Pacific Vein (2024)

“Pacific Vein” takes us through a painterly panorama of the US West. Julian Assange stands between imperial, Roman fake buildings as a soda maker and ponders the digitalization of our world. Around him, hippies, artists and homeless people search for meaning while their messages are captured by surveillance cameras. Media and fictional scenes merge hypnotically with documentary footage. The empire is diligent (fitness, self-optimization) and nervous (military, weapons), the American Dream glitched into a ghostly autosuggestion. Where is the enemy and who has the image rights?


“Pacific Vein” führt die Betrachter durch ein gemäldehaftes Panorama des US-Westens. Zwischen imperialen, römischen Fake-Bauten steht Julian Assange als Brausehersteller und sinniert über die Digitalisierung unserer Welt. Um ihn herum suchen Hippies, Künstler und Obdachlose nach Ausdruck, während ihre Messages von Überwachungskameras eingefangen werden. Mediale und fiktionale Szenen verschmelzen hypnotisch mit dokumentarischen Aufnahmen. Das Imperium ist fleißig (Fitness, Selbstoptimierung) und nervös (Militär, Waffen), der American Dream glitched in eine geisterhafte Autosuggestion. Wo ist eigentlich der Feind und wer hat die Bildrechte?


World Premiere at the 74.Berlinale


St. Mickeyland (2023)



Welcome to St. Mickeyland! In painting-like tableaus, a reservation inhabited by cartoon and media icons is displayed. The assembled characters are in search of meaning in life, reflecting on their creation in the honeypot of capital. While Snow White learns stand-up paddling, Winnie the Pooh gives birth to a descendant, adding a dash of humanity to the fictional shell.


St. Mickeyland

a text by Franz Reimer (curator & artist)

In endlos fliessenden Tableaus führt uns St. Mickeyland durch die surreal verödeten Reservate unserer medialen Kindheitsträume – Träume, die sich ganz und gar in die Hölle unserer sich zu Tode kommerzialisierten Realität verirrt zu haben scheinen.  Wie in einem interdimensionalen Spiegelkabinett trifft hier Paulchen Panther auf den Papst, Donald Duck auf Steve Jobs und die Teletubbies auf Greta Thunberg, Arielle auf Billie Eilish, Spiderman auf Ricky Gervais, Obelix auf Präsident Putin und Micky Maus auf Julian Assange. 
Die Welten von Fiktion und Wirklichkeit scheinen unwiederbringlich zusammen gefallen zu sein – ohne Anfang und ohne Ende, ohne Innen und Außen, ohne Gestern und ohne jede Zukunft – die ausweglose Endlosschleife einer ewig währenden Gegenwart. Die Party, die nie zu Ende geht.
Und so suchen die einsam vor sich hin vegetierenden Comic-Figuren in diesen so trostlos von uns hinterlassenen Landschaften nach einem Lebenssinn. Ihre digitalen Leiber sehnen sich nach Essen und Fortpflanzung, sie rufen nach Gott und träumen von der Möglichkeit des ganz realen Todes. Wir begegnen Schneewittchen, die sich ins digitale Nirvana spritzt, Winnie Puh in tiefsten Depressionen, Skeletor beim angeleiteten Kreativ-Backen und Arielle im Erlebnis-Aquarium eines neon-giftigen Concept Cars.
Dabei stoßen wir immer wieder auf genau jenen Apfel, der uns erst hierhin geführt haben mag – der vielleicht einmal von Verführung, Sünde und der Vertreibung aus dem Paradies erzählte – im kapitalisierten Technologie-Zeitalter aber äußerst gewinnbringend als Versprechen von Erkenntnis, kreativem Eigensinn und der Möglichkeit immer währenden Glücks verkauft wurde. Ein Versprechen, das sich hier jedoch als verhängnisvolle Anleitung zum Unglücklichsein herausstellt und uns letztlich in die unheilvolle Misere von St. Mickeyland gestürzt zu haben scheint. 
Und nun? That’s all folks? Wird nun wirklich nichts mehr gut? 
Ist die Unschuld einer unbekümmerten Kindheit überhaupt noch möglich? Und überhaupt noch zu verantworten, wenn da kein Versprechen mehr ist auf eine bessere Zeit im Angesicht dieser so alltäglichen wie ausweglos erscheinenden Apokalypse?  Wir sind jedenfalls mittendrin. Und wollen vielleicht auch gar nicht hier raus. Bis hierhin lief’s ja immer noch ganz gut.
There is no end till the end! Willkommen in St. Mickeyland!

Cadavres Exquis Vivants (since 2008)

Living Cadavres?

The otherwise proud and headstrong Katherine Hepburn gazes, close to tears and awaiting salvation, at her existence carved in stone. Bewitched into filling up in a coffee maker in a repetitive ritual, the lit fuse only seconds away from explosion. Franz von Assisi, who speaks to the animals, is a coarse guy here, who drivels while feeding a little golden bird, his fidgety lower regions meanwhile attempting to keep a globe rotating in a bonbonnière. The viewer is not really convinced by the butcher boy’s tenderness towards this delicate creature and is left with a sense of foreboding. Or Felix Mendelssohn, the exceptional composer who converted to Christianity, who is here portrayed as a provocative ruffian with the head of a sun-god and the feet of a crab. Back home at the dinner table he provokes a middle-class farce by affronting his mother with his exposed genitals. He does so, as is suggested by the voice-over, in order to finally begin his own life and to impress his sweetheart’s or sister.

Die Herberge (2017)

An einem Ort, der biblische Landschaft und westliche Mythen vereint, steht ein Gebäude – halb Rockerkneipe, halb Bergbauernhof. In dieser Herberge werden alle Wesen aufgenommen, die dieses unwirtliche Land durchqueren. “Die Herberge” ist ein Videogemälde, in dem Vergangenheit und Zukunft zu einem Ort verschmelzen und tiefste Nöte und Freizeitgestaltung einander nicht ausschließen.  Hier kreuzen sich unsere Wege.

In a place where a biblical landscape and western myths converge, there is a house, part biker hangout, part mountain farm. It welcomes all beings who traverse this inhospitable landscape. In „The Hostel“, past and future merge into one place, and deepest misery and recreation are not mutually exclusive. This is where our paths cross.


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Cave TV (2017)

Cave TV: relief projection corpus (150 x 100 x 30cm) + video (31:49, HD, sound), unique work

Cave TV is a video collage projected on a sculptural corpus with a relief-like surface. The video installation reconstructs the social situation similar to a primal campfire or a modern television set-up. Its collaged images are referring to genres, epoches and styles in media history. Refracting media echoes meander on the video sculpture and hypnotize their audience through vivid and ductile projection and shapes. An archaic ritual that questions the gravity of light and darkness.

“It is like a primal campfire that draws the viewer into contemplation on existence within his medial representation.” David L.

Architektura (2015)

Rather than reinventing the wheel, Ulu Braun re-envisions the structural potentiality of the brick, in this revisionist fable of mankind’s urbanization of our planet. Employing playful and visually dense digital collages, Braun’s associative tableaux collate an ‘alternate’ vision of our world, where nature invades the urban (and vice-versa). We’re transported by a comforting narrator through post-apocalyptic, post-capitalist habitats, where the material co-exists with the metaphysical, the literal alongside the figurative (soap-bubble buildings stand alongside ruined churches turned car dealerships). Architektura echoes our civilization’s childlike ingenuity in creation and destruction, as we question the inheritance we pass on to our future generations. (Andrei Tănăsescu, Bucharest)

Vertikale (2013)

VERTIKALE takes us up and away into a hyper-real world of appropriated TV and documentary imagery. This video-collage physically engages the viewer as vertical film shots are merged and mounted to mediate a symbolic journey from the depths of the sea to the peaks of human civilization. Life and the ambition to survive are reflected along a geographical and media-referential line.

FORST (2013)

The narrative video collage FORST spans an arc from a primeval forest saturated in mysticism to the mediatized nature theme park. Athletes pave their way through the thicket of the forest. Hikers and nature lovers indulge in their bodies, while children are under the magic spell of mythical creatures. An ecstatic passion-play about nature, power, and your own decomposition.

The Park (2011)

The Park is a video panorama depicting a space between the domesticated and the wild, a transmission stage between urban and natural environments. It is an autonomous zone with its own rules; in parks, the limitations of daily habits can be breached.The piece is realized through intricate video compositing techniques combining concrete places and characters that are familiar to our daily life experience; architecture, people and symbols. The work plays with themes of urbanity/periphery, rationality/irrationality, tourism, sports and ecstasy.

Atlantic Garden (2010)

Atlantic Garden is a video panorama showing people from different ideological backgrounds grouped around a mansion. Fusing idyllic environments reminiscent of 19th century romanticism and the contemporary ecological movement, the view pans along a cultivated garden with the backdrop opening up to a seaport and, finally, to an ancient amphitheater. The embedded scenes involve amongst others a party-DJ, a childrens church choir, symbolic animals and a political activist.

Maria Theresia and her 16 Children (2011)

History is made every day, in reality as well as with every attempt to narrate it. The same is true for the artist team BitteBitteJaJa, where fact and fiction are mutually dependent. Digitally modified film material ‚“ ads, historical images, madness ‚“ are intertwined in a vortex of historical associations and compiled to create a new coherent flow of history. The content is shaped by 16 portraits of Maria Theresia’s children and a utopian view of a distant Austrian future.

Westcoast (2009)

Westcoast is a panorama-video consisting of interwoven scenes mounted on a coastline – somewhere between Rotterdam and Sydney. Starting from a bubbling primordial soup, the view incessantly pans along an waterfront in the style of a late transnational financial eclecticism and passes by mystical events, such as a giant hippo eating carrots and hectically spinning rubber boats. After a dark spiritual waterway recalling mideval atmospheres, the panorama ends in a cave encommpassing a refuse-Jacuzzi in which a white woman gazes about with melancholy.

Südwest (2006)

Südwest is a detailed and utopic construction of a landscape which unites aspects of tradition and globalization. The video combines idyllic scenes from the European tradition with the catalog-promises of the modern tourist industry to form a panorama which thus recreates the poetic mystique of things so common to our eyes.

Fish Soup (2005)

Mankind history shows that even abstruse ideas like the building of pyramids and moon expeditions are realizable and afterward admired and mystified. The extent, the overcoming of normal physical borders, and the inexplicability of the procedure are playing a large role in that. Fish Soup describes similar to a recipe in the video the preparation of the Mediterranean Sea into a dish.
Fish Soup is Ulu Brauns very first video collage /hybrid video, that he realized together with Alexej Tchernyi. It was based on a “recipe”-idea of Tchernyi and initiated by Braun and his vision of hybrid cinema in 2002. As those methods were rather new, and computers and skills still slow, it took a while that “Fish Soup” could be finished in 2005.