"Dijkmans practice development over the last ten years, can be defined as Decoding the Coloniser’s Mind. The decoding of the coloniser’s mindset requires identifying the evolution of the Enlightenment into contemporary practices, despite the prevailing opinion among many scholars that the fall of the Nazi regime ended the Enlightenment project and the colonial reflex." from Decoding the Coloniser’s Mind by Galit Eilat (2020)
Marjolijn Dijkman’s practice is research-based and multi-disciplinary including film, photography, sculpture and installation. Her practice focuses on the points where culture intersects with other fields of enquiry. The works themselves can be seen as a form of science-fiction; partly based on facts and research but often brought into the realm of fiction and speculation.
Her work is concerned with residues of enlightenment ideology, manifestations of collective memory, blind spots of representation and problematise our reliance on institutionalised systems in order to assert the politics of assumed knowledge. The works propose alternate knowledge systems through their entanglement of different temporalities and geographies, as well as by involving a myriad of voices during research, production and (interdisciplinary) collaborations.
Her working method interweaves and investigates collective narratives in relation to the commons, broadly construed. For the past decade she has realised projects on various types of knowledge production including social history museums, fields of scientific enquiry and forms of collective imagination.
"For nearly two decades, the prolific practice of Dutch artist Marjolijn Dijkman has produced a diverse oeuvre of sculptures, films, and installations. Her artworks are evocative entities, inviting contemplation and encouraging the associative meandering of the mind. Yet these generous pieces do not merely glide over the surface of things; they rather challenge what we think we might know, all the while avoiding didacticism or pedantry." from The Layered Generosity of Marjolijn Dijkman by Karen Verschooren (2018)
"Marjolijn Dijkman’s work has the potential to induce in viewers a serious case of brow-wrinkled guilt, paranoia, or millennial fantasy. Her subjects, which include ecological meltdown, neoliberal brutalization, and speculative physics, are certainly serious. Thankfully, the Dutch artist’s work is rooted in a gently no-nonsense wit and a general air of analytic calm. Taking the form of site- specific sculpture, video, and photography, Dijkman’s practice explores ideas underpinning the categorical fields of scientific research and museology, and analyses the mainstream propagation of images, cultural norms, and the exploitation of natural resources." from Profile - Marjolijn Dijkman by Colin Perry (2011)
Enough Room for Space
In 2005 she founded Enough Room for Space (ERforS) together with Maarten Vanden Eynde. Enough Room for Space is an interdependent art organisation that initiates experimental research projects and exhibitions. ERforS tends to act as freely as possible, always placing the context and the idea before the medium, challenging the barriers between different disciplines (artistic, scientific or activist).
Dialogue is central to the way ERforS initiates and develops projects. Our aim is to closely relate both to the practices and interests of the artists involved as well as 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 interest and explore adjacent fields of knowledge. For this reason we mostly work on long-term projects, that take shape and find direction by the various input and energy of the different partners and participants.
Marjolijn Dijkman (1978, NL) lives and works in Brussels (BE) & Saint-Mihiel (FR), graduated from the free media department at the Gerrit Rietveld Academy in Amsterdam in 2001, the MFA Piet Zwart Institute in Rotterdam in 2003 and was a researcher at the Jan van Eyck Academy in Maastricht in 2006 - 2007.
Her practice has been generously supported by Mondriaan Fund, Amsterdam, NL
Curriculum Vitae: CV Marjolijn Dijkman (.pdf)
Solo Exhibitions (selection):
Earthing Discharge, Contemporary Art Center, Cincinnati, US (2020); Reclaiming Vision, HIAP & Helsinki Festival, FI (2019); Liquid Properties, OSL Contemporary, Oslo, NO (2019); Navigating Polarities, NOME, Berlin, DE (2018); Liquid Properties, 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):
Spoiled Waters Spilled, Les Parallèles du Sud, Manifesta 13, Marseille, FR (2020); The Extended Mind, Talbot Rice Gallery, Edinburgh, UK (2019); Future Genealogies, 6th Lubumbashi Biennale, DRC (2019); Ecology - lost, found, continued, 4th Screen City Biennale, Stavanger, NO (2019); Coltan as Cotton, Contour Biennale 9, Mechelen, BE (2019); The Overview Effect, BOZAR, Brussels, BE (2019); 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)
HIAP, Helsinki, FI (2019); CCS Bard & Hessel Museum, Annandale-On-Hudson, US (2018); Land Art Contemporary, Dalen, NL (2015); Wysing Arts Centre, Cambridge, UK (2012); GEO Air, Tbilisi, GE (2011); CEAC, Xiamen, CN (2008)
Reviews and Features (selection):
Artforum (US), Art Monthly (UK), Aesthetica Magazine (UK), Modern Painters (UK), Metropolis M (NL), Tubelight (NL), HART Magazine (BE), De Witte Raaf (BE), De Groene Amsterdammer (NL), Artdependence (US), Art-Agenda (US), Frieze (UK), Art World (CN), thisistomorrow (online), Espace (CA), Kunstmagazine (BE)