Monika Dorniak
Artist & Researcher, et cetera ︎
Some Times
We Know
Some Times
We Do
Some Times
We Are
And / Or Not
News
︎ 2018
01.06.-03.06.
Expedition IV
Group Exhibition
Salve Berlin, Berlin
18.06-24.06.
The Vivid Unknown
Group Exhibition
rosalux, Berlin
Rhizomatic Assemblage
2018
'Rhizomatic
Assemblage' (2018) took place at the Central Saint Martins takeover of
Tate Exchange at Tate Modern, London. The CSM exchange
Studio Complex, and introduced alternative methods of art production in
economically/politically challenging times, presented by
students/alumni/staff of CSM.
Dorniak's response was a ‘studio’ (19/01) that existed by the participation of the Other/s: forming a rhizomatic assemblage, it grew by interaction and physical/mental movement. The (re-)gaining of independence of the self and proliferation of space for new connection are central points for contemplation.
Within two hours the participants dedicated themselves to body/mind exercises, and small sequences of solo and partner work. In the second part, the participants of the workshop were performing in the Tate Exchange. Based in the fith level of Tate Modern, Tate Exchange is used as a possibility to bring together the public with experimental projects. There is no stage, but a public space; hence the audience and parallel actions and exhibited art works interact with the performance.
This project built upon the artist's research on community, bio-rhythms and the psychosomatic, with a special focus on dance.
Performers:
Hediyeh Azma, Lou Barnell, Sumedha Bhattacharyya, Margherita Borg, Isabelle Sidony Capper, Kendra Chiagoro-Noel, Chiara Favaretti, Theresa Goessmann, Eloisa Lamilla Guerrero, Beatriz Herrera, Rumeng Li, Angeliki Margeti, Nena Robertson, René Scheibenbauer, Lydia Walker, Ella White, Yang Zhao
Dorniak's response was a ‘studio’ (19/01) that existed by the participation of the Other/s: forming a rhizomatic assemblage, it grew by interaction and physical/mental movement. The (re-)gaining of independence of the self and proliferation of space for new connection are central points for contemplation.
Within two hours the participants dedicated themselves to body/mind exercises, and small sequences of solo and partner work. In the second part, the participants of the workshop were performing in the Tate Exchange. Based in the fith level of Tate Modern, Tate Exchange is used as a possibility to bring together the public with experimental projects. There is no stage, but a public space; hence the audience and parallel actions and exhibited art works interact with the performance.
This project built upon the artist's research on community, bio-rhythms and the psychosomatic, with a special focus on dance.
Performers:
Hediyeh Azma, Lou Barnell, Sumedha Bhattacharyya, Margherita Borg, Isabelle Sidony Capper, Kendra Chiagoro-Noel, Chiara Favaretti, Theresa Goessmann, Eloisa Lamilla Guerrero, Beatriz Herrera, Rumeng Li, Angeliki Margeti, Nena Robertson, René Scheibenbauer, Lydia Walker, Ella White, Yang Zhao
U+221E, 25.05.15
2017
U+221E, 25.05.15 (2017) is an installation containing 207 inkjet
transparency film squares, that were handscissored and fingerprinted within the process. The squares are partly stored in two
four-square polystyrene boxes that are sellotaped. The print is representing
a photograph taken with the artist’s smartphone in 2015.
For the 10-year-anniversary exhibition of Kunstverein Neukölln I was invited to present a work reflecting on a personal/collective occurrence that took place between 2008-2017. I chose a picture that I took/shared on 25.05.2015 and multiplied it digitally, then analogue.
This work in progress is from my series 'Representation, Precognition', and was on view 16.12.2017 - 28.01.2018 at Kunstverein Neukölln, Berlin.
Reclaiming the alienated Self
2017
Dissertation, MA Art and Science, Central Saint Martins.
Published in the LABS Database
Abstract:
The unpredictable shift from the natural world to the (digital) technological sphere confronts body and mind with a variety of new challenges. A lack of physical sensations, loss of identity and increasing self-awareness lead to isolation and alienation. Although neurological researchers are only beginning to understand the relation of mind and body, technological inventions are offered to the conditioned consumer who commits to alterations. Critical voices perceive the postdigital era as an awake nightmare that urgently requires models by which human being can live in balance with technology. Returning to past handworks and somatic practices, such as contemporary dance could treat man- made damages, yet reclaiming the self demands an examination of man-made failure and a collective solution. My work involves the interdisciplinary collaboration with contemporary dancers and handworkers, where I analyse the importance of habitual mind-, body- and groupwork through workshops and personal experiences. Furthermore I am holding ongoing interviews with professionals with different backgrounds, and undertook internships in neuroscience and fashion design. Secondary research on self and culture in psychology and philosophy function as sources of information and enrichment of vocabulary. This study is part of an ongoing research project analysing the changes of mind and body through technological alterations and sociological misconceptions (racism and sexism). In analysing these changes from a female perspective, and through interdisciplinary collaboration, this research will increase an understanding of underrepresented areas. Simultaneously it will be used for workshops in the arts to provide independent knowledge on Self and Culture, and to produce works that engage the viewer to reflect on the above issues.
Abstract:
The unpredictable shift from the natural world to the (digital) technological sphere confronts body and mind with a variety of new challenges. A lack of physical sensations, loss of identity and increasing self-awareness lead to isolation and alienation. Although neurological researchers are only beginning to understand the relation of mind and body, technological inventions are offered to the conditioned consumer who commits to alterations. Critical voices perceive the postdigital era as an awake nightmare that urgently requires models by which human being can live in balance with technology. Returning to past handworks and somatic practices, such as contemporary dance could treat man- made damages, yet reclaiming the self demands an examination of man-made failure and a collective solution. My work involves the interdisciplinary collaboration with contemporary dancers and handworkers, where I analyse the importance of habitual mind-, body- and groupwork through workshops and personal experiences. Furthermore I am holding ongoing interviews with professionals with different backgrounds, and undertook internships in neuroscience and fashion design. Secondary research on self and culture in psychology and philosophy function as sources of information and enrichment of vocabulary. This study is part of an ongoing research project analysing the changes of mind and body through technological alterations and sociological misconceptions (racism and sexism). In analysing these changes from a female perspective, and through interdisciplinary collaboration, this research will increase an understanding of underrepresented areas. Simultaneously it will be used for workshops in the arts to provide independent knowledge on Self and Culture, and to produce works that engage the viewer to reflect on the above issues.