Monika Gabriela Dorniak
Monika Gabriela Dorniak is a German-Polish artist with an interdisciplinary background in choreography, psychology and design, who often merges media – specifically participatory scores, performance, (textile) sculpture and multimedia. In her practice-based research she is exploring the structures of the Self through a multifaceted analysis of body, mind and environment, by taking into consideration the regressive history of the domination of nature, and social power structures. Her auto-biographical research on intergenerational trauma, migration and belonging is carried forward within her ongoing collaborations with scientists and diverse communities as part of socially engaged commissions, such as Refugee Week London (2021-2022) and Marc Quinn's Our Blood (2018-ongoing). As an artist she has presented her works at international institutions, such as National Gallery Vilnius (2023), Drugo Mare in Rijeka (2022), Uferstudios Berlin (2021), Kommunale Galerie Bärenzwinger in Berlin (2019), Tate Exchange at Tate Modern London (2017 & 2018), Arts Catalyst in London (2016), Foreign Affairs Festival at Berliner Festspiele (2014), and as guest lecturer at SOAS University of London (2022), Garage Museum in Moscow (2019), Al-Quds Bard College in Palestine (2018), and Chelsea College in London (2017). Dorniak holds a Master Degree in Art and Science (Department Fine Art) from the Central Saint Martins in London (2017).
www.monikadorniak.com
https://www.instagram.com/monikadorniak/
RESUME
EDUCATION
since 2024 PhD fellow at HfK Bremen & HDK Valand Gothenburg
2023 - 2024 Guest-student, Freestanding Course, Contemporary Art and Health, HDK Valand & University of Gothenburg, Online
2017 Master of Arts in Art and Science, Central Saint Martins, London, UK
2015 - 2017 Central Saint Martins, London, MA Art and Science
2013 - 2014 University of Arts, Berlin, BA Dance and Choreography
2011 - 2013 University Trier, BA Psychology
2008 - 2010 University of Westminster, BA Fashion Design
SOLO EXHIBITIONS
2023 the (nonmetaphoric) use of the term ‘participation’, InTheCloset, Vilnius, LI
2023 the ease with which [a] may be distorted under the action of [b], Hošek Contemporary, Berlin, DE
2020 If Homunkulus Had A House, Solo Exhibition, ROSALUX, Berlin, DE
2011 Anatomy is Adorning itself, DasWeekend by KV Neukölln, Berlin, DE
GROUP EXHIBITIONS – selected list
2024 48 Hours Neukölln, Kindl Brauerei, Berlin, DE
2024 Walpurgisnacht, Center for Literature, Burg Hülshoff, Münster, DE
2024 What could possibly go right?, Toni Areal, Zürich, CH
2023 CollActive Matters, CLB Galerie, Berlin, DE
2023 WARSAW>KIN<BERLIN, Galeria Promocyjna, Warszawa, PL
2023 WeWater, Symbiotic Lab, Berlin, DE
2023 WARSAW>KIN<BERLIN, Milchhof Pavillion, Berlin, DE
2022 Künstlerische Tatsachen, TRAFO, Jena, DE
2022 Mapping The Cartographic, Drugo Mare, Rijeka, HR
2022 Critical Practice Studio, Haus der Statistik, Berlin, DE
2021 Pop Up Gallery, Art Apart, NAILS Projectroom, Düsseldorf, DE
2021 Rituale der Gegenwart, curated by SALVE, Künstlerhaus Sootbörn, Hamburg, DE
2021 Hold Hands, Kunstverein Leipzig, Leipzig, DE
2021 Black Beemer > White Boomer, City Gallery Pardubice, Prague, CZ
2021 Instability and Precariousness, Millepiani, Rome, IT
2020 Visard, Salve Berlin, Berlin, DE
2020 still connected, Weserhalle, Berlin, DE
2019 The Screen Is Not The Limit, Entkunstung, online
2019 dig:it, Museum of Arts, Arad, RO
2018 Vivid Unknown, ROSALUX, Berlin, DE
2017 10 Jahre, Kunstverein Neukölln, Berlin, DE
2017 This is an Art School, curated by Alex Schady, Tate Exchange, London, UK
2016 Postgraduates Auction with Sotheby, Lethaby Gallery, London, UK
2016 9 Evenings Series, Arts Catalyst, London, UK
2015 Remember Nature curated by Gustav Metzger, Central Saint Martins, London, UK
2012 Wir bauen eine neue Gedankenskulptur, Alte Post, Trier, DE
2011 Koordinaten des Körpers, Kunstraum t27, Berlin, DE
2011 Exposició Síntesi, Festival Tallerts Oberts, Barcelona, ES
PERFORMANCES – selected list
2023 WeWater, Insola, Berlin, DE
2023 School Of Commons, Toni Areal, ZHDK, Zürich, CH
2023 half orphan, half witch, Monster Reloaded, Strandbad Tegel, Berlin, DE
2022 Your Body Is A Water Vessel, TRAFO, Jena, DE
2022 Metamorphosis, Entkunstung x Jakob Kukula Publication, Art Biesenthal, DE
2021 Amplification Of Fluctuations, Uferstudios, Berlin, DE
2019 My Fiction and You, Bärenzwinger, Berlin, DE
2018 Studio Complex, Curator: Alex Schady, Tate Exchange, Tate Modern, London, UK
2016 Why simple, when you can make it complex, Performance Studio, London, UK
2016 Acts Re: Acts, Wimbledon Arts Centre, London, UK
2015 Anthropocentric Choreography, Foreign Affairs, Haus der Berliner Festspiele, Berlin, DE
2014 100 Grad Festival, Sophiensaele, Berlin, DE
2013 CTM Hacklab Presentations, Künstlerhaus Bethanien, Berlin, DE
LECTURING, CURATING, MODERATING & TEACHING
2024 Lecturer, Why Remember?, Peace & Conflict Culture, Sarajevo, BIH
2023 Mentor, University of Arts London, UK ongoing
2023 Curator, Passing on Resilience, Goethe Institute Vilnius, National Gallery Vilnius, LI
2023 Lecturer, CollActive Materials, Matters of Activity, Humboldt University Berlin, DE
2023 Guest tutor, Berridge Programs, FR
2022 Moderator, Reactionary Art, Berlin Art Week, Uferhallen, Berlin, DE
2022 Moderator, Footnotes, School of Commons, Zurich University, Zurich, CH
2022 Moderator, Warding Off, Radio Show, Refuge Worldwide
2022 Guest Tutor, SOAS London, Online
2021 Moderator & Lecturer, Uprootedness & Hybridity, Seminar Series, Counterpoints Arts, UK
2019 Lecturer, Experiencing the Museum, Garage Museum, Moscow, RU
2019 Lecturer, Dublin Glass Biennale, Dublin, IRE
2018 Lecturer, Diversity, Arts and Culture, Berlinische Galerie, Berlin, DE
2018 Guest Tutor, Urban Studies & Spatial Practices, Al-Quds Bard College, PS
2018 Teacher, Anti-University Festival, Arts Catalyst, London, UK
2017 Guest Tutor, BA Fine Art, Chelsea College of Arts, UAL, UK
2015 Lecturer, Diversity, Arts and Culture, Berlinische Galerie, Berlin, DE
STIPENDS, PRIZES & RESIDENCIES
2024 Stadt findet Kunst, Project Stipend, Bezirksamt Charlottenburg, Berlin, DE
2023 Travel Stipend, Goethe Institute Vilnius, LI
2023 Research Stipend, Take Heart, Fonds Darstellende Künste e.V., DE
2023 Hošek Contemporary Prize, Berlin, DE
2022 Residency, Künstlerische Tatsachen, TRAFO, Jena, DE
2022 Sonderförderung, Neustart Kultur, Kunstfonds Bonn, DE
2022 Exhibition and travel funding, Mapping The Cartographic, IfA, DE
2021 Residency, Hold Hands, Online
2021 Stipend, Take Action, Fonds Darstellende Künste e.V., DE
2020 Stipend, Berliner Senatsverwaltung für Kultur, Berlin, DE
BIBLIOGRAPHY
2024 Russo, Silvia. Seduta Artistica. Interview. coming up
2023 Mateeva, Lora. The phenomenological maps of Monika Dorniak. Interview. Coeur and Art.
2022 Mdivani, Nina, Monika Dorniak, and Andro Dadiani. Performance as Activism from Tbilisi to Berlin. Interview. JANE.
2022 Fischer, Leoni, and Symbiotic Lab, eds. MetaMorphosis. Entkunstung.
2021 Umunyana, Dydine, and Isabella Harnick. Students Of Life with Monika Dorniak. Interview & Article. Kind Kulture.
2020 “Past Pieces Merging With What I Call Now.” Out Of Stock, no. 1.
2017 “Metacognitive Tool.” Terra Firma Magazine Issue no. 4.
2016 Sliusarenko, Anastasia. Human being & technology. Interview. Metal Magazine.
2011 “Human Anatomy Is Adorning Itself.” Das Greif Issue no. 5.
COMMISSIONS & COLLABORATIONS – selected list
2017 - ongoing Head of Outreach, Marc Quinn – 100 Journeys, DE, UK & USA
2018 - 2019 Performer, Matthew Herbert – Brexit Choir, DE, UK, IT
2017 Performer, Pauline Oliveros Study Group, Cafe Oto, London, UK
2017 Performer, Robert Whitman, Arts Catalyst, London, UK
2016 Choreographer, Baserange, UK
2014 Choreographer, Rory Pilgrim – Affection is the best protection, NL /DE
2008 Performer, Antje Majewski – Rausch, Kunstverein Dresden, DE
PORTFOLIO
The Aesthetics Of Knowledge (2019-ongoing) is a crystal sculpture series, grown from ethanol, pigments and body-fluids, such as blood and salvia. The material connection, between more-than-human elements and essential substances of the body, builds a clinamenic and non-hierarchic network, symbolising the dependancy of human being to their environment.
Photography: P.L.U.R. (2022)
the ease with which [a] may be distorted under the action of [b] (2023) continues Monika Dorniak’s practice-based research and sculptural series Aesthetics Of Knowledge (2019-ongoing) that engages with humanity's position in the Anthropocene. The work addresses the symptoms of this era, such as alienation and Solastalgia, while also portraying the agency of a hybridised nature. Dorniak perceives the sculpture series as a collaboration with more-than-human agencies, in particular stones and water. Within the scope of the Hošek Contemporary Prize 2023 exhibition, Dorniak implanted the Aesthetics Of Knowledge series into the body of the ship’s architecture. In unison with the encapsulating elements –wood and water– she is creating a site-specific installation that fuses epoxy, textile, wood, fluids and stones with a new auditive score. For this kinetic, installation, Dorniak has bred new crystal stones in alliance with more-than-human-agencies from the waters of the river Spree, thus forming a direct link to the environment. Considering the stones as agencies that perform growth and transformation, the work can be experienced as a hybrid of a performance and an exhibition.
Photography: Mari Vass
Press: Coeur & Art / KubaParis
https://kubaparis.com/submission/423206
The silent sound of dripping, sub rosa.
A remnant limb of a worm-holed cherry tree.
An entrance, a foyer of iridescent walls, leading us back and forth in time.
A pool of growing bodies – glimmering in microscales – acting as reminders of times that have been, or are yet to come.
In the (nonmetaphoric) use of the term ‘participation’ Monika Gabriela Dorniak introduced a site-specific arrangement, that responded to the architectural memory of Vilnius-based project space In the Closet. The solo exhibition presented old and new works of Dorniak’s series Aesthetics of Knowledge (2019-ongoing). The score Your Body is a Water Vessel (2021/2022), for which Dorniak collaborated with sound artist Monty Callaghan, accomponied the installation.
Kindly supported by Goethe Institute Vilnius.
Photography: Laurynas Skeisgiela
Press: Echo Gone Wrong & Art News Lithuania & KubaParis
𝒀𝒐𝒖𝒓 𝑩𝒐𝒅𝒚 𝒊𝒔 𝒂 𝑾𝒂𝒕𝒆𝒓 𝑽𝒆𝒔𝒔𝒆𝒍 (2022) is a multimedia sound score, consisting of two wall paintings (on wood) and a written and auditive score.
The score, written by Dorniak in 2021 as part of Hold Hands residency, and the wall paintings, created in 2022 as part of KT residency, thematises the artists’ ongoing research on humans’ descent from the underwater creature Pikaia, and the intergenerational transmission of traumatic memories.
After reciting the entrancing score at SOAM in 2022, where Australian sound artist Callaghan was presenting work with a similar thematic focus on water, memory and inter-generational phenomena, the clear overlap in the artists’ work compelled them to embark on a further collaborative exploration of 𝒀𝒐𝒖𝒓 𝑩𝒐𝒅𝒚 𝒊𝒔 𝒂 𝑾𝒂𝒕𝒆𝒓 𝑽𝒆𝒔𝒔𝒆𝒍. The resulting 30-minute poetic sound-work provides further insights into Dorniak’s original score by harnessing sound to invite the listener to reclaim their animal body and confront anthropocentric symptoms, such as alienation and Solastalgia.
The two artists presented a live version of the work during the evening programme of the vernissage Künstlerische Tatsachen in Jena on 01.10.22, as well as on thoe Berlin community radio station Cashmere Radio on 5.11.22.
Link to the audio-work & written transcript.
Duration: 30 min.
Score debuted at Hold Hands residency (2021)
Score re-performed at SOAM in 2022
Collaboration debuted at Trafo in Jena (2022)
Collaboration performed at Cashmere Radio (2022)
Above text written in collaboration with Monthy Callaghan.
Photography by Anna Perepechai (Künstlerische Tatsachen).
Supported by Holds Hands & Künstlerische Tatsachen residency.
Photographer: Anna Perepechai (Künstlerische Tatsachen)
Which circumstances define an objects' year of origin, when its' anatomy and spirit is composed by an assemblage that merges past-present-future states – hence has always been and might always be in a state of becoming?
The main protagonist of the sculpture assemblage Pikaia's Ossature (2022 –ongoing) is a crystalline stone that acts as the artists collaborator.
It houses in a skeleton of wood, glass & metal that acts as a porous framework for the growth of the hybrid organism that unites more-than-human & human particles(*²).
The sculpture is inspired by the peep box, one of the first massmedia in Western history (that the artist got to study extensively in the Deutsches Optisches Museum archive in Jena) – the object circulated images of 'the world' and was gaining popularity in the 17th/18th century. Reflecting critically on the monopolistic aesthetic that such mass media began to reproduce, in Pikaia's Ossature the artist searches for a balance in which the central position that human being takes in the world, is shared with its more-than-human agents that co-define its presence.
*²A hybrid state of more-than-human and human agencies is considered here not as a modern, rather original state, that has been neglected as part of the dualistic, binary divisions by the Western world. Paying homage to 'the agency of nature', and to an author that has prominently advocated for it, namely Bruno Latour:
Here lies the entire modern paradox. If we consider hybrids, we are dealing only with mixtures of nature and culture; if we consider the work of purification, we confront a total separation between nature (science) and culture (politics).
The project was supported by Künstlerische Tatsachen residency in Jena, and has first been exhibited at Trafo, Jena (2022).
Photographer: Anna Perepechai (Künstlerische Tatsachen)
Fragility and coherence, construction and deconstruction, boundaries and porosity – these apparent antagonisms are being analysed in Monika Dorniak’s The Amplification Of Fluctuations (2021) together with five dancers. In Dorniak’s choreographed collective work, the interdisciplinary artist continued to search for solidarity in a pluralised society which is hyper-connected and, at the same time, increasingly separated.
Situated in the public place of Berlin’s district Wedding, the dancers were intuitively de/-constructing the foundations of the human community throughout the performance and depicted the anatomy of the ‘singular’ self which is formed by a variety of non-/ human agents. The transformable costume and stage design has continued to play an essential role in Dorniak’s work and formed a moveable frame for the choreography. In her new work The Amplification Of Fluctuations the moveable objects symbolise the essential presence of boundaries, as well as porosity in the formation of the self.
Choreography / Costume / Art direction: Monika Dorniak | Performer: Tasha Hess-Neustadt, Yurie Nishi, Eva Robayo, Yvonne Sembene, Po-Nien Wang | Soundartist: Emiddio Vasquez | Artistic assistance / Photographer: Harriet Meyer | Filmmaker: Antonia Lange | Costume assistance: Justyna Gmitrzuk | Stage design assistants: Lena Wegmann / Christian Ebert
Press:
Tanzraum Berlin (German / English)
In the solo performance and wearable sculpture series Metacognitive Tool (2016-ongoing), the dancer explores the anthropocentric paradox of humanity's position within nature and outside of it. The score is inspired by the artists research on the symptoms of Solastalgia – the alienating feeling towards the accelerated changes of our environment. Working with a wearable sculpture, the dancer embodies the state of the sea-creature (Pikaia) 500 million years ago, and morphs into the physical form of the homo sapiens around 300.000 years ago, before arriving at the present anthropocentric state of being 'homo sapiens sapiens'. Analysing the era of the Anthropocene critically, the performance aims to address the oppression of the nature-human-connection and their impact on the traumatised human and more-than-human landscapes.
Picture shows performance by Ann Francis Ang for Haus der Statistik in Berlin (2021)