Monika K. Adler

Monika K. Adler, Portrait of Rasputin’ s relative! - Monika K. Adler on ArtStack #monika-k-adler #art

Monika K. Adler, Portrait of Rasputin’ s relative! - Monika K. Adler on ArtStack #monika-k-adler #art

Monika K. Adler, Jeszcze raz przekonałam się, jak ułomne jest działanie wyobraźni. on ArtStack #monika-k-adler #art

Monika K. Adler, Jeszcze raz przekonałam się, jak ułomne jest działanie wyobraźni. on ArtStack #monika-k-adler #art

Director’s Statement: ‘Monaco Club’ a film by Monika K. Adler

Consumerism, the new people’s religion allows a return to the lost Garden Of Eden. The motto of our times is simple; own, consume, digest and excrete, and then own again. The mindlessness and emptiness inherent in this, butchering tradition and culture, brings about a regression of civilisation and a descent into barbarism. The primitive man returns in his pure form. 

The protagonists of ‘Monaco Club’ represent a privileged group of individuals for whom material abundance turns into pathology. Boredom, egotism, emptiness and loneliness lead them into a rarified realm of nihilism and perversion. The needs and desires of some are a nightmare and curse for others - slavery, prostitution and pornutopia are now accepted as part of our culture. Every thing and one can be bought, reduced to the role of objects, made shallow and laid waste to. Primitive man returns in his pure form. 

We are devolving

Monika K. Adler, London 2014

Photo credit (c) Martin Paar

MONIKA K. ADLER:  ART & VISION by ADA CARTIANU 
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Art has the freedom to be interpreted by everyone in many ways because expression doesn’t have a singular statue and can apply in many forms with different distinctions about the creative spirit. But also every creative expression has it’s particular message beyond the human interpretation, a symbolism of life and death as Alfa and Omega, Ying and Yang, Good and Evil, symbols which we find in every aspect of life as part of the Universe and nature.


Monika K. Adler introduces rebellion in a mystic way of romanticism, dramatism, revolutionary expression of life and human condition. Her collection talks at a very high level about human nature and destruction but, like Albert Camus said once, “the greatest degree of destruction coincides with the greatest degree of affirmation” which in her case it is shown in the expression of human tragedy and beauty as an example of our present days of life. A time of revolutionary thought placed in every rebellious soul who feels the world falling apart but keeping a beauty which steel exists in human nature. One of the messages in Monika’s photography it is that we can conquer the destruction with a glory of libertinism in a pure expression of the soul, in a innocent but also triumphant contemplation of life in many aspects of living from degradation, love, insurrection, suicide, sexuality, murder, philosophy, ignorance, religion through history and present. Going through the lights and shadows of the mysticism of those collections-series of photographs you find yourself in a carousel of emotions created by the visual content of every photography which gives an extraordinary meaning of human condition with it’s barbarity, ignorance and solitary dreamers. Many people can feel offended by the sincerity, brutality, truth, disintegration, humiliation, eloquent authority you can find in these photographs because it is very hard to look in the eyes of truth without being scared of it’s future consequences on your mind and spirit as a burning from essences. To really understand Monika K. Adler’s art you have to put yourself above the social borders and political thoughts you know as everyday rhetoric, you have to open your mind and see the entire world in a single shot because behind every image it’s a very deep philosophy with it’s own arrogance, irony, romanticism, sadness, rebellion for freedom and change. The message it is so profound that if you go it’s way you cry, you rebel, you feel the need of change stronger than ever because the reality expressed in an esthetic manor it is very cruel in it’s singularity as a slogan justified by the endless affirmation of injustice made to the world and humans.

Albert Camus once said: “There is no mystery in human creation./ But at least there is no true creation without a secret” and from this thought the beginning of Monika K. Adler’s art itinerary is a big challenge of mind and soul because often the work of a creator is looked upon as a series of isolated testimonies, but the truth is that a profound thought is in a constant state of becoming; it adopts the experience of a life and assumes its shape. Monika K. Adler’s work may seem to be devoid of inter-relations and to a certain degree some pictures seem contradictory, but viewed all together, they resume their natural groupings. They derive their definitive significance and they receive their most obvious light from the very life of their author in an unique vision of reality, philosophy and revolt.


“ After all, ironic philosophies produce passionate works.
Any thought that abandons unity glorifies diversity!
And diversity is the home of art ” .

Albert Camus

Monika K. Adler | Mademoiselle Guillotine 2014 EditionsMonika K. Adler Estate is pleased to present a new series of limited edition works to mark the tenth anniversary of Adler’s iconic work of 2004 ‘Mademoiselle Guillotine’. Centred in female representation, the work “Mademoiselle Guillotine” re- invents the concept of femininity. This piece is a counterstrike against the subordination of the women. It reinterprets previous portrayals of ‘the female’ in art to show woman in all her treacherous nakedness. No submissive poses, flowers or frills, nothing pretty and nothing virginal in sight. Neither pornography, nor debauchery and far from gratuitous; in this work the female body has a dangerous power. The power to shatter stereotypes. Here the subject becomes interrogator, each aspect of the work ques- tioning the authoritarian forces under which ‘the female’ exists; religion, patriarchy, government and the expectations of society.

Monika K. Adler | Mademoiselle Guillotine 2014 Editions
Monika K. Adler Estate is pleased to present a new series of limited edition works to mark the tenth anniversary of Adler’s iconic work of 2004 ‘Mademoiselle Guillotine’. Centred in female representation, the work “Mademoiselle Guillotine” re- invents the concept of femininity. This piece is a counterstrike against the subordination of the women. It reinterprets previous portrayals of ‘the female’ in art to show woman in all her treacherous nakedness. No submissive poses, flowers or frills, nothing pretty and nothing virginal in sight. Neither pornography, nor debauchery and far from gratuitous; in this work the female body has a dangerous power. The power to shatter stereotypes. Here the subject becomes interrogator, each aspect of the work ques- tioning the authoritarian forces under which ‘the female’ exists; religion, patriarchy, government and the expectations of society.

Monaco Club
a film by Monika K. Adler 
DIRECTOR STATEMENT
Konsumpcjonizm – nowa religia narodów ma zapewnić każdemu z nas powrót do krainy szczęśliwości, powrót do raju utraconego. Mieć, jeść i trawić, i wydalać, i znów mieć i jeść. Oto motto. Społeczeństwo niczym zad wielkiego wieloryba pławi się w oceanie komercji, która kładzie swą tłustą łapę na niemal wszystkich aspektach życia. Bez myśl i pustka z tym związane, a także zabójstwo tradycji i kultury powodują regres cywilizacyjny i zezwierzęcenie. Człowiek pierwotny powraca w czystej formie. Stąd już blisko do dewolucji.
Bohaterowie Monaco Club reprezentują uprzywilejowaną grupę obywateli tego świata, gdzie materialna obfitość przeradza się w patologię, a poczucie elitarności niszczy więzy społeczne. Nuda, egoizm, pustka i nihilizm prowadzą do  samotności i perwersji wszelakich maści. Fantazje i potrzeby jednych są koszmarem i przekleństwem innych: niewolnictwo, prostytucja, porno utopia akceptowana jako część kultury Wszystko i wszystkich można kupić, zredukować do ról obiektów, spłycić i skonsumować. Na końcu zjadając własny ogon. Człowiek pierwotny powraca w czystej formie. Stąd już blisko do dewolucji.

Monika K. Adler
Londyn, Marzec 2014.
photo credit: Martin Paar

Monaco Club

a film by Monika K. Adler 

DIRECTOR STATEMENT

Konsumpcjonizm – nowa religia narodów ma zapewnić każdemu z nas powrót do krainy szczęśliwości, powrót do raju utraconego. Mieć, jeść i trawić, i wydalać, i znów mieć i jeść. Oto motto. Społeczeństwo niczym zad wielkiego wieloryba pławi się w oceanie komercji, która kładzie swą tłustą łapę na niemal wszystkich aspektach życia. Bez myśl i pustka z tym związane, a także zabójstwo tradycji i kultury powodują regres cywilizacyjny i zezwierzęcenie. Człowiek pierwotny powraca w czystej formie. Stąd już blisko do dewolucji.

Bohaterowie Monaco Club reprezentują uprzywilejowaną grupę obywateli tego świata, gdzie materialna obfitość przeradza się w patologię, a poczucie elitarności niszczy więzy społeczne. Nuda, egoizm, pustka i nihilizm prowadzą do  samotności i perwersji wszelakich maści. Fantazje i potrzeby jednych są koszmarem i przekleństwem innych: niewolnictwo, prostytucja, porno utopia akceptowana jako część kultury Wszystko i wszystkich można kupić, zredukować do ról obiektów, spłycić i skonsumować. Na końcu zjadając własny ogon. Człowiek pierwotny powraca w czystej formie. Stąd już blisko do dewolucji.

Monika K. Adler

Londyn, Marzec 2014.

photo credit: Martin Paar

Mademoiselle Guillotine

 

Mademoiselle Guillotine, 2004/2014, giclee, 150 x 180 cm 

"Centred on the representation of the female, the photograph "Mademoiselle Guillotine" reinvents the concept of femininity. This work fights back against the subordination of the female. It re-works previous portrayals of the female in art to show woman in all her treacherous nakedness. No submissive poses, flowers or frills, nothing pretty and no virginity in sight. Not pornography, not debauchery and far from gratuity; in this work, the female body has a dangerous power. The power to change stereotypes and to be seen despite the different veils she lives under. Each questions the authoritarian forces in which the female exists; religion, the male, the government, the expectations of society"

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Photograph comes from the collection 

"Monika K. Adler Selected Works 2003-2013"
http://bit.ly/1baHcm5

ALL RIGHTS RESERVED 2004-2014

2-30 APR 2014 | Monika K. Adler's videowork Memoire Involontaire will feature in International Video Art Festival «Now&After» ’14 at the State Museum of GULAG, Moscow. See: http://now-after.org/


In 2014 “Now&After” festival is being held at the State Museum of GULAG – a place that has accumulated the memories of Stalin’s punitive system. In the area of our special interest there is a traumatic memory: reliving and rethinking of the historical traumas, especially those related to the history of GULAG.

On being an Angel a film by Monika K. Adler

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On being an Angel, UK, 2014, 6 min. 8mm, Black and white.

Performance: Alexandra Unger
Music composed and performed by Richard Crow
Art direction: Aeon Rose
Photography, edit, idea and directed by Monika K. Adler
Produced by Monika K. Adler Estate 2014

January 19, 1981, Francesca Woodman committed suicide by jumping out a loft window in New York. She invites us to see her suicide, like she used to invite us to see her art. Poised between two worlds she presents an image of the liberated psyche in flight.

All rights reserved to Monika K. Adler Estate 2014