Monika Weiss is a Polish-American artist whose transdisciplinary work explores relationships between history and postmemory. Her current work evokes ancient rituals of lamentation and focuses on public memory and amnesia as reflected within the physical and political space of a City. Originally trained as a classical musician the artist frequently employs her body as a vehicle of expression and invites others to inhabit her films and installations. British art critic Guy Brett stated, “Weiss provides an alternative experience of space and time, which is not end-driven but steady and enduring, establishing and deepening a human presence. The artist explores the prostrate body as an apparently paradoxical sign of resistance to oppressive and militaristic cultures. Much of her work to date is structured as a remarkable, individual counterpoint between technological media (film projection) and the ancient activity of drawing, which is presented in a primal state inseparable from the body as a whole. Sound is also an important element. Meticulously composed by the artist, it lifts the silent filmed actions into another emotional register.”
About Monika Weiss
In 2005, Lehman College Art Gallery, City University of New York organized the artist’s first retrospective Five Rivers, which was reviewed in The New York Times. Her most recent solo exhibitions include Sustenazo at CSW Zamek Ujazdowski, Warsaw, Poland (2010), which in 2012-2013 travelled to the Museum of Memory and Human Rights, Santiago, Chile and in 2014 was presented at the Patricia & Philip Frost Art Museum, FIU, Miami. Most recently, her works have been featured in Muzeum Montanelli (Prague), Frauenmuseum (Bonn), Streaming Museum (New York), Kunsthaus Dresden, Cisneros Fontanals Art Foundation (Miami Basel) and Eyebeam (New York). Commissioned by The Drawing Center, New York, her public project Drawing Lethe (2006) took place at the World Financial Center Winter Garden within sight of Ground Zero, where workers were still searching for remains. Passersby lay down and marked their presence onto the enormous canvas covering the floor, which gradually became a drawing-field. In Shrouds-Całuny (2012), Weiss filmed, from an airplane, local women performing silent gestures of lamentation on the abandoned, forgotten site of the former concentration camp Gruenberg in Zielona Góra. Born in Warsaw, Poland the artist lives and works in New York City.