Dominika Łabądź

Norway, Poland (residence), Poland (citizenship) °1981
research interests: ecology of creativity, creative ecosystem, self-organization, Collective Unconscious, collectivism, artistic research, artistic method, artistic process, performative exchange, collaboration, equity, care, open source, solidarity language, post-conceptual art, visual art, activism
affiliation: Academy of Art in Szczecin
en

Dominika Łabądź - visual artist, , PhD in fine arts, activist artist, interested in artistic research, curator and culture animator. In her work she bases on collectivism, cooperation, group active that allow circulation of ideas. Often her activities are located between artistic, curatorial and animation discipline. She’s interested in the social space and symbolic space for collective imaginations. In 2009-2015, she co-founded the independent space U Gallery in Wrocław. In 2012 she was a member of the informal, independent and non-hierarchical collective “69 seconds to escape”. In 2016, together with Joanna Synowiec, she initiated the project “Common Part - Social Archive” and the Social Archive Working Group; since 2018 they have co-founded the publishing house Dzikie Przyjemności. Since 2020, she has been collaborating with the ArtBrut Gallery in Wrocław. Scholarship holder of the IAM (2014) and the Ministry of Culture and National Heritage (2015 and 2019). She has participated in many exhibitions at home and abroad.

 

research

research expositions

  • Happy Ending Story (last edited: 2024) author(s): Dominika Łabądź This exposition is in progress and its share status is: visible to all.
    The Happy Ending Story project as an artistic research is based on an artistic collaboration which results in a collective publication co-created by professional artists and non-artists alike. It combines the competences of many people from different fields. The form of the project is by definition open, without expert diagnoses and ambitions. It is not so much result-oriented as it is rather focused on deficiencies and creating space for independent thoughts and their circulation. The "Happy ending story" project, referring to the issue of catastrophe and the end of times, has become an attempt to work through this loss, but also a reflection on the extent to which this loss has already taken place. It is something like mourning, but difficult to survive without the support of a community. The publication is relational in nature and draws on the potential for interaction and participation of those who can influence the shape of the work. It thus excludes monological artistic practices that attribute creative agency mainly to one artist or artists. The field of interest is the testing of narrative potentials, the deepening of optical awareness, conscious and empathetic perception and action in a world of global interdependence, politics of exclusion, and growing inequalities. The strategy of democratization of knowledge, inclusiveness of art creation and networking of local creative habitats, collectives for building social awareness and community can be an effective form of resistance against neoliberal practices leading to commodification of knowledge and art.
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