souvenir-booth, A5-sized photos

In approaching the Rundgang at the HGB, my preconceptions about this yearly spectacle got distilled into an interactive project. Starting from the narrative of what an amazing feast this had to be, the comparison to an amusement park was made: visitors came to enjoy themselves while experiencing art and getting drunk. With other students, a booth was built up, where the public could buy pictures of themselves looking at art (without the work itself being visible), as a souvenir of the great time they had at the Rundgang.

photos and video / 5’

Shifting the focus on artefacts towards the exterior world, I started collecting objects found on the streets of Leipzig. Most of these things you’d call rubbish that had failed to get into the bin. Using a sensibility towards these discarded things, I reconstructed an attraction that they’d otherwise never obtain. By combining them into bigger sculptures, each piece completes a whole that can be percieved aesthetically again.
By hanging these products in the streets, they were given back to their ‘natural habitat’, namely the everyday world. In this way I hoped to provide them with a public value again. The resulting work is a series of pictures of the in-situ sculptures, as well as a video documenting the action of collecting the original pieces on the streets.

printed photos, sculptures in ceramics, metal, stone, concrete / variable dimensions

These sculptures are made with the purpose of resembling historical or ethnological artefacts. Afterwards, they were photographed as if they actually had such a value. They are part of a series in which a possible history is recreated, imposing a fake meaning on my own sculptures by using techniques derived from artefact photography.
The next step in the process concerns the problem of spacial presentation. Here as well, museal methods of showing artefacts are borrowed, where often the pedestal is seemingly invisible to allow a an ‘objective’ view of the presented object. The importance of these supporters is enlarged, making them part of the sculpture again, asking the question: what exactly is being showed, what is doing the showing?

A telling of my holiday to Portugal, using and editing the footage recorded during the stay. It’s a film combining video, written text, analog and cellphone pictures. In the process of overlapping these different layers, each with its own mode of representation, a multi-faceted story is told, in which the boundary between narrator and narrated is continuously played with.
The film was distributed as a CD on which very personal holiday-memories are kept.

publication / edition of 20

A subjective encyclopedia, in which I give my own definition to all the things I encountered in one day and noted in my sketchbook. This original list of things serves as the index of the encyclopedia. The encyclopedia plays with the concept of what defines a thing and its place in the world, mixing objective fact-stating with personal associations and memories.
The publication is printed with blank pages inserted, which I then used as a sketchbook again, deriving drawings from the already made up definitions.

website, single b&w publication.

A project started from noticing how scarce silence has become in everyday life. Encountered silences are recorded and collected on a blog, where visitors can submit their own silences as well. The blog includes a map tracing the silences, as well as the Silent Manifesto, a text urging to pay more attention to that which can’t be heard.
Looking for more silent media to convey the message, this Manifesto was translated by a sign language interpreter. The stills of her movements are distilled into a book that only makes noise as you flip through the pages.

Linus Bonduelle

*1996 in Oostende, Belgium

http://linusbonduelle.tumblr.com/

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