The development of the VideonaleOnlineArchive was supported by

Contact us

Videonale e.V. Phone +49 (0)228 77 62 21
im Kunstmuseum Bonn Phone +49 (0)228 69 28 18
Friedrich-Ebert-Allee 2 Fax +49 (0)228 90 85 817
53113 Bonn  

Ulu Braun

*1976 in Schongau, lives in Berlin GER, and Helsinki FIN
Studied at Hochschule für Film und Fernsehen, Potsdam GER and Universität für Angewandte Kunst, Wien AUT

 

Exhibitions [selection]:

 

2012 Photo L.A, Los Angeles USA

2011 Facing Portraits, C.Rockefeller Center for Contemp.Art, Dresden GER [S]

         Parks, Galerie Olaf Stüber, Berlin GER [S]

         The Return of the Losers, Kalmar Konstmuseum SWE

2010 Lands End, Shedhalle, Zürich CH

2009 VIDEORAMA, Kunsthalle Wien AUT

         ÜLÄ - a half utopian Broadcasting Company, Lönnström Art Museum, Rauma FIN [S]

2008 Ulu Braun, Brussels Flamingo, Contemporay art and New Media, Brüssel BEL [S]

         Trunk 2007 - special programm Färgfabriken, Stockholm SWE [S]

2006 4th International Media Art Biennale Seoul, Kit-Show, Kumho Museum of Art, Seoul KOR

 

http://ulubraun.com/

x

Ulu Braun [Videonale.10]

 

Ulu Braun [Videonale.10] x

Die Flutung von Viktoria, 2004, 25:00 min, sound, colour [Videonale.10]

With a bizarre procession, the inhabitants of the Victoria Plains celebrate being relocated in preparation for the permanent flooding of the area in which they live. A group of tourists travel by coach one last time through the dream landscape, in which antique ruins and futuristic greenhouses bear witness to human civilization's faith in progress. But then the coach has an accident and the group of travellers is suddenly marooned in the wilderness with no hope of rescue. The utopian Victoria district becomes the backdrop for a surreal drama in which archaic motifs and modern lifestyles collide. These contradictions can also be seen among the protagonists: while the urbane tour guide, Henkel, is planning a diving expedition in the future underwater world, the melancholy man in the yellow suit is longing for water as a possible return to mankind's origins. The use of puppets transports the oppressive scenario to the realm of fantasy and fairytale, conveyed by the expressive faces and the real movements of the figures.

Stefanie Stallschus

 

Ulu Braun [Videonale.11] x

Fish Soup, 2006, 10:00 min, sound, colour [Videonale.11, together with Alexej Tchernyi]


Fish Soup spirits the viewer away to an Italian seaside village, inviting him to witness what the inhabitants are up to in a variety of settings: banal everyday situations are joined by bizarre constellations that gradually reveal a common theme: people´s careless encroachment on the environment. The story culminates in a series of violent explosions beneath the surface of the sea: the contaminated water boils, steam rises, dead fish float up onto the surface. And yet the far-reaching implications of what they are doing - the destruction of the environment - does not seem to worry the residents in the least. Instead, they seize on the catastrophe as an occasion for wild celebrations and begin to spoon up the fish soup they have prepared. The people´s guileless behaviour is conveyed by means of colourful, naive-looking imagery. Various animation techniques both embellish the events and pass over them. Braun and Tchernyi not only deliver here socially critical food for thought, they also encourage the viewer to reflect on his own treatment of the environment.

Julia Kürten

 

Ulu Braun [Videonale.12] x

 

Rhabarber Boy, 2007, 14:53 Min, sound, colour [Videonale.12]

The story is outlined at the location of the film´s initial sequence: a rhubarb bed has become a jungle, dragonflies and silhouettes of pterosaurians are seen in the sky; in the midst is a boy, naked except for a loincloth, cutting up his wild game. Far from any sort of civilization, the lone boy hunts not only for himself, but also to appease the greedy pterosaurians day after day. Other elements of the narrative are a golden cigarette and a collage made of torn-up comics, which he keeps in his dwelling. As central motifs, they seem to puzzle the boy, a riddle he seeks to solve. One night, the boy discovers an odd trio in a hole in the ground: an Indian, a superheroine, and a blue bear. His initial joy over the comic-strip characters does not last long, since the mood in the pit increasingly takes on threatening aspects: the Indian changes into a howling wolf, the superheroine calls out as if issuing a challenge to battle, and the little blue bear discovers its sexuality. Together, the three hunt dragonflies and begin killing them so brutally that the boy must ultimately intervene. He becomes active, and the original, paradisiacal situation of the first sequence seems reestablished. However, the circumstances have undergone a fundamental alteration. Braun´s filmic video installation Rhabarber Boy is a reflection on a child´s imagination and raises the issue of moral responsibility in the entertainment industry.

Kristina Preis

Ulu Braun