Monika K. Adler (born 5 January 1982) is a Polish artist and film director based in London, The United Kingdom.
Monika K. Adler’s 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, 2016.
Her works have been shown in exhibitions, video art and film festivals internationally. These have included: Cannes Film Festival, Gwangju Biennale, South Korea, Gislaveds Konsthall, Sweden, The State Museum of Gulag, Moscow, Edinburgh International Festival, The National Art Gallery Wozownia, Torun, Poland, Facade Video Art Festival, Plovdiv, Bulgaria, The Nihilist International Film Festival, Los Angeles, International Feminism Conference 2013, The Institute of Education, London, National Press Gallery Seoul, Korea, Ilmin Museum, Seoul, Korea, One Billion Rising: London Arts Festival, Museum of New Art Detroit, Film Award For Films On Art, Portugal, Expressive Arts Institute, San Diego, Zeta Art Center & Gallery, Tirana, Albania, Galerie La Tour, Paris and the II 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, as-well as the photography collections: Nokturn, 2002, Sacred Flesh, 2003, Mademoiselle Guillotine, 2004, Travel no End and other stories, 2005-2010, Chernobyl of love, 2011, Anxiety & Neurosis, 2012, Existence, 2013, Coyote, 2013 and Beyond Time, 2014.
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.”
: Robert Smart, The Ambivalent Body: On The Short Films Of Monika K. Adler, London, 2013.
“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.