The Fictional: Rewriting Reality (London, 2026) In 2024, I began The Fictional—a photographic inquiry into the fragile boundary between truth and illusion. Inspired in part by The Peripheral, the series explored how power persists through architecture, symbolism, and narrative, even as reality itself fractures. Now, in 2026, I return to the same terrain with Aeon
‘Freedom begins where the old story ends’. ophelia rising now. ”OPHELIA RISING’ IS AN INVITATION: TO STEP OUT OF THE WATER, TO LET THE OLD SELF DISSOLVE, AND TO RESURRECT INTO A FREER EXISTENCE. She is taught to be beautiful before she is taught to be free. From childhood, the script is whispered into her
We walk across collapsed burial mounds, along worn tarmac and salt marsh, through quagmires where black crows pick at the remnants of life. ‘THIS TERRAIN MIRRORS OUR OWN MOMENT. PAST AND PRESENT NO LONGER SIT IN SEQUENCE BUT OVERLAP, ERODING INTO ONE ANOTHER. THE CHALK CLIFFS, CONTINUALLY SHAPED BY PRESSURE AND WEATHER, REVEAL HOW ALL
Art is my practice of freedom — a rehearsal in being, in soft strength, in radical presence. In my series On Being an Angel, I explore freedom as a lived, embodied experience — especially the freedom of a woman who chooses to exist as an artist. To create not as decoration, not as permission-seeking, but
At thirteen, i had already outgrown my hometown. not physically — spiritually. i no longer fit the narrative written for me. I was too observant, too intense, too unwilling to dissolve into the collective. and so I became a target.
Born during the collapse of communism, my childhood was spent between my grandfather’s cinema and the psychiatric hospital where my grandmother worked. I silently observed the fragility of human nature and learned early on that sanity is political and reality is negotiable.
The Rare Storyteller feature Between Crowds and Horizons by Monika K Adler. Visual Storytelling.
World Artist Award at Busan International Environment Art Festival I am deeply honoured and grateful to share that I have received the World Artist Award from the 22nd Busan International Environment Art Festival (BIEAF) in South Korea. The Lost Center – Invitation Exhibition 2026 The award is connected to the invitation exhibition “The Lost Center”,
The Wrong Biennale 2025-2026 with Monika K. Adler “The world’s largest art biennale, the digital world’s answer to Venice.” The New York Times TheWrong. Returns. November 1st, 2o25 to March 31st, 2o26. PrayersToAI: Let your 404s Bloom into Flowers curated by David Quiles Guillo. See: thewrong.org/PrayersToAi
What’s on? Monika K. Adler: Chalk-Stone-White’ – 22nd BIEAF 2025 – The 22nd Busan International Environment Art Festival 2025, Busan, South Korea 01. 09. 2025 – 28. 02. 2026 ‘Nostalgia’ – Festival de Fotografia de Paranpiacaba 2025, Paranpiacaba Brasil (Foto Unica program) 13-14 September 2025 Patriarchal Sabbath (video) – The Retrospective Quito 2025 screening program
