Monika K. Adler is an acclaimed photographer and avant-garde filmmaker based in London, The United Kingdom, known for her challenging and provocative photography and experimental films. She is currently working on her debut feature film SICK BACCHUS.
She graduated from The European Academy of Photography in Warsaw, Poland and the Wojciech Gerson’s National School of Fine Arts in Warsaw, Poland.
Her works have been shown in exhibitions, video art and film festivals internationally. These have included: Gwangju Biennale, South Korea; Open Eye Gallery, Liverpool, UK; House of the Parliament of the United Kingdom; Lagos Photo Festival 20: Home Museum; Photo London, Somerset House, London, UK; Rankin 2020 #Self – Sky Arts; Saint Germain Photo Festival, Paris, France: UK; 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 Beauvoir told me, 2016, In the name of the Father, 2020 as-well as the photography collections: The Truth, 2020-2021, Maldives of Consciousness 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 several academic studies and published in many magazines and publications including: The Eye of Photography, GUP Magazine, Vogue Italia, Art & Commerce + Vogue Italia, Photographer Russia, Soanyway Magazine, Dodho Magazine, Private Photo Review, Harper Baazar UK, Guardian, The Times, Leica Photography Internationale, The Ambivalent Body: On The Short Films Of Monika K. Adler, 2013, The Martyrdom of the Angel’s Body: The Female Artist as Naked Signifier, 2014, 209 Women – Photography Book, 2019, Rankin’s 2020 – Photography Book 2020, Review Of Monika K. Adler’s Photographic Work: A Psychological Perspective, 2013.
House of the Parliament of the United Kingdom, London, UK
Home Museum, Lagos Photo 2020, Lagos Nigeria
COVID-19 ARCHIVE, Public Source, United Kingdom
COVID PICTURES Collection, Portland, United States
Museu Quinta da Cruz, Centro de Arte Contemporânea, Viseu, Portugal
Simultan Festival Archive ( Come back to the trees, 2013)
The New Museum of Networked Art: WOW Jubilee, 2020
Lusted Men / Une collection d’images érotiques d’hommes, Brussels, Belgium.
Rankin’s 2020 – The Best Pictures of the Year – Sky News – Short Listed (Work in the program and photography book inclusion)
209 Women, UK Parliament, London – 2019 (Selected/Exhibited)
100 Heroines – Royal Photography Society, London, UK – 2018 (Nomination)
Christie’s First Open – Christie’s Auction House, London, UK – 2015 (Short – Listed)
Golden Hare – Film Awards on Films on Art – Portugal – 2014 (Nomination)
“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 is represented by Trinity ∴ London
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Monika K. Adler’s Photographic works are represented
for commercial use by ART + COMMERCE / PhotoVogue Vogue Italia.