Ulla von Brandenburg2022-09-29T13:16:11+00:00
Portrait Sinje Dillenkofer - Kubus. Sparda Kunstpreis 2019

Ulla von Brandenburg

b. 1974 in Karlsruhe

lives and works in Paris and Karlsruhe

since 2016 Professorship for painting and graphics at State Academy of Fine Arts Karlsruhe
1998-2004 Studies in Fine Arts at University of Fine Arts Hamburg (Degree Diploma)
1995-1998 Studies in scenography und media art at Karlsruhe University of Arts and Design
2013 Kunstpreis Finkenwerder, Kulturkreis Finkenwerder e.V., Hamburg
2007 Kunstpreis der Böttcherstraße in Bremen, Kunsthalle Bremen
Scholarship, Cité des Arts, Paris
2006 Scholarship, Jürgen Ponto-Stiftung zur Förderung junger Künstler, Berlin
2005 Travel scholarship, Verein Neue Kunst in Hamburg e.V.
Scholarship, Künstlerstätte Schloss Bleckede
2003 Scholarship, Karl H. Ditze Foundation, Hamburg
2022 Masked and above all – discreet, Staatsgalerie Stuttgart
Produzentengalerie Hamburg
Wiener Festwoche, Wien
Walküre, 3rd Act, Staatsoper Stuttgart
2021 Eine Landschaft ohne Blau, wie ungefähr, Weserburg Museum für Moderne Kunst, Bremen
Blaue und Gelbe Schatten in “Voyage à Nantes”, Passage Sainte-Avoye, Nantes
Der absolute Tanz, Georg Kolbe Museum, Berlin
2020 Noire Lumière, How Art Museum, Shanghai
Le milieu est bleu, Palais de Tokyo, Paris
2019 BLAUEPAUSE, Meyer-Riegger, Karlsruhe
L’hier de demain, Mrac, Sérignan
2018 Sweet Feast, Whitechapel Gallery, London
SWEETS, QUILTS, SUN, Kunstmuseum Bonn
Produzentengalerie Hamburg
Der Regung Regel, Mathildenhöhe Darmstadt
Musée Jenisch Vevey
2017 Musée des Beaux Arts de Rennes
Künstlerraum Ulla von Brandenburg, K21 Ständehaus, Düsseldorf
It Has a Golden Sun and an Elderly Grey Moon, Telfair Museums, Savannah
BoCA – Biennial of Contemporary Arts, Lisbon
One and Other, Testing Ground, London
2016 Pérez Art Museum Miami
It has a golden red sun and an elderly green moon, The Power Plant, Toronto
Manchmal Ja, manchmal Nein, Haus Konstruktiv, Zurich
Orange Meets Blue, Kasia Michalski Gallery, Warsaw
Sink down mountain, raise up valley, The Common Guild, Glasgow
2015 Performa, New York City
Objects Without Shadows, Pilar Corrias Gallery, London
Kalns, grimsti ! Ieleja celies !, kim? Contemporary Art Centre, Riga
Baisse-toi montagne, lève-toi vallon (Performance), Kaaitheater, Brussels
Zuvor wie Vorher, Produzentengalerie Hamburg
2014 24 Filme, kein Schnitt, MAMCO, Geneva
Drinnen ist nicht Draußen, Kunstverein Hannover
2013 Innen ist nicht Außen, Secession, Wien
Das Versteck des W.L., Galerie der Gegenwart, Hamburger Kunsthalle
Following the signs, Herzliya Museum, Herzliya, Tel Aviv
Gleich Gleich Gleich, Kiosk, Gent
Eigenschatten – Ombra Propria, Monitor, Rome
2012 Le Granit, Galerie du Granit, Scène Nationale de Belfort
Le chevalier inexistant, Rosascape, Paris
Ulla von Brandenburg. Mirrorsong, Pilar Corrias Gallery, London
2011 Das Versteck des W.L., Produzentengalerie Hamburg
Vitrine de l’Antenne, Le Plateau – FRAC Ile de France, Paris
Neue Alte Welt, The Common Guild, Glasgow
2010 Neue Alte Welt, Art: Concept, Paris
Chorspiel, Lilith Performance Studio, Malmö
K21 Kunstsammlung Nordrhein-Westfalen, Dusseldorf
The Objects, Galerie Saint-Séverin, Paris
2009 Wagon Wheel, Pilar Corrias Gallery, London
Name or Number, Le Plateau – FRAC Ile de France, Paris
Chisenhale Gallery, London
2008 Whose beginning is not, nor end cannot be, IMMA, Dublin
Passengers: 1.8 Ulla Von Brandenburg, CCA Wattis Institute for Contemporary Arts, San Francisco
Wo über dem Grün ein rotes Netz liegt, Kunstverein für die Rheinlande und Westfalen, Düsseldorf
La Maison, Docking Station project Space in Stedelijk Museum, Amsterdam
2007 Karo Sieben, Art: Concept, Paris
Brief oder Neuigkeiten, Produzentengalerie Hamburg
2006 Cinq milliards d’années. Module 1, Palais de Tokyo, Paris, Kunsthalle Zurich
2005 Ulla von Brandenburg, Künstlerstätte Schloss Bleckede
Der Brief, installation in public space, Berlin
I am making a crazy quilt and I want your face for the center, Pavilion Project, Montreal
Fünf sind’s doch schon im ersten Spiel, Trottoir, Hamburg
2004 Ein Mensch ist keine Nadel, Blaue Kugel Hamburg
Ouija, Graduate Exhibition, HfbK, Hamburg
2003 Den Gelben in die Ecke, Doublette in der Mitte, Studiogalerie Kunstverein Braunschweig
2001 Ja. Auch Sie!, Galerie Taubenstraße, Hamburg
2022 Kubus. Sparda-Kunstpreis, Kunstmuseum Stuttgart
Aller contre le vent, FRAC Franche-Comté, Besançon
Mimicry-Empathy, Friche la Belle de Mai, Marseille
2021 Textiles instalativos: del medio al lugar, CAAC, Sevilla
Dance?, Centro Atlántico de Art Moderno, Las Palmas de Gran Canaria
La couleur crue, Musée des Beaux-Art de Rennes
sharity – teilen, tauschen, verzichten, Kunst(Zeug)Haus, Rapperswil-Jona
Children Power, Frac Ile -de-France, Paris, FR
2020 Diversity Untited, Contemporary European Art, New Tretyakov Gallery Moskau, Flughafen Tempelhof, Berlin, Paris
SERIEN. Druckgraphik von Warhol bis Wool, Hamburger Kunsthalle
Group show, Wilhelm Hack Museum, Ludwigshafen
Mask, Galerie C, Neuchâtel
2019 I dreamed I was a house, Casino Luxembourg
Toi qui chemines il n’y a pas de chemin, Red Brick Art Museum, Beijing, CN; Minsheng Museum, Shanghai
Hinge Pictures: Eight Women Artists Occupy the Third Dimension, Contemporary Arts Center New Orleans
L’Adresse du Printemps de septembre, Printemps de Septembre, Toulouse
The Event of a Thread Global Narratives in Textile, Istanbul Modern
2018 Colorama, Le Silo, Château Thierry
Experience Traps, Middelheim Museum, Antwerp
The Flying Land, Jut Art Museum, Taipei
Autofiktionen – Zeichnung der Gegenwart, Wilhelm-Hack-Museums, Ludwigshafen
MIMICRY—EMPATHY, Lajevardi Foundation, Tehran
2017 A look at the French scene, the nominees of Prix Marcel Duchamp, HANGAR H18, Brussels
The Event of a Thread, Institut für Auslandsbeziehungen (ifa), Kunsthaus Dresden
2016 Bühnenreif 1. Akt (1900–2016), Arp Museum Bahnhof Rolandseck, Remagen
Art:Concept Galerie, Paris
2015 Vidéodanse, Le corps en jeu, Espace 315, Centre Pompidou, Paris, FR
Signalwege, Rudolf Virchow Center, Research Center for Experimental Biomedicine, University of Würzburg
After Dark, Oeuvres de la collection du Frac Ile-de-France, Mamco, Geneva
Creating Realities, Goetz Collection, Pinakothek der Moderne, Museum Brandhorst, Munich
The Way We Live Now, Modernist Ideologies at Work, Carpenter Center for the Visual Arts, Harvard
2014 The other sight, Contemporary Art Centre, Vilnius
Something Less, Something More, CNAP, Palais de Tokyo, Paris
Per/Form, How to do things with[out] words, Centro de Arte Dos de Mayo, Madrid
You imagine what you desire, 19th Sydney Biennale, Sydney
Bash, BYRDCLIFFE Kleinert/James Center for the Arts, Woddstock
2013 Film as Sculpture, Wiels, Bruxelles
1966–79, Institut d’art Contemporain, Villeurbanne/Rhône-Alpes
The Objects, Glasgow Sculpture Studios, Glasgow
2012 Andreas Slominski, Christoph Blawert and Ulla von Brandenburg, ph-projects, Berlin
The Way Things Are, Locks Gallery, Philadelphia
Les Matres du désordre, Kunsthalle, Bonn
Tools for Conviviality, The Power Plant, Toronto
Memento Mori, Arario Beijing, Peking
2011 Gespenster, Magie und Zauber in der Kunst, Neues Museum Nürnberg
People Things Enter Exit, Catronia Jeffries Gallery, Vancouver
Chorspiel + Stereoskopisk övning (with Malin Pettersson Oeberg), Bonniers Konsthall Stockholm
Eyes Wide Shut – Contemporary Drawings from Germany, Johannes Vogt Gallery, New York
THE REHEARSAL OF REPETITION, Galerie GRANTPIRRIE, Sydney
2010 Cut. Scherenschnitte 1970-2010, Hamburger Kunsthalle-Galerie der Gegenwart, Hamburg
Light Drifts, Matthieu Foss Gallery, Mumbai
Possible worlds I / Des mondes possibles I, NCCA, Nizhni Novgorod
SIMPLY VIDEO. Bewegte Bilder aus der Kunsthalle Bremen, Kunstmuseum Stuttgart
Being There, Meet Factory Gallery, Prague
2009 Nuit des Tableaux vivants, Musée des Augustins, Printemps de Septembre, Toulouse
Contour, 4th Biennial of Moving Image, Malines
Ein Traum ist alles Leben und die Träume selbst ein Traum, Kunsthalle Lingen
Le sang d’un poète, Biennale Estuaire Nantes, Saint-Nazaire
2008 transformational grammars, Galleria Francesca Kaufmann, Milan
Disarming Matter, Dunkers kultuhus, Helsingborg, SE
Vier, MMK Museum für Moderne Kunst, Frankfurt/Main
That beautiful pale face is my fate, Newstead Abbey, Nottingham
Ghost in The Machine, Kunstnernes Hus, Oslo
2007 Like Leaves, Tanya Bonakdar Gallery, New York
Continuous Project Altered Monthly, CCA Wattis Institute for Contemporary Arts, San Francisco
RE-DIS-PLAY, Heidelberger Kunstverein, Heidelberg
Tanzen – Sehen, Museum für Gegenwartskunst, Siegen
2006 Deutsche Wandstücke, Sette scene di nuova pittura germanica, Museion, Bolzano, Palais für aktuelle Kunst, Glückstadt
Again for tomorrow, Royal College of Art Gallery, London
Motor Immobile, Greene Naftali, New York
Bonanza, Jack Tilton, New York
as if by magic, Art Center/ South Florida, Miami Beach, Miami
2005 Don’t accept manana, Kunstverein Braunschweig
Neue Freunde, Kunstverein Schwaz
I still believe in miracles, ARC Musée d’Art Moderne de la ville de Paris
Jahresgaben 2005, Kunstverein Braunschweig
Jahresgaben 2005, Kunstverein Schwaz
2004 Deutschland sucht, Kölnischer Kunstverein, Cologne
Provide it, Halle für Kunst, Lüneburg
Nobody. Der Graue Zylinder, Merrettich Pavillion, Berlin
Index, Kunsthaus Hamburg
2003 Feine Ware 3, Kunstverein Hamburg
Reward, Blueroom Gallery, London
Zimmer aufräumen, Zupfgeigenhansel kommt, Künstlerhaus
2002 Slow, Shedhalle, Zurich
Jahresgaben 2002, Kunstverein Braunschweig
2001 Wir, Comawoche, Klasse Cosima von Bonin, Hamburg
2000 Die jüngere Generation, Orgelfabrik Karlsruhe Durlach
Neue Blicke. Neue Räume, Schauspielhaus Hamburg

Brandenburg’s multimedia installations fuse elements of theater, dance, and folklore into stage-like productions. The artist intervenes in the sober architecture of the White Cube using color, floor-to-ceiling fabric panels, sculptural objects, videos, and performances to create sensually charged spaces in which visitors can immerse themselves. The resulting works blur the boundaries between performance and reality as well as performers and audience.

Personne ne peint le milieu

The video installation “Personne ne peint le milieu” (Nobody Paints the Middle) immerses visitors in a shimmering blue semi-darkness. They move through a labyrinth of faded fabrics floating in space, on which Brandenburg projects videos reminiscent of underwater shots following a shipwreck. Personal objects—a mirror, shoes, a tambourin—seem to be slowly sinking into the depths. Where do they come from, why are they drifting in the water? The beginning and the end of the story remain open. Detached from their original frame of reference, the objects unfurl a new, independent existence that leaves room for individual narratives.

Blaue und Gelbe Schatten V

In a performance within the fabric installation “Blaue und Gelbe Schatten V” (Blue and Yellow Shadows V), Brandenburg and other performers present themselves as explorers. Assuming different roles and with the help of various props that visitors encounter time and again in the exhibition, they rediscover buried forms of communication.

The focus is on human interaction that takes place via symbolically charged objects, song, and dance. Using language to express feelings and opinions can lead to misunderstandings on the part of others, since words leave room for interpretation. Brandenburg thus dedicates herself to new ways of understanding. Her dramatically staged performances consciously break the rules of classic theater, to which she refers several times in the exhibition. Hence, in contrast to traditional theater models that separate the events on stage from the audience area, performers and visitors share the performance space. The interaction between actors and spectators—that is, including the audience in the artistic act—thus dissolves familiar role models.

White Cube

The “White Cube” describes an unadorned, brightly lit exhibition space. Artworks are hung on white walls, which ultimately draw the viewer’s attention to the objects. In her installation “Color Notation”, Brandenburg transforms the sober surroundings into a colorful fabric setting for objects whose staging follows a different pattern. Instead of focusing on the objects, she turns her attention to making them disappear, to the traces they leave behind. In her video “The Objects” the camera repeatedly loses sight of the objects. Rectangular silhouettes on the fabric suggest shadows from paintings that have long been taken down. Watercolors lie on the floor, seemingly at random. The fleeting character of the setting offers visitors the opportunity to develop their own narrative.

Cyanotypien

The motif of the trace also plays an essential role in Brandenburg’s cyanotypes, an early form of photograph. Here, the paper is chemically treated and turns blue when exposed to light. Everything that comes into contact with it during exposure leaves a shadowy imprint.