Mobiles Screens
Ulla von Brandenburg has skilfully created an utterly persuasive realm in which film, music, painting, and architecture engage in a subtle interplay of parallels and echoes.
The exhibition has come to be seen as a creative form in its own right: she draws on this to challenge categories and temporalities, combining a baroque vision of life as a dream with the modern vision of life as cinema.
Painted walls, tents, and wall hangings shape playful spaces that echo the carnival tradition, while the unsettling original melodies that accompany her films are reminiscent of an old-fashioned folk repertoire. Her films – long, fluid sequences built around specific architectural settings or decors – seems to have dreamed up the very exhibition they are generally shown at, and not simply because the exhibition also features some of the objects shown on screen. Ulla von Brandenburg sees exhibitions as fables resonant with staged scenes from life in modern society: bumping into people in the street, family get-togethers, and attempts at dialogue. An encounter with an artist who lists Wagner and Demy among her influences.
