Vika Kirchenbauer

Filmes

The Capacity For Adequate Anger
narrator
The Capacity For Adequate Anger constitutes an attempt at a personal and self-reflexive form of artistic critique that considers contemporary art, in its production as well as its presentation, from a perspective of class. Alongside questions around the intersections of negative affect and political agency, the work problematises notions around upward mobility that the field of contemporary 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.
The Capacity For Adequate Anger
Editor
The Capacity For Adequate Anger constitutes an attempt at a personal and self-reflexive form of artistic critique that considers contemporary art, in its production as well as its presentation, from a perspective of class. Alongside questions around the intersections of negative affect and political agency, the work problematises notions around upward mobility that the field of contemporary 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.
The Capacity For Adequate Anger
Director
The Capacity For Adequate Anger constitutes an attempt at a personal and self-reflexive form of artistic critique that considers contemporary art, in its production as well as its presentation, from a perspective of class. Alongside questions around the intersections of negative affect and political agency, the work problematises notions around upward mobility that the field of contemporary 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.
Sequência de Lacunas Sem Nome
Writer
Um filme-ensaio que trata da perda de memória por trauma com reflexos de luz de fora do espectro visível, e considera a violência e suas engrenagens, e questões de classe e transgênero não por suas representações, mas a partir de dentro.
Sequência de Lacunas Sem Nome
Producer
Um filme-ensaio que trata da perda de memória por trauma com reflexos de luz de fora do espectro visível, e considera a violência e suas engrenagens, e questões de classe e transgênero não por suas representações, mas a partir de dentro.
Sequência de Lacunas Sem Nome
Sound Designer
Um filme-ensaio que trata da perda de memória por trauma com reflexos de luz de fora do espectro visível, e considera a violência e suas engrenagens, e questões de classe e transgênero não por suas representações, mas a partir de dentro.
Sequência de Lacunas Sem Nome
Sound
Um filme-ensaio que trata da perda de memória por trauma com reflexos de luz de fora do espectro visível, e considera a violência e suas engrenagens, e questões de classe e transgênero não por suas representações, mas a partir de dentro.
Sequência de Lacunas Sem Nome
Editor
Um filme-ensaio que trata da perda de memória por trauma com reflexos de luz de fora do espectro visível, e considera a violência e suas engrenagens, e questões de classe e transgênero não por suas representações, mas a partir de dentro.
Sequência de Lacunas Sem Nome
Director of Photography
Um filme-ensaio que trata da perda de memória por trauma com reflexos de luz de fora do espectro visível, e considera a violência e suas engrenagens, e questões de classe e transgênero não por suas representações, mas a partir de dentro.
Sequência de Lacunas Sem Nome
Director
Um filme-ensaio que trata da perda de memória por trauma com reflexos de luz de fora do espectro visível, e considera a violência e suas engrenagens, e questões de classe e transgênero não por suas representações, mas a partir de dentro.
Special Works School
Assistant Camera
‘Special Works School’ was the codename used by the British War Office between 1917-1919 for a group of artists tasked with the job of ‘camoufleur’ - painters, textile artists, scenographers, designers, sculptors and scenic painters who were employed by the military to work specifically on developing camouflage technology. The artist, armed with the skill of rendering their surroundings with utmost acuity, was appointed to remove things from the realm of perception. Bambitchell’s ’Special Works School’ takes its name from this military unit to investigate the connections between artistic practice and surveillant technologies. With this video, the duo ask what an overtly aesthetic approach to surveillance can render visible, or invisible. By framing surveillance as an aesthetic practice, ‘Special Works School’ hones in on the psychic, embodied and material dimensions of surveillance - both from the position of the surveillor and the surveilled.
M/M
Matthias' Mother (voice)
Wayward Canadian, Matthew, crushed by the isolation of being new to Berlin, turns his sexual desires toward Matthias that spiral into a dark fixation of assumed identity. Soon, this obsessive power struggle between the two, careens toward brutal passion and violence in a bid for dominance.
She Whose Blood Is Clotting in My Underwear
Made for the performance project Cool For You, this video follows an artist’s research on thermal vision and the enhanced gazes of modern warfare. She uses these technical means to discuss intimacy and the body.
She Whose Blood Is Clotting in My Underwear
Director
Made for the performance project Cool For You, this video follows an artist’s research on thermal vision and the enhanced gazes of modern warfare. She uses these technical means to discuss intimacy and the body.
You Are Boring!
Director
YOU ARE BORING! discusses the troublesome nature of “looking” and “being looked at” in larger contexts including labour within the new economy, performer/spectator relations, participatory culture, contemporary art display and queer representational politics.
Kingdom Comes: Rituals
Producer
This is a large projection of aerial footage that has been shot by pigeons equipped with lightweight digital cameras. With heavy wind and the nervous flapping of wings the viewer gets only a fractured impression, though immediately identifiable, of a political demonstration.
Kingdom Comes: Rituals
Director
This is a large projection of aerial footage that has been shot by pigeons equipped with lightweight digital cameras. With heavy wind and the nervous flapping of wings the viewer gets only a fractured impression, though immediately identifiable, of a political demonstration.
Please Relax Now
Director
PLEASE RELAX NOW uses the screen as a source of light and darkness drawing attention to the issue of art consumption as individual vs. collective experience and extending it into physical space. Motivational language is interwoven with metaphysical gestures of salvation characteristic of economics as well as of what is considered "Political Art."
Like Rats Leaving a Sinking Ship
Editor
Rats are glorious deserters and we must admire them. Rats don't want to be captains trying to keep the cause afloat. But swim on open water.
Like Rats Leaving a Sinking Ship
Director of Photography
Rats are glorious deserters and we must admire them. Rats don't want to be captains trying to keep the cause afloat. But swim on open water.
Like Rats Leaving a Sinking Ship
Writer
Rats are glorious deserters and we must admire them. Rats don't want to be captains trying to keep the cause afloat. But swim on open water.
Like Rats Leaving a Sinking Ship
Rats are glorious deserters and we must admire them. Rats don't want to be captains trying to keep the cause afloat. But swim on open water.
Like Rats Leaving a Sinking Ship
Director
Rats are glorious deserters and we must admire them. Rats don't want to be captains trying to keep the cause afloat. But swim on open water.
Gêmeos
Bachelor
Na véspera de seu casamento, Daniel se reencontra com seu verdadeiro amor - seu irmão gêmeo idêntico, Jan. Nos últimos cinco anos, ele foge de seus sentimentos. Agora, em sua noite de despedida, ele está sendo testado mais uma vez.