My practice is twofold: research based projects and works developed in relation to specific contexts or interests, and initiatives such as Enough Room for Space.
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. As part of the development process and public presentations of the work I often try to open up a public debate around the topics and within the fields they address. Ranging from photographic archives and films, to landscape interventions and sculptural works, to participatory projects, my practice concerns itself with futurology, history, museology, anthropology, human geography, cosmology and ecology amongst others.
Whereas some of the works are developed in dialogue with a specific context, other recent projects are ongoing with multiple outcomes. Given the scale and interdisciplinary approach of many of the works, assistance or cooperation – in every which form – is nearly always required for their realisation.
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). Our aim is to closely relate both to the practices and interests of the artists involved and to the different contexts where we exhibit or produce new works. We take time to develop ideas parallel to each other, to experiment and exchange ideas relating to common fields of interests and explore adjacent fields of knowledge. For this reason we mostly work on long-term projects.
As a continuous support behind the different temporary projects, ERforS Head Quarters in Belgium provides a constant space for production, presentation and research, including two residency spaces and a work / presentation space. ERforS HQ does not conform to the logic of an institutional space, but aims to create a fluid space where life and work intertwine.
Marjolijn Dijkman (1978, NL), lives in Brussels (BE) and Saint Mihiel (FR), 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, was a researcher at the Jan van Eyck Academy in Maastricht in 2006 - 2007.
My practice has been generously supported by the Mondriaan Fund (NL)
Solo exhibitions include:
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 include:
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 Bienniale, 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); I Could Have Lived Here, Museum M, Leuven, BE (2013); On Geometry and Speculation, Higher Atlas, 4th Marrakech Biennial, MO (2012); The Greater Cloud, NiMK, Amsterdam, NL (2011); Free Fall, 4th Artisterium, Tbilisi, GE (2011); Portscapes, Boijmans van Beuningen Museum, Rotterdam, NL (2010); Screaming and Hearing, 7th Mercosul Biennial, Porto Alegre, BR (2009); The Uncertainty Principle, MACBA, Barcelona, ES (2009); Now JumP, Nam June Paik Museum, Yongin-si, KR (2008); The Order of Things, MuHKA, Antwerp, BE (2008); Decollecting, FRAC Nord-Pas de Calais, Dunkerque, FR (2007); Neue Konzepte, Bonner Kunstverein, Bonn, DE (2007); 'Still life, Art, Ecology and the Politics of Change', 8th Sharjah Biennial, UAE (2007)
Initiated projects include:
Uncertainty Scenarios (2015 - ongoing); Performing Objects (2014 - ongoing); LUNÄ Talks (2011 - ongoing); Present Perfect (2009-ongoing); The Invisible Hand (2012); Smooth Structures (2010); Localisms (2008); Formatting Utopia (2008); Please Excuse Our Appearance (2007).
CV Marjolijn Dijkman (.pdf)