Opening: Modus Operandi, 10 décembre 2016 17:00,
Driessens & Verstappen, Julien Grossmann and Antje Guenther
10 December 2016 – 21 January 2017
Current discussions about contemporary art focus increasingly on research-based discourse. In recent years, the notion of experiment has become as important in artistic practice as it has always been in scientific research. In science, experiment often means determining a well-defined parameter to test a specific hypothesis. In contrast, experimentation in art can be seen as a much more open-ended way of finding out. Without expectations of specific results this offers an alternative to the more restrictive use of the experiment in scientific research.
Over the years, artists have increasingly drawn on technology and science as a matrix for developing works. However, in the outcome it has radically deviated from the principles of modern science. Has art changed our perception on the nature of experimentation? Can a work of art have a specific outcome, or does it always leave more open ends? Interestingly, technological advances in science increasingly allow for large-scale exploratory studies that are hypothesis-free at the outset. Here, the goal of the experiment is to generate data that leads to the development of new hypotheses. Perhaps a new way of research can reconcile the seemingly irreconcilable – however, it might be more interesting to investigate methodologies of both art and science, creating progress for both fields.
The exhibition Modus Operandi further investigates the idea of similarities and differences within artistic and scientific research and its methodologies. It originated from a collaboration between curator and gallerist Rianne Groen and Ewout Groen, neuroscientist and postdoctoral research fellow at the University of Edinburgh.
The exhibition features work by Driessens & Verstappen, Antje Guenther and Julien Grossmann.
Driessens & Verstappen
The artist couple Erwin Driessens (1963) and Maria Verstappen (1964) jointly developed a multifaceted oeuvre of software, machines and objects. They attempt an art in which spontaneous phenomena are created systematically. Art that is not entirely determined by the subjective choices of a human being, but instead is generated by autonomously operating processes.
Julien Grossmann (1983) traces a recurrent questioning on the triangular relationship between sound, medium and matter. He separates sound from its natural cause, to be freed from acoustic processes. It is about sound and the material objects that are used to produce it, perform it, record it and diffuse it; about our perceptions and codifications of its multiple forms.
Antje Guenther (1980) addresses epistemological questions within the realms of technology, posthumanism, technofeminism, and the sociology of science and utilizes speculating, claiming, proving, and claiming to prove as exciting tools for questioning the general conditions of (scientific) knowledge, and the underlying narratives and power structures of knowledge production.
Dr Ewout Groen (1985) studies the mechanisms that underlie the pathogenesis of motor neuron diseases in order to find treatments for these devastating disorders. He was recently awarded a prestigious Wellcome Trust fellowship for early career researchers.