“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)
CICA Museum ‘Portrait 2018’ – Catalogue. Read here…
REVIEW OF MONIKA K. ADLER’S PHOTOGRAPHIC WORK: A PSYCHOLOGICAL PERSPECTIVE DRS KEVIN ZDANIECKI Fragment: In so many of Monika K Adler’s still photographs the unconscious psyche is attempting to communicate identity (personal and collective) along with most noticeably issues related to the boundary between life and death and the mysteries held within both. Mastery, in
My work Anxiety & Neurosis will be shown at Feminism in London Conference, Oxford House, London, UK – 9-16 – December 2016 Work description Anxiety & Neurosis Year: 2012-2016 Medium: Photography Size: 30 x 40 cm An intimate portrait of a woman, prey to the psychological archetypes that are imposed on and which shape her
Paraphilia Magazine – from THE AMBIVALENT BODY: ON THE SHORT FILMS OF MONIKA K. ADLER By Robert Smart Come Back to the Trees may be Adler’s most elusive, evocative and effective film to date. Though still relatively minimal in means it features more dynamic cutting, camera movement and a larger cast than any of her
