.2017 | 19:00
Laufzeit | Duration: 14. – 30.09.2017
Ort | Location: Open Space, Kaiserstraße 76, 1070 Wien

Künstlerinnen | Artists: Sherine Anis, Stella Bach, Renate Bertlmann, Anna-Maria Bogner, Denise Braun, Martha Dietrich, Claire de Foucauld, Vasilena Gankovska, Fanny Hallgren, Lise Huber, Judith Hütter, Bettina Kattinger, Susi Krautgartner, Iiris-Lilja Kuosmanen, Aiko Kazuko Kurosaki, Sissa Micheli, Lym Moreno, Agnes Prammer, Nicole Prutsch, Hanna Putz, Linda Reif, Claudia Rohrauer, Anna Schwarz, Annette Tesarek, Anna-Stina Treumund, Ana Velez, Daniela Zacherl

Kuratorinnen | Curators: Sophie Haslinger, Veronika Rudorfer & Sira-Zoé Schmid

Basierend auf dem Projekt | Based on the project “Past | Present | Future” by Sira-Zoé Schmid

Die Ausstellung zeigt ausgewählte Arbeiten von 27 internationalen Künstlerinnen und präsentiert die vielschichtigen Arbeitsbedingungen zeitgenössischer weiblicher Kunstproduktion in den Medien Fotografie, Malerei, Installation, Performance und Videokunst. Ein umfangreiches Rahmenprogramm – einschließlich Künstlerinnensalons, Performances, Podiumsdiskussion, Talks und einem Kunstvermittlungsprogramm für Kinder – begleitet die Ausstellung und hebt den Netzwerkcharakter des Projekts hervor.

This exhibition project assembles the works of 27 international female artists and presents the divers conditions of contemporary female artistic practice in the media photography, painting, installations, performance and video art. An extensive framework program – including artist salons, performances, a panel discussion, talks and a program for kids – accompanies the exhibition and reflects the networking character of the project.

Bewährungsprobe #14
Dienstag, 02. Mai 2017, 19.00

Im Rahmen der Veranstaltungsreihe Bewährungsprobe der Wiener Künstler_innen-vereinigung baer stellen jeweils zwei Künstler_innen ihre künstlerischen Praxen und Techniken zur Diskussion.
Nicole Prutsch entwirft anachronistische Spielräume mittels Fotografie, Video und Installation, in denen Naturwissenschaft, Philosophie und Psychologie einander begegnen.
In den Bildern von Markus Riedler trifft Persönliches auf Gesellschaftliches. Die oft trivialen Augenblicke sind Balanceakte von individueller Freiheit und kollektiver Zurücknahme.

Nicole Prutsch, Künstlerin, Wien
Markus Benjamin Riedler, Künstler, Wien
Moderation: Johannes Franz, baer, Wien

Breite Gasse 3
1070 Wien

Nicole Prutsch | LA MÉTHODE

MUSA Museum Startgalerie Artothek
Felderstraße 6-8, 1010 Wien

Beginn: 3.3.2017
Ende: 30.3.2017
Eröffnung: Do, 2. März 2017, 19 Uhr
zur Eröffnung spricht: Boris Manner

Förderungspreis des Landes Steiermark für zeitgenössische bildende Kunst 2016

Neue Galerie Graz

Eröffnung: 17. November 2016, 21 Uhr
Ausstellungsdauer: 18.11.2016- 12.3.2017

Kuratiert von Zoran Erić


Mi 22.6. 19 Uhr Nicole Prutsch im Gespräch mit Andreas Spiegl

Vom Körper zum Bild- vom Bild zum Körper. Arbeiten mit wissenschaftlicher Methodik

Wie kann ein Gegenstand, ein Gefühl oder eine Abweichung außerhalb gewohnter Methoden visualisiert werden? Wieweit lassen sich Körper und Geist der Wissenschaft/Technik unterwerfen? Welche Beispiele finden wir hierfür in der Geschichte und Gegenwart? Diese Fragen beschäftigen Nicole Prutsch in ihrer künstlerischen Arbeit. Ihre Praxis beinhaltet umfangreiche Forschung, geführt von einem Interesse an Kontrollsystemen und deren Instanzen. Dabei unternimmt sie oftmals Translationen von einem Maß in ein anderes. Durch diese Übersetzungen entstehen schließlich neue (Körper-) Bilder: codierte Informationsträger physischer und psychischer Zustände. In ihrer Lecture möchte sie Recherchematerial zu ihrer Arbeit (Literatur, Video, Photos), präsentieren und zur Diskussion stellen.

Gumpendorfer Straße 10-12
1060 Wien


Installation / Lecture Performance.
Nicole Prutsch und Boris Manner

Eröffnung: 16.06.2016, 19.00 h

Akademie der bildenden Künste Wien
Hauptgebäude, Schillerplatz 3, 1010 Wien
Universitätsbibliothek (Lesesaal)

Im Rahmen der Veranstaltungsreihe “Donnerstags in der Bibliothek“ der Universitätsbibliothek der Akademie der bildenden Künste Wien.

In seinem Werk ‘De L’Amour’ (1822), einer philosophischen Abhandlung über die Liebe, beschreibt der französische Schriftsteller Marie-Henry Beyle alias Stendhal, das Konzept der ‘Kristallisation’ als den Prozess einer geistigen Metamorphose: “Tätigkeit des Geistes, der bei allem, was sich ihm darbietet, die Entdeckung macht, daß das geliebte Wesen neue Vorzüge hat”. Weiters setzt Stendhal die Kristallisation mit Kunstrezeption gleich. Im Gegensatz zu den Imaginationstheorien der Romantik, die die Imagination zu einem erkenntnishaften Vermögen aufwerten, sieht Stendhal das Kunstwerk oder den literarischen Text als Produkt einer individuell begrenzten, affektiven Imagination, dem es an erkenntnistheoretischem Status mangelt. Ein Liebender bzw. Kunstrezipient schafft demnach Schönheit in einem Rezeptionsprozess, nach der Art einer Kristallisation.

In der von der britischen Biochemikerin Dorothy Hodgkin (1910- 1994) entwickelten Protein-Kristallographie (1964 Nobelpreis in Chemie) werden bewegliche Körper kristallisiert, also zur Erstarrung gebracht um dann mittels Röntgenstrahlung deren 2-dimensionales sog. Beugungsmuster zu erfassen. Mit speziellen Algorithmen kann auf die Kristallstruktur und somit auf die molekulare Gestalt des Proteins rückgeschlossen werden- anhand von Transformations- und Übersetzungsprozessen können also diese, sonst in ihrer tatsächlichen Erscheinung nicht erfassbaren Körper, identifiziert und verstanden werden.

Österreichisches Kulturforum Zagreb

Gunduliceva 3, HR-10000 Zagreb

Donnerstag, 3. Dezember 2015, 18:30h
Eröffnung durch Dir. Susanne Ranetzky

Kitty Ackermann, Max Aufischer, Joerg Auzinger, can´t mar Corona, Noemí Conesa, G.R.A.M., Anaïs Horn, Christian KRI Kammerhofer, Markus Kehrer, Claudia Klučarić, Renate Krammer, Christian Lapp, Branko Lenart, Ulrike Neubauer, Bernd Oberdorfer, Zita Oberwalder, Klaus Pichler, Nicole Prutsch, Robert W.Sackl-Kahr Sagostin, Franz Sattler, Gregor Schlatte, Bernd Sieber, Gerhard Skrapits, Lea Titz, Veronika Tzekova, Andreas Vormayr, zweintopf

+45 +55 +95 +

Janos Borsos, Nemes Csaba, Anett Hámori, Adrian Kupcsik, Markus Proschek, Nicole Prutsch, Christoph Srb, Kamen Stoyanov, Martin Sturm, Zsófia Szemzo, Corina Vetsch

Eröffnung am Dienstag, 27. Oktober 2015 um 17.00 Uhr
Österreichisches Kulturforum, Benczúr utca 16, 1068 Budapest

Die Geschichte Österreichs nach 1945 aus Sicht junger österreichischer und ungarischer Künstlerinnen. Die Jubiläen 1945, 1955 und 1995 stellen den Referenzpunkt für die KünstlerInnen dar, anhand dessen sie in ihren eigens für diese Ausstellung erarbeiteten Werken weitere Zusammenhänge suchen.

17:15 Uhr Begrüssung/Moderation
Dr. Susanne Bachfischer, Direktorin des ÖKF
17:20 Uhr unverschämtes Glück: Österreich 1945, 1955, 1995
Univ. Prof. Dr. Anton Pelinka, CEU
17:25 Uhr Spuren der Veränderung
Zsolt Petrány, Kurator
17:30 Uhr Eröffnung
Dr. Ralph Scheide, österreichischer Botschafter

anschliessend Performance
Kamen Stoyanov unter Mitwirkung des Kammermusikquartetts Presto


Willem Oorebeek, Evelyn Plaschg, Nicole Prutsch, Liddy Scheffknecht, Hui Ye

25th of April – 16th of May, 2015
Opening: Friday, 24th of April, 2015, 7 pm
Finissage: Saturday, 16th of May, 2015 7pm

Mittersteig 2a (Corner Große Neugasse / Rienößlgasse)
1040 Vienna

What constitutes our Self and how is this Self defined and influenced by the image that we render of it to the outside world, on the one hand, and, on the other hand, by the image that is delivered by the printed medium or any other reproductive medium, such as photography or film?

This exhibition engages with precisely these mediated and thus biased imagistic processes, as well as with the technology that underpins the production of that same imagery: the dot matrix or the raster, the grid, the screen, the pixel—each per se an empty unit, without content other than itself, but at the same containing a potential, the potential of the image to come. How does this image relate to the actual persona that actually becomes virtual and unreal with its depiction in any medium whatsoever? The accumulation of dots, raster-dots, the flow of pixels play a basso continuo, form a subliminal, repetitive, monotone, enchanting rhythm of voices—so it is a fugue. Ultimately constituting, in a golem-like transformation, a somebody—our protagonists in the show.

Let us assemble in this space of floating images/portrayals and smallest entities, which carry us back to the naissance of a hybrid and vibrant subjectivity in an allegorical theater of the 21st century’s inhabitants: there are the portraits in ink, slightly digitally altered and subsequently inkjet-printed, by Evelyn Plaschg, resembling someone real, yet at the same time uncannily emptied out. There is Boy or Anonymous created by Willem Oorebeek, found images taken from magazines and assembled to form what he calls the Vertical Club, a constantly mutating and expanding family of images or characters, an assemblage initiated in 1994 and still ongoing. Boy is accompanied by a text referring back to Heinrich von Kleist’s Das Marionettentheater [On the Marionette Theater], which poses the question of how the most sublime and natural beauty can be achieved, whether by posing with the unconsciousness of a child or with the absolute control and self-awareness of a god-like figure. In Anonymous, the boyish girl shows as a hybrid, artificial personality, maybe, as Oorebeek asks, together “with the girlish boy a perfect outlook on an urban future?”.
Adopting a different yet similar approach, Hui Ye in The moment I saw me generates, via a mesmerizing double projection, the picture of a subject in continuous motion, always missing itself and finally encountering itself in a duplication situation where the figure is on the platform, while being in the train at the same time – a graceful and subtle parable of a nomadic being in search of itself.
A similar urban protagonist is to be found in Liddy Scheffknecht’s skater Untitled (Mica), another urban flâneur, populating suburban territories and persecuted by its own shadow, again a tricky perceptual operation that functions by projecting the imperceptibly moving shadow like a haunted revenant, producing an uncanny presence.
What links together these monads of present day under constant scrutiny and surveillance, for example to a potentially pre-eugenic experiment by the anthropologist Josef Szombathy who made anthropometric photographs of Viennese women at the end of the 19th century? Some of the women seem not to conform to the normative posture and assume various hard to define poses, set between resonating art historical “pathos formulae” but sometimes escaping this norm by an indefinable counter-pose. Exactly this deviation is at the centre of Nicole Prutsch’s investigation in Fremdkörper, where she marks the aberrations of the poses with colors from the printing process (CMYK) and translates these into a circular diagram, which brings us back to the raster-dot, alluding to the imagery of the “quantified self”.
Hui Ye in a recent work How far is it? uses exactly these means of scrutiny in measuring her body centimeter by centimeter, accompanying her voyage with her voice monotonously counting each unit of measurement of her body.
Beyond all this we perceive a subliminal, almost imperceptible random sound of pins in ‘it was so quiet that the pins dropped could be heard…,’ composed by electronic musician Hui Ye.

Curated by Sabine Folie

Samstag 25. April 2015, 13-21 Uhr
Perinetgasse 1, 1200 Wien

Im Rahmen des Symposiums ‘Mein Körper ist das Ereignis. Wiener Aktionismus und internationale Performance‘ besteht am Samstag, den 25. April von 13 bis 21 Uhr die Möglichkeit, das ehemalige Atelier von Otto Muehl («Perinetkeller») zu besuchen, wo zahlreiche Aktionen des Wiener Aktionismus stattfanden und derzeit die Intervention Entsumpfung von Nicole Prutsch zu sehen ist.

April 1st- April 30th 2015
Artist in Residence, Tapiola Guest Studio, Espoo, Finland


Freilegung des Perinetkellers
ehem. Atelier Otto Muehl, Aktionen 1962-1967

Freitag, 21. November, 2014, 19 Uhr
Perinetgasse 1, 1200 Wien

‚Wir haben uns zur Befriedung der Menschheit entschlossen, vier Tage in das Gewölbe niederzusteigen. (Woselbst wir uns einmauern lassen). Drei Tage schrankenlose Enthemmung, Befreiung von aller Brunst, Transponierung derselben in Blech, Schrott, verwesenden Abfällen, Fleisch, Blut, Gerümpel (…)‘
Manifest ‚Blutorgel‘ 1962, Otto Muehl

1. Juni 1962. In Otto Muehls Kelleratelier in der Perinetgasse 1 (Wien, 20. Bezirk), findet die aktionsähnliche Veranstaltung ‚Blutorgel‘ statt mit der Adolf Frohner, Hermann Nitsch und Otto Muehl den Wiener Aktionismus (WA) einleiten. Mit der Überschreitung des zweidimensionalen Tafelbildes und der Verwendung menschlicher Körper als Material, war der WA eine Bewegung, dessen Radikalität der Aktionen mögliche gesamtgesellschaftliche Veränderungsprozesse über Abreaktion, Katharsis und Heilung reflektierte.

21. November 2014. Mit ‚ENTSUMPFUNG’ zeigt Nicole Prutsch ihre Arbeit der Freilegung des Perinetkellers, den sie in einem einjährigen Bearbeitungsprozess in seinen Ursprungszustand zurückgeführt hat: ein Relikt des WA positioniert in eine Gegenwart im Brennpunkt erweiterter gesellschaftlicher Normen und der Expansion von (Selbst-) Kontrollmechanismen, dem Überfluss an Möglichkeiten, sozialer Distanz- Codes und der Un-Provozierbarkeit der Abgeklärten.

Parallel Vienna

Opening: Wednesday, September 30th, 18:00
Schnirchgasse 9, 1030 Vienna

‘Georg Trakl-Preis’

Galerie im Traklhaus, Salzburg
Eröffnung: Donnerstag, 18. September, 19:30

Nicole Prutsch – Fremdkörper

13. Juni- 26. Juli 2014
Eröffnung: Donnerstag 12. Juni, 19 Uhr
Zur Ausstellung spricht: Werner Reiterer

Galerie Marenzi
Bahnhofstraße 14, 8430 Leibnitz, Steiermark
jeweils samstags von 10-14 Uhr
u.n.V: 03452 / 765060

Gegen Ende des 19. Jahrhunderts, fotografiert der österreichische Anthropologe Josef Szombathy (1853–1943) eine Serie von WienerInnen. Was die ‚Anthropometrischen Photographien‘ außergewöhnlich macht, sind, in ihrer Gestik der gewohnten Bildsprache anthropometrischer Studien entgegengestellt, einige Exemplare bei denen Frauen neben den Messinstrumenten posieren.
Für ihre Einzelausstellung in der Galerie Marenzi transportiert Prutsch ihre Arbeit mit den Glasnegativen der Szombathy Aufnahmen in den Ausstellungsraum, die sie in einer Fotoserie und einer Videoinstallation der gleichnamigen Filmversionen 48 Körper aus der Szombathy Studie (2014) präsentieren wird. Mit der Wahl des Bildmaterials thematisiert die Künstlerin die theoretischen Implikationen der Reduktion des Körpers auf einen Messfaktor, deren Erweiterung das moderne Individuum unter dem Überbegriff des ‘Quantified Self’ erfährt; der Selbstüberwachung mittels kleiner Maschinen, Sensoren am Körper, Programmen auf dem Laptop, Apps auf dem Smartphone.
Sowohl Anthropometrie und moderne Selbstvermessung als auch Fotografie und Film sind Verfahren zur Übertragung eines Gegenstands oder Körpers in eine andere Ordnung zum Zwecke der Dokumentation, Untersuchung, Überwachung etc.
Die Verknüpfung der Methoden wird in der Videoinstallation zusätzlich betont die gleichzeitig nur den illusorischen Eindruck der- messbaren- Körper in Überlagerung und Projektion evoziert. ‘Fremdkörper’ kann somit auch als Untersuchung eines ‘fremden’ Körpers, der seit dem digitalen Zeitalter vor allem eine Frage des Mediums ist, gelesen werden.

In Kooperation mit HR Ao. Univ.-Prof. Dr. Maria Teschler-Nicola, Abteilungsdirektorin Anthropologische Abteilung, Naturhistorisches Museum Wien

Dance With Us

An exhibition project by Kamen Stoyanov

Aldo Giannotti, Michail Michailov, Nicolas Muller, Nicole Prutsch, Emilia Smokova, Kamen Stoyanov, Iv Toshain

Exhibition opening: 06.05.2014, 7 pm
Exhibition dates: until 27.05.2014

projektraum viktor bucher
a 1020 vienna, praterstrasse 13/1/2

The title of this exhibition-project suggests the invitation to a common dancing. The question which arouses is: are the artists invited to the Gallery´s dance floor or is the audience invited to dance with the Art? And: what is such a dance able to achieve?

The title of the exhibition was inspired by the Bulgarian #ДАНСwithme- antigovernment protest – movement, which started on June 14, 2013 until now. Dance With Us origins in the acoustic overlapping of the short-phrase for “Governmental Service for National Security” – ДАНС – and the english expression for „dancing“. What caused the so called „protest movement“ was the controversal election of an even more controversal minister for National Security. From the first day on „common dancing“ was the gesture for a positive alteration of the status-quo. „The Dance“ still is going on and in its persistance origins its power and elegance and even its utopic character. This exhibition is also about corruption and nepotism. ‘Cause: Only together we can set examples and change things.
The list of artists was based on the principle: every invited elected another one…

Kamen Stoyanov

Image: Kamen Stoyanov

Visual Ends: The Edge of Perception

Austen Brown, Lauren Pirritano, George William Price, Nicole Prutsch, Tobias Zehntner

An exhibition that interrogates the notions of ephemerality and intangibility. Driven by an existential desire to look beyond discrete boundaries to focus on the engagement of sonic, ocular, and performative environments within contemporary artistic practice. When time, sound, and contemplation are metaphysically suspended, replaced by muted stillness and fleeting figures, the final destination is negated. There can be no attempt to leap forward and grasp those fleeting seconds nor the fast-fading images -a symphony of the intangible.

Providing a emergent and provisional context for the works by both Chicago-based and international artists,
F L A T claims the domestic space as its point of departure, intersection and arrival.

Nicole Prutsch & George William Price collaborative action: 8.30pm

Private View: 28th February 7.00-10.00pm

Exhibition Dates: 29th February – 30th March
Opening Hours: Saturday & Sunday 1.00-4.00pm
By Appointment, contact:


Nicole Prutsch, Jakob Schieche

Vaska Emanouilova Gallery, Sofia
Exhibition dates: October 26th 2013- November 24th 2013
Exhibition opening: Friday October 25th 2013, 6pm
“The Game” – performance by Nicole Prutsch at the opening

Curated by: Vladiya Mihaylova

This exhibition includes the works of two Austrian artists. It deals with the concept of push as a physical action between the necessity (must) and desire (want). It also deals with the possibility of the language of art to express or stand witness to an event; an event, however, not in terms of an occurrence, but of violation of the order as we know it.
Nicole Prutsch researches intention through the association with chance and with the concept of Situationists “dérivе” (accidental detour). “Organization of Territory” is a psychophysical exploration of Sofia city centre for one day. This is a city where the artist has never been before. Casting a dice, she selects directions of walking which lead her to one place or another.
During the opening of the exhibition, the artist will present a performance related to Georgi Markov’s novel “Portrait of My Double” that represents a metaphor of life, in which victories and defeats are negotiated by chance.
For his part, Jakob Schieche uses the complex language of painting and video to express absence. Not the image but the void is what interests him. His works are united by the story about the artist who painted on water, told by Helmut Heissenbüttel in 1976. The fantastic notions of it and of the odd figure of the artist are explored by Jakob Schieche as a utopia of freedom. Painting that creates self-erasing “pictures”.

The Meeting Point Platform for young artists and contemporary art and the Sculpture Program of Vaska Emanouilova Gallery are supported by Societe Generale Expressbank WE SUCCEED TOGETHER. This exhibition is supported also by the Embassy of Austria in Sofia.

link: Vaska Emanouilova Gallery

48 Guerilla Dots / The Drift

Nicole Prutsch, Craig Leonard
photo series, documentation, vinyl dots at several locations / 2013, Halifax, Nova Scotia, Canada

Based on relics of Nicole Prutsch’s ‘Guerilla Installation’ (2012), a black vinyl covered glass shelter at a platform of a train station in London, that juxtaposed and satirized a hot spot of London’s surveillance system, ’48 Guerilla Dots / The Drift’ represents the extension of the artwork by getting fragmentally and geographically trans located. As kind of ‘Real Tags’, ’48 Guerilla Dots / The Drift’ plays with the idea of determining the physical body that enters certain locations, in the era of internet and cyber identity. Within a dérive delegated by Prutsch, via a platform of a social network, Canadian artist Craig Leonard drifts and ‘tags’ certain locations in Halifax, Nova Scotia, Canada, by applying a black vinyl dot whenever he finds the impulse.

Due to the dematerialized nature of the era of digital media and the internet, social networks allow ‘physical anchoring’ of the individual by ‘tagging’ themselves in a specific location. The physical body, not present in the cyber space, can be located digitally at a certain geographical location by ensuring this actual localization and saying ‘I’m here’. On the other hand the physical body can just theoretically be at the certain point but actually in front of a computer terminal, in a way functioning as a sculpture and only clicking/ tagging the place of being. Concerning that, certain traditional aspects of an artists practice, such as the need to produce physical work in a studio, or to travel, are becoming redundant.

In his ‘Theory of the Dérive’ french Situationist Guy Debord describes a ‘dérive’ as a rapid passage through varied ambiences such as landscapes or cities. In difference to flaneuring, a dérive is based on a playful, constructed approach and the awareness of a psycho geographical effect.
Outgoing from the Manifesto of Surrealism and its techniques such as the Ecriture automatique, Craig Leonard frees himself from his personal circumstances, lets himself be drawn by whatever catches his interest and then experience the encounters he finds there.

After applying a black vinyl dot, he takes a square photograph (Polaroid) and writes time and location and any possible concise description of the surrounding on the photograph. The pictures are then send back to Vienna. At the same time, he tags each location via an Internet platform of a social network.

‘The photographs in Robert Smithson ‘400 Square Snapshots of Seattle Horizons’ (1969) were taken by the curator Lucy Lippard according to Smithson’s instructions, as the artist wasn’t able to travel for the exhibition. Lippard went in search of sites matching his criteria: ‘empty, plain, vacant, surd, common, ordinary, blank, dull and level. She found it harder than she had anticipated, given Seattle’s hilly terrain.’ (From Conceptualism to Feminism, Lucy Lippard’s Numbers Shows 1969-74)

‘Artschwager introduced his blps – a word coined by the artist and pronounced “blips” – in the late1960s. The blps were first installed at the University of California–Davis, then in Europe, and then throughout New York City, including on subways and building facades, and in galleries. These public interventions consist of black or white lozenge‐shaped marks that inspire focused looking, and draw attention to architecture, structures, and surfaces that usually go unnoticed. Artschwager’s blps have transformed art spaces and city streets for decades, creating an opportunity for the “useless looking” the artist has aspired to throughout his career. ‘ (Whitney Museum of American Art, 2012)

Photo: Craig Leonard

Discovering Borderlands

Video exhibition
Selected venues in Moscow, Russia
April 24th-26th 2013

Discovering Borderlands is a video exhibition taking place in a number of different venues in Moscow. It explores the theme of private and public and the boundaries between the ‘self’ and the outer world. It is ‘a room’ to explore human relationships with the surrounding environment and the methods which artists employ to project their own ‘self’ into the external world. The works collectively create the contemplative atmosphere reflecting the state of mind of individuals who find themselves tete-a-tete with the world, fixating and living through the Moment.

The artists explore the theme of public and private in various ways. Some of them portray the human condition, a citizen of a metropolis, caught in the trap of routine, ritual and the everyday, and transcend this state into something meditative and meaningful. Others reframe their self-identity through an accent on the body and question its boundaries defined by society. Some works explore the notion of home as a place of belonging, juxtaposed to the external world. To many artists the investigation of the boundaries of the ‘self’ is impossible without embracing the theme of Nature.

Video is the main media for the exhibition. Television is one of the main channels of penetration of the public into the private. To present the artists’ works the same channel is used but in a reverse way, and introduces the personal artistic vision to public attention. Herewith, we blur the boundaries between the public and the private.

Olga Koroleva, Olga Strutzberg, James Murison, Anette Friedrich Johannessen, Henri Gwiazda, Nicole Prutsch, Brandon Beacon Hill, Tall Henry Jackson Newcomb, Barry Falk, Tuomas Koskialho, Jean De Lacoste, Maria Anastassiou, Mandy Williams, Karolina Raczynski, Paul Kindersley, Jakob Anckarsvärd, Catherine Reisher, Lena Tsibizova

Curated by:
Marina Androsovich, Alexandra Ezberova, Evgeniya Zorova, Pavel Kiselev, Alexey Larionov


Installation / Performance
Nicole Prutsch

Naturhistorisches Museum Wien, Burgring 7, 1010 Wien
Hochparterre, Saal 13
Ausstellungseröffnung: Dienstag 22. Januar, 2013 19 Uhr
Ausstellungsdauer: 23. Januar-17. März 2013

Winter 1933, Rumänien. Im Rahmen der ‘Familienanthropologischen Untersuchungen in dem ostschwäbischen Dorfe Marienfeld im rumänischen Banat’ werden körperliche Merkmale von 1081 Personen simultan in 8 Arbeitsstationen vermessen. Gedacht zur Etablierung einer Technik des Vaterschaftsnachweises, bedient die Studie bald die damals aktuelle ‘Rassenfrage’. Das Projekt, von enormen quantitativen Ausmaß, wird nie zu Ende geführt, neue Erkenntnisse bedingen einen Paradigmenwechsel.
September 2012, Niederlande. Wissenschaftler finden 5 Gene die für die Morphologie des Gesichts verantwortlich sind: PRDM16, PAX3, TP63, C5orf50 und COL17A1.
MASSNAHME zeigt Archivmaterial des ‘Marienfeld Projektes’ und blickt auf den Vermessungsdrang als scheinbare Notwendigkeit einer Selbstversicherung im exponentiellen Fortschritt der technologischen Möglichkeiten.

In Kooperation mit
HR Ao. Univ.-Prof. Dr. Maria Teschler-Nicola, Abteilungsdirektorin Anthropologische Abteilung,
Naturhistorisches Museum Wien
Ao. Univ.-Prof. Dr. Harald Wilfing, Leiter des Departments für Anthropologie der Universität Wien

Diplomausstellung, betreut von Johanna Kandl, Universität für angewandte Kunst Wien, Institut für bildende und mediale Kunst

Fragments of Unspoken Thoughts

Jakopič Gallery, Ljubljana
Exhibition opening: Wednesday November 7th 2012, 6pm
Exhibition dates: November 8th 2012- January 13th 2013

MUSAO-Museum auf Abwegen Ottakring, Wien

Exhibition opening: Saturday September 22th 2012, 6pm
Exhibition dates: September 22th-Oktober 6th 2012
Hours: Wed-Sat 5pm-8pm
Finissage: Saturday Oktober 6th, 5pm


Old Fire Station, Vauxhall, London, SE1 7JS
Private View: Wednesday June 13th, 6 pm-10pm

Ana Aguiar / Ellie Berry / Marie Blandin / fantich&young / Jazmina Figueroa / Matthew Gee / Chris Hopkins / Linda Krefft / Robert Miles / George William Price / Nicole Prutsch / Agnese Rabatti / Samuel Robinson / Will Slater / Emma Tighe / Julia Znoj

Trompe-l’oeil / interpassive.

Vyner Street Gallery, London
Private View: Thursday, MAY 17th 2012, 6pm-9pm
Exhibition dates: MAY 18th-19th

Olivier Hölzl / Linda Krefft / Nicole Prutsch


The Nunnery Gallery, Bow Arts, London
Private View: Wednesday, APRIL 18th 2012, 6pm-9pm
Exhibition dates: APRIL 19th – 22nd

Jakob Malek / Nicole Prutsch / Billy-Paul Rousseau / Patrick Rowan

“FAMILIENALBUM” / Eine internationale Gruppenausstellung

Städtische Galerie Nordhorn, Germany

Exhibition opening: Friday March 16th 2012
Exhibition dates: March 17-May 27 2012

Katarina Bosse, Mascha Danzis, Oivier Hölzl, Antje Majewski, Marko Mäetamm, Anna Meyer, Nicole Prutsch, Olav Raschke, Joanna Schulte, Brigitte Stenzel, Anna Witt and others

0GMS Gallery-Drawer, Sofia
01.02. – 10.03.2012

Stefania Batoeva, Iskra Blagoeva, Stela Vasileva, Pravdoliub Ivanov, Vikenti Komitski, Kiril Kuzmanov, Miná Minov, Ciprian Mureşan, Nicole Prutsch, HR-Stamenov, Krassimir Terziev, Adrien Tirtiaux, Kosta Tonev, Veronika Tzekova, Jakob Schieche

Curators: Vladiya Mihaylova and Ivan Moudov

On January 31, Tuesday, at 6 p.m., the 0gms Gallery-Drawer opens its first Group Show of drawings by 15 artists.

Art & Science at Vienna Art Week 2011
Museum of Natural History Vienna

Michael Bachhofer, Alin Cirstea, Pepa Bugueiro Domingo, Sarah Duit, Romana Egartner, Anna Fater, Anna Fríða Jónsdóttir, Rudi Friemel, Ashley Holwell, Michal Marencik, Iulian Moise, David Palme, Nicole Prutsch, Sabina Teichert, Brigitte Zwick