Monika K. Adler: Portrait 2018, CICA Museum, Korea

Monika K. Adler’s work Coyote, 2013 will be shown at the Exhibition: Portrait 2018, CICA Museum, Czong Institute of Contemporary Art, South Korea: http://www.cicamuseum.com

Exhibition Dates: January 5 – 21, 2018.

The work ‘Coyote’ is one in a series portrait works of the artist and her partner made in 2013. The work communicates the intimacy of living together executed in the style of film stills from a movie.

The piece employs the convention of the film still, whilst also being a play upon it. The characters and and scenes depicted can be read as surrogates around which the viewer can generate their own plot, scene by scene.

The series references Joseph Beuys’ 1974 action at René Block Gallery, New York: ‘I Like America and America Likes Me’  where Beuys spent several days in a room with a live coyote. From this iconic work an entire series of performance documentation images were issued – later to form arts writer Caroline Tisdall’s book about the piece: Joseph Beuys: Coyote (1976). What is interesting here though, is that many of the images were in fact completely ‘staged’.

Here, then, we are looking at ideas of authenticity, appropriation, and the fabrication of narrative in both film and photography.

 

Coyote, 2013 Monika K. Adler
Coyote, 2013
Monika K. Adler Coyote a film sequence IV, 2013
Coyote a film sequence IV, 2013
Monika K. Adler Coyote a film sequence IV, 2013
Coyote a film sequence II, 2013
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Sick Bacchus (film production) met The Last da Vinci Leonardo’s Salvator Mundi (1500) at Christie’s London.

”As fascinating as any best-selling thriller, the rediscovery of Leonardo’s Salvator Mundi, one of fewer than 20 surviving paintings accepted as from the artist’s own hand, has caused a worldwide media sensation”

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Safari among the Rich aka Sick Bacchus – Location Scout Part 3

Set in London’s Mayfair, Monika K. Adler’s upcoming movie, ‘Sick Bacchus,’ tells a story of modern slavery.

The movie’s main character, the rich and beautiful Violetta Memling, represents a privileged group in society for whom material abundance breeds pathology.

Every thing and everyone can be bought, reduced to the role of objects, made shallow and laid waste to.

For Violetta though, her pleasant, materialistic life leads her to an existential hell. A hell filled with unbearable boredom, emptiness and loneliness which manifests itself in illness.

She is admitted to the exclusive clinic of Dr. Gunter Berezovsky, who provides an innovative yet controversial treatment for his wealthy clients. Here biology, consumerism and exploitation take on a new meaning.

Violetta Memling is confronted with the uncomfortable truth about herself and the society she inhabits.

Does she react?monika-k-adler-sick-bacchus-location-scout-mayfair-12

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REVIEW OF MONIKA K. ADLER’S PHOTOGRAPHIC WORK: A PSYCHOLOGICAL PERSPECTIVE DRS KEVIN ZDANIECKI

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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 her work, is also engaged upon both by the act of repetition.

This continuity of repetitions drive a return to and honouring of the animalistic primal primitive and tribalistic state. Here then there is the, possibly sadistic and revengeful, implied killing and tasty eating of the ‘brain’ of patriarchy. Also inherent is a sort of magical symbolism of cannibalism with respect to a male lover – perhaps, also through this art medium, seemingly in order to reach past the anchors of imposed experience (and roles) by domineering masculine performance. To gain not only individualistic rights and ‘enlightenment’ perhaps, but also as a pathway to a total liberation from whatever shackles political, religious, educational, pathological, social, sex/gender and family orientated defined roles towards freer choices and a new life. Seen also, within both a psychological and sociological anthological perspective.

Embracing the phenomenology of ‘the now’ is so well highlighted in her still photography it almost suggests that a reappraisal, or even a variable degree of possible negation within a potential lack of emphatic relevance of the undeniably human natural phenomenon of memory as a necessary and sufficient condition towards not only development and growth, but also a transformation (in Jungian terms), a dynamic continuous renewal or “rebirth”, of damaged psyche.

Hermeneutic explanation aside, looking at the unmistakable tension and anxiety – in or between – her photographic ‘part objects’-as-people or people as- ‘part objects’, her encoded use of contrast between light and shadow leaves a formidable gaze. Notwithstanding the semiotics or symbolisation that represent the ghosts of significant others or past events inherent in her personal identity, childhood development, dissonant confusions and sexualised passions that present themselves now.

Monika K. Adler – Anniversary: 5 years in London

Life is such a simple yet cruel thing.

Monika K. Adler – 5 years in London

Over 50 – FILM & ART EXHIBITION

http://www.monikakadler.com/biography/film-festivals-exhibitions/

WORKS

http://www.monikakadler.com/portfolio/

PRESS

http://www.monikakadler.com/press/

PUBLICATIONS

http://www.monikakadler.com/publications/

SICK BACCHUS – debut feature film

http://www.monikakadler.com/feature-films/sick-bacchus-2015-2016/

Monika K. Adler, London 2 August 2017-2012

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