Introduction:

In general I consider the foundations of how we perceive and experience our surroundings – the conventions which underlie the comprehension of the world around us, and the human determination to interfere with and to influence the world around us. 

Informed by research and collaborations my working method interweaves and investigates collective narratives in relation to the public domain and the commons, broadly construed. For the past decade I have focused on projects relating to for instance urbanism, knowledge distribution and organisation, (social) history museums, science or collective imagination. Many works problematise our reliance on institutionalised systems in order to assert the politics of assumed knowledge.

My practice evolves from a wide spectrum of interests, with works ranging in media with appropriated aspects from culture and science, which are often entangling different temporalities and geographies. The works can be seen as a form of science – fiction; partly based on facts and research but often brought into the realm of fiction, abstraction and speculation. Ranging from photographic archives and films, to landscape interventions and sculptural works, my practice concerns itself with fields like futurology, history, museology, anthropology, human geography, cosmology and ecology.

In 2005 I founded Enough Room for Space (ERforS) together with Maarten Vanden Eynde. Enough Room for Space  is an interdependent art organisation initiating experimental research projects and exhibitions. ERforS tries to act as freely as possible, always putting the context and the idea before the medium, challenging the barriers between different disciplines (artistic, scientific or activist).


Marjolijn Dijkman (1978, NL) is based in Brussels, graduated from the free media department at the Gerrit Rietveld Academy in Amsterdam in 2001, finished a post graduate course at the Piet Zwart Institute in Rotterdam in 2003 and was a researcher at the Jan van Eyck Academy in Maastricht in 2006 - 2007.



Supported by 
Mondriaan Fund
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Solo Exhibitions (selection):
Navigating Polarities, NOME, Berlin, DE (2018); Liquid Properties (with Toril Johannessen), Munchmuseet on the Move, Munch Museum, Oslo, NO, (2018); That What Makes Us Human, Onomatopee, Eindhoven, NL (2016); LUNÄ, fig.-2, ICA (Institute of Contemporary Arts), London, UK (2015); Theatrum Orbis Terrarum, West Space, Melbourne, AU (2015); History Rising, Wisbech Museum, Wisbech / Norwich Castle Museum and Art Gallery & Outpost, Norwich, UK (2013-2014); Theatrum Orbis Terrarum, IKON Gallery, Birmingham, UK (2011); Theatrum Orbis Terrarum, Spike Island, Bristol, UK (2011); Theatrum Orbis Terrarum, MATRIX 234, Berkeley Art Museum, Berkeley, USA (2010) and Theatrum Orbis Terrarum, Bloomberg SPACE, London, UK (2009)

Group Exhibitions (selection):
Parallel Crossings, Artefact 2019, Leuven, BE (2019); SUPERPOSITION: Equilibrium and Engagement, 21st Biennale of Sydney, AU (2018); Working for the Commons, Casco Art Institute, Utrecht, NL (2017); The Act Of Magic, Artefact 2017, Leuven, BE (2017); Why Not Ask Again?, 11th Shanghai Biennale, CN (2016); Wanderlust, De Hallen, Haarlem, NL (2016); Third Nature, CCS Bard/Hessel Museum, Annandale-On-Hudson, USA (2016); Global Imaginations, Museum De Lakenhal, Leiden, NL (2015); Fact & Fiction, Lehnbachhaus, Munich, DE (2015); Out There, Netherlands Photo Museum, Rotterdam, NL (2015); El Theatro del Mundo, Museo Tamayo Art Contemporáneo
, Mexico City, MX (2014); Ja Natuurlijk, Gemeente Museum, The Hague, NL (2013); On Geometry and Speculation, Higher Atlas, 4th Marrakech Biennial, MO (2012); The Greater Cloud, NiMK, Amsterdam, NL (2011); Portscapes, Boijmans van Beuningen Museum, Rotterdam, NL (2010); Screaming and Hearing, 7th Mercosul Biennial, Porto Alegre, BR (2009); Now JumP, Nam June Paik Museum, Yongin-si, KR (2008); The Order of Things, MuHKA, Antwerp, BE (2008); 'Still life, Art, Ecology and the Politics of Change', 8th Sharjah Biennale, UAE (2007)