UNTITLED SEQUENCE OF GAPS
Vika Kirchenbauer – single-channel video – 12:31 – 2020

Composed of short vignettes in different techniques and materialities, UNTITLED SEQUENCE OF GAPS uses the form of an essay film to approach trauma-related memory loss via reflections on light outside the visible spectrum – on what is felt but never seen. Carefully shifting between planetary macro scales, physical phenomena and individual accounts of affective subject formation, the artist's voice considers violence and its workings, class and queerness not through representation but from within. The flow of images is interrupted by gaps that hold no less significance than the imagery itself. Footage in which public visual memory stands in for personal remembrance exists alongside sequences recorded via infrared imaging and scenes captured under ultraviolet light or microwave radiation. While pondering the effects of the invisible and the power inherent in shifting violence beyond visibility, the piece simultaneously reflects upon the digital archives and technologies that help shape the contemporary human’s relation to past, present and future. Ghosts appear from holes ripped into time by an unremembered childhood, and a recently abolished witch-burning ritual in the artist's rural home town serves as a foil against which to question the politics of visibility.

THE CAPACITY FOR ADEQUATE ANGER
Vika Kirchenbauer – single-channel video – 15:08 – 2021

THE CAPACITY FOR ADEQUATE ANGER constitutes an attempt at a personal and self-reflexive form of artistic critique that considers art, in its production as well as its presentation, from a perspective of class. It explores questions around the intersections of negative affect and political agency, and problematises notions around upward mobility that art both produces and presupposes. Deploying an essayistic approach, the video work reflects upon the manifold meanings of distance in both its subjective and social senses. A return to the village where she grew up after an absence of over ten years marks the point of departure for this video work, which Vika Kirchenbauer produced for the occasion of the her first institutional solo exhibition at the Kunstverein für die Rheinlande und Westfalen, Düsseldorf. Photographs taken on this journey are combined with scans of childhood drawings, CD booklets, family photos and basketball trading cards as well as reframed scenes of an anime series outlining the life of Marie Antoinette through the story of a fictitious and gender-ambiguous guardsperson. Set against a foundational layer of imagelessness, these pictures and sequences come flashing in and out.

Vika Kirchenbauer is an artist, writer and music producer based in Berlin. With particular focus on affective subject formation, she examines violence as it attaches to different forms of visibility and invisibility, and considers the ways in which subjects are implicated in and situated within institutional power structures. Most recently, comprehensive solo exhibitions of Kirchenbauer’s work have been presented at Kunstverein für die Rheinlande und Westfalen, Düsseldorf; and at Kunstverein Kevin Space, Vienna. Her films and installations have been exhibited in group shows and screenings at, among others, the Tainan Art Museum, Taiwan; the Whitechapel Gallery, London; Kunsthal Charlottenborg, Copenhagen; the Berlin International Film Festival, the New York Film Festival and the Toronto International Film Festival. Since 2022 she is Professor of Fine Art / Foundation Class ‘Film/Video’ at the Braunschweig University of Art.