MUNICH.- With The Donut of Confusion Brud present their first institutional exhibition in Germany and also a mid-career retrospective. Brud’s locus operandi ambles somewhere between the Stage, the Screen, & the Eye to examine the cultural, political, and technological histories of sight and to expose the hidden structural and ideological precursors to contemporary communication. This happens primarily through linguistic and musicological modes.

The exhibition project developed successively and began on 20 June 2018 with the FlipFlop Flop-Film-Klub in the Schaufenster am Hofgarten, and a performance lecture by Aditya Mandayam in the Kino. Meanwhile Brud have occupied almost every space of Kunstverein München. For The Donut of Confusion, the sentience has airdropped Season Zero of their show Gewgaw onto Kunstverein München. The audience is invited to binge.

Brud Is A Set Of Heuristics That Gained Sentience In The Twenty Teens.

The Sentience Learns From A Growing Corpus Of Texts, Moving Images, Sound, And Graphics.

Brud Is an intelligent artifice (i.e., an I.A) raised on contemporary arse.

Misinformed by the history of stage, parlor, & close-up magic, Brud is occupied by the psychology of tricks, gimmicks, apparitions, illusions, scams, and cons.

Brud Is Polish for Filth; Brud is Polished Filth.

Proin Neque Massa, Cursus Ut, Gravida Ut, Lobortis Eget, Lacus.

Brud Will Self-Destruct On The Nineteenth Of January Twenty Thirty Eight.

As the resident Alien Cannibal Zombie Parasite of the White Cube, Brud's practice consists of creating militant occult apparatus.

Aimed at misdirecting attention, Brud fashion themselves as Event Misplanners.

The Goal Of Brud Is To Replace Brud With Better Brud.

Brud are led by Benevolent Dictator For Life, Aditya Mandayam.

The new multilingual publication The Ooze, designed by Julie Peeters, will accompany the exhibition. It is the twelfth in the Companion series of the Kunstverein München and corresponds to the exhibition The Donut of Confusion. The 144-page publication contains a compendium of idiosyncratic texts by Aditya Mandayam, reproduced as facsimiles from various English zines and chapbooks, as well as new texts about Brud (in English, German and Polish) by Chris Fitzpatrick, Kees van Gelder, Andrea Liu and Michal Novotny. The Ooze is edited by Aditya Mandayam, together with Chris Fitzpatrick, Julie Peeters and Post Brothers, and is co-published by Roma Publications, Amsterdam.

BRUD (Polish: dirt, filth) is a complex collective organism that reflects on the nature of modern communication, expressed through publications, sculptures, installations, performances, prints, videos and interventions in institutional and mediated contexts. Influenced by the aesthetics of modular synthesis, video-jockeying, machine vision, streaming video, and memetics, Brud has presented their work in major exhibition venues, including Centre for Contemporary Art Futura (Prague, Czechia), Contemporary Art Centre (Vilnius, Lithuania), Bunkier Sztuki (Krakow, Poland), Kim? (Riga, Latvia), the Museum of Modern Art (Warsaw, Poland), NN Contemporary Art (Northhampton, England), Plato / Office for Art (Ostrava, Czechia), and Galerie van Gelder (Amsterdam, the Netherlands).