In his work, Julian Kirschler confronts the fault lines of our time: the persistence of patriarchal power structures, the normalization of violence, and the growing fragility of democratic values. His exhibition DER RAUM DES UNBEHAGENS unfolds as an immersive environment in which installation, film, sculpture, and sound converge to create a space of aesthetic seduction and ethical unease. Presented in the historically and spiritually charged setting of the Galiläakirche in Berlin, Kirschler’s works probe the continuities between religious iconography, contemporary politics, and the resurgence of reactionary ideologies. In this conversation, he speaks about the evolution of IN NOMINE PATRIS, the role of sound and site, and the urgent need to confront societal divisions rather than retreat into comfort.

Starting from the work In Nomine Patris, which addressed abuse of power within church structures: how has this focus expanded for the Berlin exhibition at Galiläakirche—particularly with regard to power, violence, conspiracy beliefs, and the erosion of democratic values?

At their core, most of the works examine the underlying patriarchal structures rooted in the biblical order of creation and its prescribed gender roles. A formerly sacred space is therefore the perfect setting to bring these issues into focus. Sexualized violence, imperialism, and war are expressions of these structures. Instead of continuing to dismantle and overcome them in an ongoing process of progress, we are witnessing a global resurgence of reactionary tendencies. More than that—fascism is experiencing an inexplicable and frightening renaissance, and its abyssal theses are once again becoming socially acceptable.

The Galiläakirche is a space charged with religious, historical, and social significance. How does this specific site shape your artistic decisions, and at what point does the space itself become an active part of the work?

The premiere of the work cycle DER RAUM DES UNBEHAGENS took place in 2024 in an old slaughterhouse. However, it was always my intention to present the exhibition module—especially the IN NOMINE PATRIS altar—in a sacred space. Not least because the seven deadly sins of our time that I reinterpret and negotiate—ignorance, denial, obsession with masculinity, self-destruction, infallibility, rage, and hate—are further intensified by the church setting.

In the exhibition, different media merge into an immersive experiential space. What role does sound—particularly through headphones—play in shaping the individual perception of visitors?

For technical reasons, we had to limit ourselves to soundscapes for three works in the Galiläakirche. I chose IN NOMINE PATRIS, THE TABLE II (Peep-Show), and FAMILIENNAME.BEEINFLUSSEN.WEINEN—the three pieces in which the soundscape subtly enhances the mood and irritation, thereby intensifying the impact on the viewer. At the same time, it was essential to present the animated film in THE TABLE II with sound, as it is a homage to Zabriskie Point by Michelangelo Antonioni.

You consciously work within the tension between aesthetic seduction and confrontation. Where do you draw the line between aesthetic impact and ethical responsibility, particularly when dealing with violence, hate speech, or images of war?

The IN NOMINE PATRIS altar was my first installation work. It emerged from the idea of elevating the theme of abuse to a more abstract or meta-level by using broken toy figures as stand-ins. The same applies to the animated film in THE TABLE II, which is presented in a peep-show booth and addresses war, yet deliberately refrains from depicting human suffering and death directly. It is important to me not to retraumatize people who have experienced war or abuse by confronting them with explicit imagery.

Your works engage with social transformation and the fragility of democratic systems. How have recent political developments shaped your perspective, and how is this reflected in DER RAUM DES UNBEHAGENS in Berlin?

Recent developments have not changed my perspective, as I have been dealing with these issues for years and am fully aware of their urgency. What has increased, however, is the pressure to bring these themes into public discourse. As a society, we must confront them, debate them—and, as difficult as it may be, step outside our own bubbles, engage with those who think differently, and attempt to overcome polarization.

The exhibition presents itself as a space for self-reflection. What questions or inner tensions do you hope to provoke in the audience?

The central question is already embedded in the exhibition’s title, which is prefaced by a quote from Ödön von Horváth: “I am actually quite different, but I so rarely get the chance to be.” Through this lens, we can examine our self-image and ask ourselves to what extent we are betraying our own value system.”