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coin-operated automaton containing a diorama in H0 gauge, based on a scene from Impressions of Africa by Raymond Roussel, 2026
installation, 2026
installation, 2026
inter-media installation, 2025
generative sound installation, 2025
inter-media installation, 2024
16mm film loop, 2023
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I'm currently living in Berlin.
In addition to pursuing a Meisterschüler degree with Prof. Dr. Alberto de Campo at UdK Berlin, I do freelance work in music, sound and media art.
I have performed live and exhibited works both in Germany and internationally, mostly in Berlin and Japan.
Since 2023, I am a member of the Society for Nontrivial Pursuits.
Since 2021, I am involved with the record label Sweet Nectar Tapes. My first LP FOOL OR GENIOUS was released physically and digitally in 2024.
Exhibitions
Education
I am offering sound, composition and music production services, e.g. for film, theater or dance productions. Furthermore, I can offer technical support and solutions for sound and/or intermedia installations, multi-channel spatial sound scenarios and more.
I specialise in hybrid approaches to sound using analog and digital instruments, arrangement and processing. At the center of my sound-based practice is a unique instrumentarium consisting of analog and modular synthesizers, vintage samplers, microphones, acoustic and self-built instruments, amplifiers, various mixers and effects units. As much as I enjoy intuitive, open workflows with hardware, I also passionately use code (SuperCollider, Max) for sound design, composition and generative installation. My experience in recording, producing and mixing spans more than 12 years. I've started doing professional freelance work in 2024.
If you need anything sound-related for your project or are interested in collaborating, don't hesitate to contact me.
Here are some examples of commissioned sound work I have done in the past.
A portrait of me in my studio. Courtesy of Joseph A. Mumm.
...
inquiries, bookings, commissions, your favorite dinosaurs, etc...
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editorially responsible
Luis Brunner
Böttgerstr. 18
13357 Berlin
e-mail: info (at) luisbrunner (dot) de
We are neither willing nor obligated to participate in dispute resolution proceedings before a consumer mediation board.
2026
custom belt-driven mechanism, coin acceptor, aluminum, acrylic, MDF, LEDs, light bulb, bell, solenoid, plaster, paper maché, static grass, decorations in H0 gauge (1:87 scale)
an animated diorama based on a scene from chapter 5 of Impressions of Africa (1910) by Raymond Roussel
Reading Impressions of Africa
for the first time left me spellbound – its vivid and absurd imagery,
described in great detail, immediately drew me into a dizzying, surrealist dream.
Never able to anticipate what would unfold next, I read on obsessively, marvelling at
mysterious machines and strange but artful, ritualistic performances.
Although the mysteries of the first part of the novel get solved one by one
in the second part (through the narration of a rudimentary frame narrative containing
beautiful sections of folkloristic tale), one cannot help but wonder about the "why" of all this.
In his post-humously released, auto-biographic essay
How I wrote certain of my books (1935),
the author revealed multiple wordplay-based methodologies that lie at the center of many of his prosaic works.
Roussel assembled ambiguous word combinations with meticulous care, leveraging them for both
micro- and macro structures for his writing.
Not just in his literary work, but also in his private life, Roussel upheld a system of rules
which he strictly followed. Plunged into a deep personal crisis by the commercial failure
of his debut work, he reverted to subjugating his day-to-day life to a cyclical conception of time.
Repetition, so the logic, would best approximate a state of still-standing time –
which is the closest one can come to banishing death.
Thus, circular structures appear here and there throughout Roussel’s œuvre –
one prominent example being the following passage, which my work is based on. It is the second
in a sequence of "living images" presented by still-standing actors on a theater stage:
Closing once more, the curtains blotted out the divine assembly, then parted anew after several moments’ commotion
to display a fairly complex scene in an entirely different setting.
The left half of the stage showed a tranquil waterway hidden behind a line of rosebushes.
A woman of color, who by her costume and finery seemed to belong to a savage tribe of North America, stood
motionless in a light boat. Alone with her on the frail skiff, a little white girl held in both hands the handle
of a fishing net; with a sharp jerk of her snare, she was yanking a pike from the waves. Lower down, one could see
caught in the mesh the head of the fish trying to dive back into its element.
The other half of the stage depicted a grassy bank. In the foreground, a man who seemed to be running at breakneck
speed
wore on his shoulders a papier-mâché boar’s head, which, completely obscuring his own, made him look like a wild
pig with a human body. An iron wire forming a wide arc was attached by its two ends to the encircled wrists that
the runner held out before him at different heights. A glove, an egg, and a wisp of straw, the spoils of a
fictional theft, were strung on the metal wire at three different points of the graceful curve. The runaway’s
hands were open toward the sky, as if juggling the three objects frozen in their aerial path. The arc, inclined on
a slant, gave the impression of rapid, irresistible momentum. Seen in rear three-quarters view and seemingly drawn
by an invincible force, the juggler appeared to be rushing toward the rear of the stage.
Set back from him, a live goose held a pose as if taking wing, thanks to a kind of glue that attached its
phenomenally widespread feet to the ground in mid-stride. The two white wings were extended broadly as if to power
this headlong flight. Behind the bird, Soreau, dressed in a flowing robe, represented wrathful Boreas; from his
mouth escaped a long funnel of blue-gray cardboard that, striped with fine longitudinal lines copied from those
great breaths that draftsmen put before the lips of swollen-cheeked zephyrs, artfully depicted a tempestuous wind.
The flared end of the light cone was aimed at the goose, chased forward by the gust. In addition, Boreas, holding
in his right hand a rose with a tall, thorny stem, coldly prepared to whip the fugitive to hasten its flight.
Turned almost toward us, the bird was about to cross paths with the juggler, each one seeming to describe in
opposite directions the sharp curve of the same parabola.
In the background rose a golden harrow; behind this, the ass Milenkaya stretched its closed jaw, through which a
seton passed from top to bottom, toward a pail full of whole bran. Certain peculiarities hinted at the subterfuge
used to simulate the painful and hunger-inducing obstacle. Only the two visible ends of the seton truly existed,
glued to the ass’s skin and respectively terminated by a transversal rod. At first glance, the effect obtained
indeed suggested absolute closure, condemning the poor beast to the tortures of Tantalus in perpetuity.
Carmichael, indicating the girl, who, standing in the skiff, was none other than Stella Boucharessas, clearly
uttered this brief explanation:
“Ursule, accompanied by the Huron Maffa, aids the bewitched of Lake Ontario.”
The characters all maintained a sculptural stillness. Soreau, gripping between his teeth the end of his long,
air-colored funnel, swelled his smooth, flushed cheeks, without letting the rose standing upright at the end of
his outstretched arm tremble in the slightest.
P. 77-79 in Impressions of Africa, Dalkey Archive Press, 2011. Translated from french by Mark Polizotti
This quirky motif is followed by the next bizarre display, only to be
taken up again much later in the novel, when a folkloristic tale is recited to give context to the
cursed lake scene:
On the banks of Lake Ontario lived a rich planter of French origin named Jouandon. Recently widowed, Jouandon
transferred all his love onto his daughter Ursule, a charming girl of eight in the care of the devoted Maffa, a
kind and considerate Huron who had nursed the child at her own breast.
Jouandon at the time was prey to the scheming of a busybody named Gervaise, whose ugliness and poverty had left
her an old maid, and who was determined to marry the well-to-do planter.
Weak by nature, Jouandon let himself be snared by the shrew’s adroit semblance of love, and she soon became his
second wife.
From that moment, life in the planter’s house, once so peaceful and radiant, became intolerable. Gervaise had
invited her sister Agatha and her two brothers Claude and Justin to move into the house, all three as greedy as
she was; this infernal clique set the rules, shouting and waving their arms from morning until night. Ursule
became the chief target of mocking comments from Gervaise and her acolytes, and only with great difficulty was
Maffa able to save the girl from the ill treatment they threatened.
After two years Jouandon died of consumption, worn down by sorrow and remorse, wracked with guilt over the
unhappiness he had visited on his daughter and himself by the deplorable union that he hadn’t had the strength to
terminate.
Gervaise and her three accomplices set more fiercely than ever on the unhappy Ursule, whom they hoped to kill off
like her father in order to lay their hands on her wealth.
Outraged, Maffa went one day to visit the warriors of her tribe and described the situation to the old sorcerer
No, famous for his great powers.
No pledged to punish the guilty parties and followed Maffa to the cursed abode.
Skirting Lake Ontario, they spotted from afar Gervaise and Agatha heading to the banks, escorted by their two
brothers carrying a still, silent Ursule.
The four miscreants, taking advantage of the nurse’s absence, had bound and gagged the child, whom they planned to
drown in the deep waters of the lake.
Maffa and No hid behind a clump of trees, and the group arrived at the bank without seeing them.
Just as the two brothers were swinging Ursule’s body to toss it into the currents, No pronounced a magic and
resonant incantation that immediately caused four sudden metamorphoses.
Gervaise was changed into a she-donkey and placed before a pail full of appetizing bran; but, the moment she
approached the abundant sustenance, a kind of seton suddenly passed through her jaws and kept her from satisfying
her ravenous hunger. When, weary of this torture, she tried to flee the frustrating temptation, a golden harrow
rose in front of her, blocking her
passage and unpredictably springing up at any given point of a strictly defined enclosure.
Agatha, transformed into a goose, ran about in a frenzy, chased by Boreas who blew on her with all his might and
whipped her with a thorny rose.
Claude retained his human body but his head turned into a wild boar’s. Three objects of different weights, an egg,
a glove, and a wisp of straw, began jumping from his hands, which uncontrollably and continually tossed them in
the air and caught them again. Like a juggler who, instead of commanding his knickknacks, was at their mercy, the
wretched fellow ran in a straight line, prey to a kind of dizzying magnetic pull.
Justin metamorphosed into a pike and went flying into the lake, which he had to swim around indefinitely at great
speed, like a horse let loose in a giant hippodrome.
Maffa and No rushed to Ursule to rid her of her gag.
Filled with compassion and not one to hold a grudge, the girl, who had seen the quadruple miracle occur, tried to
intercede on her torturers’ behalf.
She asked the sorcerer if there was a way to break the spell, passionately pleading the guilty quartet’s cause,
who according to her did not deserve eternal punishment.
Touched by such goodness, No gave her this precious information: once a year, on the anniversary and at the
precise hour of the incantation, the four bewitched were fated to reunite on the bank at the exact spot occupied
by the donkey, who would alone remain sedentary while the three wanderers rushed crazily onward; this reunion
would last only a second, as the unlucky runaways were granted no rest. If, during that barely perceptible
instant, a generous hand armed with some device managed to fish out the pike and throw it onto the bank, the charm
would immediately end, and the four condemned souls would regain their human form; but even a minor slip in the
liberating gesture would delay any chance at a new attempt for another year.
Ursule memorized every detail of this revelation and thanked No, who returned alone to his tribe of savages.
One year later, a few minutes before the prescribed hour, Ursule climbed into a skiff with Maffa and waited for
the pike near the place where the she-donkey continued to sniff uselessly at her ever-full bucket.
Suddenly the girl saw in the distance, in the transparent waters, the swift-moving fish she awaited; just then,
from two opposite points on the horizon, the boar-headed juggler and the wind-whipped goose came running toward
the same goal.
Ursule vertically dipped a large fishing net, blocking the path of the pike, which dove like an arrow into the
floating device.
With a sudden jerk, the young fisherwoman tried to flip the fish onto the bank. But no doubt their atonement
wasn’t yet sufficient, for the netting, although fine and solid, let the captive through; the pike fell back into
the water and resumed its mad race.
The juggler and the goose, for a moment reunited near the donkey, crossed paths without slowing down and soon
disappeared in opposite directions.
Evidently Ursule’s mishap was due to supernatural intervention, for after that event the meshes of the net
remained intact.
Three new attempts, each one year apart, yielded the same negative results. Finally, on the fifth year, Ursule
made a movement so skillful and quick that the pike landed on the outer edge of the bank, without having time to
slip through the imprisoning weave.
Instantly the four siblings regained human form and, terrified by the prospect of another spell, immediately fled
the area and were never heard from again.
P. 199-202 in Impressions of Africa, Dalkey Archive Press, 2011. Translated from french by Mark Polizotti
My work picks up the cyclical momentum of the tale of the Bewitched People of Ontario Lake and continues it on an orbit of orderly spectacle – in a confined reality that a mind like Roussel’s might have found solace in.
The format of this work is a consequence of my passion for dioramas and automata in public spaces. I am interested in the moment where, through crude movement, a static miniature world starts to come alive and spark an emotional response in human audiences. To the automaton, however, it does not make a difference whether or not an individual is present to observe – it will carry out its rudimentary agenda stubbornly. Then, the spectacle becomes recursive, directed at itself – stripped of an audience, the repetitive movements assume a recreational purpose. The machine's movements are only there to entertain itself, to stay in shape.
In January of 2026, I visited the Warabe-Kan toy museum in Tottori, Japan. On the top floor, there is an automaton by MUTTONI, which is "waking up" every full hour. I like to imagine that, if no visitor is present, the tin toys in the display cases on the opposite side are enjoying the show. This thought fills me with a melancholic joy similar to that which I remember from hours of immersing into Walter Wick’s I Spy books as a kid.
2026
weazel ball toys, metal shelf floors, desk lamp, electric door chime, siren, custom relais-driven mains box, switches
shown at SuperDUO – High-End Elementary Circuit at SANAA-Gebäude, Essen, 20.-25. Oct 2026
The weazel ball is a bizarre toy that 1990s/2000s kids might remember. I think I used to have one back in the day.
Marketed towards toddlers AND cats, I doubt that either one of the target audiences got more than 5 minutes of enjoyment out of this toy. However, I saw a potential in its clumsy movements.
Thus, an ongoing engagement with the weazel ball and its qualities began.
In Is it alive?, the weazel ball becomes a counterpart in both an installation as well as a sound performance. The project shines the spotlight on a small toy with rudimentary movement capabilities, highlighting its dadaist qualities. Through amplification and mapping of its movement to sound parameters, the weazel becomes larger-than-life and assumes a personality.
2026
MDF, plaster, paper maché, dirt, glue, static grass, decoration, stereo audio
shown at UdK Rundgang, Universität der Künste Berlin, 17.-19. July 2026
The forgotten value of rest touches on the importance of rest and recovery. It uses fallows in general and a specific area in Mannheim, my hometown, as a concrete example to discuss the discrepancy between ecological and societal needs for recreation and the economical and political interests of the elite. The model landscape with the work title imprinted in the grass serves as a visual anchor for the narration, which lays out the surroundings of the cut-out model landscape.
2025-6
PLA, projector, LEDs, PIR sensor, Panasonic EC5227WP electric door chime, plastic storage containers, antique picture frame, printed media
shown at VERTEX, Art Center NEW, Yokohama, 14-15. Feb 2026
The abundance of convenience stores and shinto shrines is a prominent feature of Japanese society and culture. Amidst the common sense that they are visually incompatible, I like to imagine them as partners in symbiosis, rather than opponents. After all, they share a common space in Japan's infrastructure – and are open 24/7 for people to visit and take care of their needs, be it spiritual or mundane ones.
© Anak Nieuwenhuis
2025
modified Telefunken tube radio, single-board computer, LEDs, engraved acrylic, lace doilies
shown at UdK Rundgang, Universität der Künste Berlin, 18-20. July 2025
Slowly but surely, cherished channels of communication and entertainment like FM radio or linear television are vanishing into obsolescence – they are clearing their spot at the top of the Olympus of entertainment technologies to make space for algorithmic and machine learning driven systems.
As their respective paths down and up the podium stairs cross, they permeate each other for a brief moment in time.
This work was developed as part of the Timesca(p/l)es group exhibition of the class for generative/computational art at UdK Berlin. I approached all winning songs of the Eurovision Song Contest's over 70 years long history as a corpus of material for a machine listening algorithm to analyze, dissect and reassemble into new compositions. Realized with SuperCollider and FluCoMa.
2024
VW Polo 6R driver's door frame, steel, graph paper, loudspeaker, googly eyes, magnets, projector
shown at SNAKES AND LADDERS, Kunsthaus KuLe, Berlin, 8. Nov 2024
© Nerya Shohat
I remember sitting in the back of my parent’s car, bound for some vacation destination, watching the landscapes brush past the window; I remember breathing against the glass pane in order to fog it up so i could use it as a surface for doodling; I remember falling into a daydream, transforming the real landscapes outside into fantastic worlds...
When I found a disposed-of (but brand new) car door frame on the streets, I decided to use it as a portal to my childhood fantasies through this experience.
I believe that everybody has made similar experiences. The idea to connect not only to my personal memories, but also to a shared idea of childhood, appeals a lot to me.
2023
16mm film, 2:26, loop projection
shown at PROTOCOLS, pandora, Berlin, 9. May 2025
oscillation investigates circular and linear movements within space and time, the concrete and the abstract, the real and the virtual. These dichotomies are being elaborated by employing extended techniques within analog image media. An intuitive workflow introduces elements of surprise and celebrates the aesthetics of pre-digital technologies, transporting them into a post-digital context.
Animations are produced on a modified Vectrex videogame console with built-in vector screen, similar to that of an XYZ-oscilloscope. By using the technique of double exposure, the animations are then superimposed on top of footage filmed in the streets of Berlin.
Produced in context of the Loop, Loop, Loop seminar with Antonio Castles. Thanks to Dongryoung Han, who helped with filming the material.
