Tristan Bründler

[tristanbrundler]

Untitled

2022

-A whole problematic then develops: that of an architecture that is no longer built simply to be seen (as with the ostentation of palaces), or to observe the external space (cf. the geometry of fortresses), but to permit an internal, articulated and detailed control (..) to render visible those who are inside it; in more general terms, an architecture that would operate to transform individuals: to act on those it shelters, to provide a hold on their conduct, to carry the effects of power right to them, to make it possible to know them, to alter them.

-The perfect disciplinary apparatus would make it possible for a single gaze to see everything constantly. A central point would be both the source of light illuminating everything, and a locus of convergence for everything that must be known: a perfect eye that nothing would escape and a centre towards which all gazes would be turned.

Discipline and Punish, The Birth of the Prison

[tristanbrundler]

Balmay

HYPERMARKET exhibition at Kunsthal Gent

2021

The term ‘‘hyper’ is related to the theory of Jean Baudrillard, where it is stated that reality has become a hyperreality of itself. The theory is based on a mediated reality in which the original has been lost. The distinction between the high and low art forms no longer concerns aesthetic judgment. The context is only still decisive. Thus, what is placed within the institute is automatically a (industrial) part of the higher cultural experience

The value of art is no longer related to cultural relevance, but depends on both the initial value and the predicted value. The value is influenced by the market, the media and the institutional functioning.

Within the expo hypermarket we ask whether the institute is still current and relevant. The so-called ‘‘higher quality’ that the institute is supposed to house is shaped by less visible factors. There are several interests in placing the artwork. We try to provide a satirical response to these institutional mechanisms with the hypermarket.

We choose a scenography that is based on consumerism. The exhibition is worn in a white cube aesthetic, but it is chosen to install the selected works on store shelves. The store shelves are formally adapted to the artworks to be able to show them optimally and form a criticism to the product on the one hand and the institute on the other.

Van Der Borght Bjornus

[tristanbrundler]

Eurom

Another Land group show at Pilar Brussels Curated by Carlota De Torregrosa

Another Land takes us on an exploration of a uchronic reality, in the wake of current violence, wounds of the past and concerns for the future. Selected artists collaborated on the creation of this « final » universe being in between reality and fiction. Through a science-fiction text, sculptures, video and sound installation, engage in meaningful dialogues becoming a gateway to collective contemplation, delving into the complexities of human existence, political landscapes, meeting point between ornamentalism and architecture, and the intimate aspects of our lives.

Carlota De Torregrosa

« (…) Lying on the ground, Marvin was watching the small damaged-wing butterfly that had landed on his thigh a few minutes ago, and that was now stuck in the slimy and quickly forming chrysalis, a mycorrhizal cocoon that would soon swallow the young boy completely. »

Astrid Vandercamere

Alongside Artists Astrid Vandercamere Paola Siri Renard Omar Castillo Photos by Tim Evers

[tristanbrundler]

Arc

Another Land group show at Pilar Brussels Curated by Carlota De Torregrosa

Another Land takes us on an exploration of a uchronic reality, in the wake of current violence, wounds of the past and concerns for the future. Selected artists collaborated on the creation of this « final » universe being in between reality and fiction. Through a science-fiction text, sculptures, video and sound installation, engage in meaningful dialogues becoming a gateway to collective contemplation, delving into the complexities of human existence, political landscapes, meeting point between ornamentalism and architecture, and the intimate aspects of our lives.

Carlota De Torregrosa

« (…) Lying on the ground, Marvin was watching the small damaged-wing butterfly that had landed on his thigh a few minutes ago, and that was now stuck in the slimy and quickly forming chrysalis, a mycorrhizal cocoon that would soon swallow the young boy completely. »

Astrid Vandercamere

Alongside Artists Astrid Vandercamere Paola Siri Renard Omar Castillo Photos by Tim Evers

[tristanbrundler]

Diona

Another Land group show at Pilar Brussels Curated by Carlota De Torregrosa

Another Land takes us on an exploration of a uchronic reality, in the wake of current violence, wounds of the past and concerns for the future. Selected artists collaborated on the creation of this « final » universe being in between reality and fiction. Through a science-fiction text, sculptures, video and sound installation, engage in meaningful dialogues becoming a gateway to collective contemplation, delving into the complexities of human existence, political landscapes, meeting point between ornamentalism and architecture, and the intimate aspects of our lives.

Carlota De Torregrosa

« (…) Lying on the ground, Marvin was watching the small damaged-wing butterfly that had landed on his thigh a few minutes ago, and that was now stuck in the slimy and quickly forming chrysalis, a mycorrhizal cocoon that would soon swallow the young boy completely. »

Astrid Vandercamere

Alongside Artists Astrid Vandercamere Paola Siri Renard Omar Castillo Photos by Tim Evers

[tristanbrundler]

Dis

Scenography part of the Opera-theater piece Madrigals

Created by Benjamin Abel Meirhaeghe Musical production by Jesse kanda and Claudio Monteverdi 1

Ch’ami la vita mia nel tuo bel nome par che si legg’ogn’hora; ma tu voi pur ch’io mora. Se ’l ver porti in te scritto, acqueta co’i begl’occhi il cor afflitto, acciò letto non sia ch’ami la morte e non la vita mia.

2

Se per avervi ohimé donato il core nasce in me quell’ardore, donna crudel, che m’arde in ogni loco tal che son tutto foco, e se per amar voi l’aspro martire mi fa di duol morire, miser, che far debb’io, privo di voi, che sete ogni ben mio?

3

A che tormi il ben mio, s’io dico di morire? Questo, madonna, è troppo gran martire. Ahi vita, ahi mio tesoro! E perderò il ben mio con dir ch’io moro?

4

Amor, per tua mercè vatten’a quella che m’è così rubella, e con una saetta passale il cor, e fa di me vendetta. Dille: come potete un qua patire chi tanto v’ama far, donna, morire.

[...]

MONTEVERDI Complete Madrigals SUNG TEXTS

[tristanbrundler]

Zora alven

Royal Academy of Fines-arts of Gent 2021

Conspicuous consumption of valuable goods is a means of reputability to the gentleman of leisure. As wealth accumulates on his hands, his own unaided effort will not avail to sufficiently put his opulence in evidence by this method; so he installs some one to aid him, and the wife, or other women and also servants, perform vicariously the act of consumption for him. Their life of leisure becomes a performative spectacle, adorned with expensive dress, elaborate dwellings, and useless but ostentatious decorations.

All this structure of consumption rests on the base of waste. Waste of goods, waste of effort, waste of life and it becomes honorable and desirable precisely because it demonstrates an ability to waste. Ornaments and refinements, when not functionally required, serve no purpose but to signal distinction. They are not for use, but for show; and in so far as they serve no utilitarian end, they are honorable.

The Theory of the Leisure Class