Ulla von Brandenburg, Elisabeth Dmitrieff, 2018, watercolor on assembled paper, 39 3⁄8 × 31 1⁄2".

Ulla von Brandenburg


The title of Ulla von Brandenburg’s recent show—eighteen letters in seemingly random order, neither alphabetically arranged nor legible as a unit another way—was also that of the film shown there: C, Ü, I, T, H, E, A, K, O, G, N, B, D, F, R, M, P, L, 2017. While one wondered what this might be an abbreviation for, and how it might relate to the other works in the space, the series of vowels and consonants subliminally leaked into one’s consciousness, as a sung melody that quietly filled the gallery as the soundtrack of the ten-minute-long (looped) 16-mm film. The film was projected onto one of the sections of fabric with which the artist had clad the gallery’s walls: One room was bedecked in pale green-gray, another in warm orange. Rectangular, darkened fields on this dyed fabric (applied using ink in matching colors) created an impression of vacancy, as if paintings had once hung there

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