Marcin Dudek

Working within the areas of performance, installations, objects, and collages, Marcin Dudek creates situations based on the confrontation between the world of violence and the world of art. To this end, Dudek often references events that took place at football stadiums and personal histories of football fans and hooligans to later deconstruct such reworked memories within the gallery space. The space intended for the exhibition of artistic objects and actions becomes a place where the artist’s personal experiences clash with universal questions of crowd (mob) psychology and theories regarding architecture and the society of spectacle. Dudek often uses avant-garde means of expression, such as visual representation of abstraction and performance, and creates situations that transform objects into so-called “anti-readymades.” These transformations take place during his performances or in the artist’s atelier, where the shape and function of objects are altered, contradicting their original “ready-made” character. In their artistic form, Dudek’s objects touch upon important questions regarding control, the hierarchy of power, and mechanisms ruling the release of violence and aggression as seen from sociological, historical, and psychological standpoints. After all, the latter belong to the atmosphere and local character of the football stand seen by Dudek as both a contractual space and a significant point of departure for experimental actions within the field of art.

After leaving Poland aged 21, he studied at the University Mozarteum, Salzburg and at Central Saint Martins, London, graduating in 2005 and 2007 respectively. His work has been exhibited internationally at institutions including the Moscow Museum of Modern Art, Salzburger Kunstverein (AT), the Arad Art Museum (RO), Bunkier Sztuki Gallery in Krakow (PL),  the Goethe-Institut Ukraine, and The Warehouse Dallas (US). His installation “The Cathedral of Human Labor” (2013) is on permanent view at the Verbeke Foundation in Belgium. In 2018, he presented a large installation at Manifesta 12 Palermo, which was followed by a solo exhibition at the Wrocław Contemporary Museum. Current and upcoming exhibitions include the “Psychic Wounds” at The Warehouse Dallas (US) curated by Gavin Delahunty and a group exhibition at 180 The Strand/ Vinyl Factory, curated by OOF, London (UK).

Dudek lives and works in Brussels, Belgium.

  • Marcin Dudek: Sovereign Heads , 9 March - 22 April 2018

    Together with “ready-made” sculptures, the video, and a collage that speaks the language of abstraction, the artworks relate to each other and confront the world of the visual arts with the world of violence. The gallery space becomes thus a place where his personal experiences clash with the issues of mob psychology, reflecting on his own studies around “the society of the spectacle”, and the universal tension between the individual and the crowd.

  • HUFF (House Under Four Flags) - Marcin Dudek, 16 January 2015 - 1 January 2016

    For HUFF: House Under Four Flags, Dudek has referenced the shapes and forms of the architecture at Gillman Barracks to construct a 10x 10m wooden sculptural installation that will double as his studio during his time in Singapore. The instinct to build arises out of the artist’s “Anti-Readymade” aesthetic, which is not simply a reflection of his passion for craftsmanship, but rather, an everyday agenda depicted in many of his other works. The title of the project – House Under Four Flags – references the four founding languages of Singapore, and the ‘flag’ is used as a symbol of laying claim to a space or a piece of land. Space as a commodity is a recurring theme in Dudek’s work, one that is particularly relevant in the Singaporean context.

  • Threads and Tensions, 16 January - 28 February 2021

    A group exhibition featuring five international artists (Singapore, Indonesia, Philippines, Brussels, and America) working with textile. In these works that are part of a wider chapter of the artists’  interests, fabric is painted on, treated, ornamented, dyed, collaged and embroidered suggesting the possibilities of textiles beyond mere ornamentation or utility, deploying the medium as a tool of resistance, reflection, and rumination.