b. 1978, The Netherlands
Marjolijn Dijkman is a visual artist based between Drogenbos, Belgium and Saint Mihiel, France. Dijkman works in site-specific sculpture, video, photography, and participatory projects, exploring perception and human experience through the lenses of cultural and scientific production. Informed by research and collaboration, her work opens up categories of thought – geography, ecology, museology, cosmology – through fictionalization and humor. Her artworks can be seen as a form of science-fiction or speculative abstraction, combining different temporalities and geographies to form unconventional collective narratives.
Theatrum Orbis Terrarum (2005–ongoing) is an ever-expanding photographic archive of sites around the world, categorized by keywords such as ‘civilize’, ‘erase’, ‘occupy’, and ‘strike’, questioning the dominance of Western cartography. In 2016 her terminal installation including Mirror Worlds and video simulation Prospect of Interception were commissioned for the 11th Shanghai Biennial. Dijkman co-founded the interdisciplinary art organization Enough Room for Space in 2005 (with Maarten Vanden Eynde).
Dijkman has exhibited internationally including at Artefact 2017 (BE), ICA (UK), Spike Island (UK), IKON Gallery (UK), Berkeley Art Museum (US), Museo Tamayo Arte Contemporáneo (MX), Hessel Museum (US), De Hallen (NL), Boijmans van Beuningen Museum, (NL), Tallinn Photomonth 2015 (ES), Mercosul Biennial (BR) and Sharjah Biennial 8 (UAE). Her work has been featured in publications including Artforum, Art Monthly, Aesthetica, Frieze, Modern Painters and Metropolis M.