Monika K. Adler is a Polish artist and film director based in London, The United Kingdom. Her film and photography work has been both critically acclaimed and generated a significant following drawn from audiences worldwide. She is currently working on her debut feature film SICK BACCHUS.
She has been nominated to Hundread Heroines (2018) – The Royal Photographic Society campaign to honour one hundred photographic heroines; Christie’s First Open (2015); Film Awards for Films On Art, FESTIVAL TEMPS D’IMAGES PORTUGAL (2014) and more.
Her works have been shown in exhibitions, video art and film festivals internationally. These have included: Gwangju Biennale, South Korea; Open Eye Gallery, Liverpool; House of the Parliament of the United Kingdom; Gislaveds Konsthall, Sweden; Cannes FF, The State Museum of Gulag, Moscow; West Den Haag, The Hague, Netherlands; CICA Museum, Czong Institute of Contemporary Art, South Korea; Museum of Image and Sound, Florianopolis, Brazil; Edinburgh International Festival, BBC 100 Women, London; The National Art Gallery Wozownia, Torun; Poland; Façade Video Art Festival, Plovdiv, Bulgaria; National Press Gallery Seoul, Korea; Ilmin Museum, Seoul, Korea; Museum of New Art, Detroit; London Arts Festival; Films On Art, Portugal; EAI, San Diego; Zeta Art Center & Gallery, Tirana, Albania; Sobering Gallery, Paris; National Institute of Fine Arts, Tetouan, Morocco; Sala Rekalde, Bilbao, Spain; Galerie La Tour, Paris and the Second International Festival of Photography, Lodz, Poland.
She is best known her avant-garde films such as The Beauty of the Shadow, 2011, Chernobyl of Love, 2012, Purification, 2012, Misery of my soul, 2012, Wolfe von Lenkiewicz – Portrait of the artist, 2012, Come back to the trees, 2013, Mutability, 2013, On being an Angel, 2014, Involuntary Memory, 2014, Simone de Beauviur told me, 2016 as-well as the photography collections: Emigree 2019-2021, Nokturn, 2002, Sacred Flesh, 2003, Towards Abyssinia, 2016-2018, Yggdrasil, 2015-2018, Mademoiselle Guillotine, 2004, Travel no End 2005-2018, Chernobyl of love, 2011, Anxiety & Neurosis, 2012-2018, Existence, 2013-2018, Coyote, 2013-2018 and Beyond Time, 2014-2019.
Monika K. Adler’s films and image-based works have been the subject of a number of academic studies and essays and published in numerous magazines and publications.
“Historical violence haunts the short films of Monika K. Adler. The bodies of her female protagonists are carriers of traumatic memory. Even apparently consensual encounters carry this residue of past horrors. The contagion of mass violence, invading waves of fanatics inspired by the pure rage of true belief to shattering acts of violation and subjugation inform every frame of Adler’s films. Yet her short films are intimate and minimal, the majority of them limited to two figures, one male, one female; domestic melodramas of desire, estrangement, sorrow and rage. The males however continue to carry with them the threat or at least the echo of the past’s marauding ravagers or act as inheritors and enforcers of oppressive and brutal orthodoxies: The women appear perpetually trapped in scenarios of betrayal, disappointment, subjugation and reduction, frequently if unknowingly complicit in their own bad outcomes.”
“Cutting across boundaries between consciousness and unconsciousness, or of time, race or culture, Monika K. Adler’s work exhibits and offers engagement: embracing anxieties, neurosis or delusions, which themselves can be full of all hidden secrets and/or memories (as in trauma related experiences and memories) of actual history (e.g. in terms of bodily and emotional abuse) in terms of our current state of being, ‘the now’. So eventually, with the power of the strength gained from coming through distress and suffering, liberation of the self as individual can be possible.”
: Drs Kevin Zdaniecki, Review Of Monika K. Adler’s Photographic Work: A Psychological Perspective, London, 2013.
Monika K. Adler’s Photographic works are represented
for commercial use by ART + COMMERCE / PhotoVogue Vogue Italia.