Ulu Braun, a “critical new romantic” (Hajo Schiff, taz, 2010), creates new worlds in his collages. His main medium is film/video. In his wall-sized projections, imaginary cameras fly through bizarre virtual worlds reminiscent of video games, within which numerous little minidramas take place. Yet what initially seems like an artificial paradise is consistently disturbed by various distressing details, so that anything idyllic is always offset by something disastrous.
Braun’s specific objects appear to have their origins in these virtual worlds. His Plankton shows a chimera of chicks and an oily prawn tail on some blood-soaked pumice stones: innocent cuteness vs. brutal reality – an image which clearly creates associations with environmental pollution and genetic engineering.

— Felix Kucher

Working with Roland Rauschmeier (‘BitteBitteJaJa’ together), in the series Cadavres Exquis Vivants Ulu Braun transfers the term ‘Cadavre Exquis’ to his video art, a method of surrealism in which several people create a text or drawing at random without knowing what the other person has created beforehand. The video collages based on them feature brief, repetitive, animated portraits of famous people constructed from various picture fragments. They appear in an absurdly composed, lively physical image placed within a surreal context in which they are deprived of their celebrity symbolism and yet at the same time are reduced to this.

— Magdalena Koschat

Collage techniques are a significant component in the artistic works of Ulu Braun, both in his video art and his objects. Here he combines unrelated everyday objects such as foods, sports equipment, dolls, animals’ heads and other objects made from a range of materials to form wonderful arrangements with surrealist tones. His ‘objets trouvés’ are sourced from the themes of nature/anti-nature, colonialism, primal sculpture and archaic gestures.

— Magdalena Koschat