Selected Projects

8 projects
PŁOT at 'Macht! Licht' Kunstmuseum Wolfsburg; 'PŁOT' Galeria Arsenał , 2017 - Dominik Lejman exhibition
2017Solo Project

PŁOT

'Macht! Licht' Kunstmuseum Wolfsburg; 'PŁOT' Galeria Arsenał

Wolfsburg, Germany; Poznań, Poland

Jun 23, 2017

Project: gallery-specific installation, originally project proposal for the Polish Pavilion at the Venice Biennale 2017. In the empty room, “Płot” is a projection “white-on-white,” “screen-on-screen,” in a continuous loop. The projection moves along clean white walls: from the original brightness in full illumination of the interior toward successive covering of the walls by a 360-degree moving image, animated clock- wise by the invisible hand of the artist. During the screening the very first, white layer of projected welded wire fence successively merges with the following one, which is superposed on it to form a configuration of “fence on top of fence (płot na płocie)” until it covers all four walls of the pavilion with an even layer of white light, and thus the fence images disappear unperceptively, becoming a blank field indistinguishable from the background. The projection is cropped in such a way that it does not appear either on the entrance to the room, or on the exit door in the back of the room; thus both openings function as “gaps” in the fence. [Marek Bartelik – from the catalogue text]

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WSZYSCY at Projection on the façade of the Honorary Tribune, Pl. Defilad, Warsaw, 2016 - Dominik Lejman exhibition
2016Solo Project

WSZYSCY

Projection on the façade of the Honorary Tribune, Pl. Defilad, Warsaw

Warsaw, Poland

Oct 24, 2016

site-specific video-mural The architectural support provides additional historical resonances to the work. The process of projection can be compared to the ‘re-stretching’ of content onto historical frame of architecture. This becomes evident in WSZYSCY (ALL OF US), where the documentary, original film footage from 1956 of the crowd coming to witness the speech of the prime secretary Gomułka, becomes ‘re-stretched’ on the tribune where the actual event happened. This tautological effect generating new meaning is achieved by the historical site-specificity of work.

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60 sec. Cathedral at The Sky, 2011 - Dominik Lejman exhibition
2011Solo Project

60 sec. Cathedral

The Sky

Toruń, Poland; Tallinn, Estonia; Durham, England

Jun 1, 2011

Performative sculpture, video mural. “60 Second Cathedral” is the registration of a group skydiving session by 32 Polish sky divers. This ephemeral sculpture in human material, i.e. the sky divers, was an attempt of recreating the vault of the Durham Cathedral. The medieval Scottish church was built in 1093-1133 as one of the first to feature a rib vault. Falling down from 6000 metres at the speed of 200 km per hour, in the span of had 60 seconds the jumpers joined their hands and feet to recreate the image of a Gothic Durham's rosette. The film registration of this feat and, at the same time, the record of a sky performance, was to be projected on the vault of the Durham Cathedral. Unfortunately, in the end this never happened. “60 Second Cathedral” was presented in other sites, however, engaging with entirely new contexts: in August 2011 in Toruń (Poland), in September in Tallin (Estonia), and in November in Durham, though, sadly, not in the cathedral.

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Skaters at Andels Hotel, 2009 - Dominik Lejman exhibition
2009Solo Project

Skaters

Andels Hotel

Łódź, Poland

Jan 1, 2009

Site-specific video mural. People skating on the Rockefeller Center ring (NY) become projected into a white wall as tiny figures shown in negative: anonymous silhouettes circling around in empty space. In this work, as in many others (to mention “Vital Statistics”, “Gliders”, “Skiers” or “NY Marathon”), people are reduced to the function of an ornament, which Lejman often identifies with the concept of statistics. As a dominant mode of description of contemporary society, statistics transforms the individual into an element of a pattern, a multiplied confirmation of collective fate, a fragment of an ornament adorning the surface of postmodern civilisation (Stach Szabłowski, 2006).

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We Miss What We Miss at Poznań Visual Park, Strzeszynek, 2023 - Dominik Lejman exhibition
2023Solo Project

We Miss What We Miss

Poznań Visual Park, Strzeszynek

Poznań, Poland

Oct 24, 2023 - Present

Site-specific permanent installation. Work in the Poznań Visual Park refers in its character to the artist's other projection works. This time, however, it is not projection in the literal sense of the word. The author uses luminophoric substances in the form of small stones, arranged around the trunk of a broken, dead tree in a mosaic drawing, reproducing the negative, glowing shadow of the same tree in its state of bloom. The juxtaposition of the dead trunk and the "mark of the tree's memory", visible at night, is profoundly meaningful, a poignant commentary on our relationship with nature, its transience and degradation, as well as broader existential issues. The additional nocturnal spectacle of the appearance of the image of the tree's shadow ends at dawn with its slow glowing disappearance, to bring back again the white stones visibility among the grass in the meadow surrounding the lone trunk. D. Lejman's work, an apparent projection which is a non-invasive site-specific intervention, is a testimony to the artist's philosophy of the presence of art in public space, understood not as a creation of new, material objects, but rather as a reinterpretation of the existing environment, enabling the viewer to see what is familiar in a new light.

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