about

Kristina Inčiūraitė (LT / IE)
email: kristina.inciuraite@gmail.com
She makes mainly video installations, experimental and documentary films, photographs, musical performances, and sound projects.

“During the creative process, I play with non-identity, false identity, hidden identity, and performative identity in order to question different ideologies, hierarchical social relations, and binary structures that establish differences between genders and subjects. I hope that transformative identity is capable of opening up a new horizon for different scenarios of experience and of breaking the prevailing sociopolitical patterns.” KI

 “Kristina Inčiūraitė, Lithuanian female artist who regularly deals with gender issues, provides another strategy of becoming-imperceptible, because she works not with bodies or substances but with mental images. Inčiūraitė’s videos usually depict female characters in their specific social environment but the most important thing is that these female figures are not visible on the screen. In other words, the visible and perceptible dimension is suspended in order to demonstrate mental connections between what is visible and what remains invisible. This invisibility prompts the spectator to think about the social and political status of those who are missing in the screen. (…)

This specific visual strategy by Inčiūraitė’s videos can be related to Deleuze and Guattari’s idea that subjectivity, desire and sexuality should be detached from its anthropomorphic forms (Deleuze, Guattari 2004a: 324–325) and move toward becoming-imperceptible. Deleuze and Guattari see this move as the only way to evade the molar forms of subjectivity and sexuality and to subvert the dominant regimes of patriarchy. In this sense we can speak about the politics of imperceptibility, which questions the dominant scopic regimes not by demands to make one or another social group visible but by following the path of becoming-imperceptible. Here again all the features mentioned by Deleuze and Guattari become relevant: to become anorganic or imperceptible, to become the asignifying or indiscernible, and to become asubjective or impersonal. All three features are at work in Inčiūraitė’s videos: first there is the dissolution or evacuation of the body, the “organic” body, which is the “natural cause” of representation. When the body is dismantled or lost, representation itself loses its “natural” referential anchor. Second, on the level of signification and interpretation, we enter a zone of indiscernibility where it is impossible to decide between the virtual and the actual, between the real and the imaginary, the visible and the audible. And third, these videos create an impersonal or inhuman perspective where desire is pinned up not to the human subject but to different individualities or heacceities – water, coldness, and duration – the passing of time.”

Reference: Deleuze, G.; Guattari, F. 2004a. “Anti-Oedipus. Capitalism and Schizophrenia”. Trans. R. Hurley,; M. Seem; H. R. Lane. London, New York: Continuum.

Audronė Žukauskaitė “Politics of Imperceptibility: Philosophy, Post-Feminism and New Media Arts”, “Baltic Screen Media Review” 2013, Volume 1, 72–73, 74.
Dr. Audronė Žukauskaitė is senior researcher at the Lithuanian Culture Research Institute and Vilnius University, and is the President of Lithuanian Philosophical Association.