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Dominik Zarówny




Dominik Zarowny (b.1991, Poland) is an interdisciplinary artist and fashion designer whose work explores the conflicting emotions of desire and control through media such as object-based installations and performance art.  He is known for curating a mise en scene intensifying the performative nature of his projects.
Zarowny’s work depicts the so-called ‘perverse’ nature of human fantasy by fusing fashion aesthetics and erotic paraphernalia. In his works, Zarowny transcends conventional couture in an attempt to question the conventions of societal norms.

Zarowny is a co-founder of the London-based Djago collective focused on curating exhibitions in abandoned spaces and industrial buildings of Tottenham, North London.

He graduated from RMIT in Melbourne with a Master of Fine Arts in 2023. He exhibited locally as well as internationally in galleries and exhibition spaces such as Spazio Futura (Milan), Grow (London), Fin Gallery (Melbourne), and Le18 (Marrakech).



1991 BORN, POLAND

LIVES AND WORKS IN MELBOURNE, AU


EDUCATION

2023, MFA, RMIT, Melbourne, Australia


SOLO EXHIBITIONS


2023, ‘Ex Machine’, First Site, Melbourne, AU

2020, ‘Made in America’ SHAC Gallery, AU

2019, ‘1991’ Spazio Futura, Milan, IT

2019, ‘Vertigo’ Fora, London, UK

2017, ‘Y’, Le18, Marrakech, MAR



SELECTED GROUP EXHIBITIONS AND CURATIONS

2025, ‘Djago II’, ACMI, Melbourne, AU

2024, ‘Exused form Efficiency’ Fin Gallery, Melbourne, AU 

2022, ‘Holding Space’ Alfred Hospital, Melbourne, AU

2022, ‘Parallel worlds’ Goodspace, Sydney, AU

2020, ‘Reflections’ FAD Magazine, Online Exhibition

2019, ‘Djago II’ Kings Cross, London, UK

2019, ‘Lost is Found’, Kings Cross, London, UK

2019, ‘Bodies’ Grow Tottenham, London, UK

2018, ‘Bad Art’ Bones and Pearl Studios, Tottenham, London, UK

2018, ‘Djago: a city in turmoil’ Grow Tottenham, London, UK

2017, ‘Yellow Days’ Manor House Warehouse District, London, UK

2016, ‘Yellow Days’ Cara House, London, UK



RESIDENCIES


2018, CLAN Association, Grosseto, IT

2017, Le18, Marrakech, MAR


FEATURES

2020, FAD Magazine, London

2018, KOLLEKTIV Magazine, London

CONTACT

STUDIOZAROWNY@GMAIL.COM

INSTAGRAM
DOMINIK ZAROWNY

Dominik Zarowny (b.1991, Poland) is an interdisciplinary artist and curator whose work explores the conflicting emotions of desire and control through media such as object-based installations and performance art. He is known for curating a mise en scene intensifying the performative nature of his projects. Zarowny’s work depicts the so-called ‘perverse’ of human fantasy by fusing fashion aesthetics and erotic paraphernalia that transcend conventional couture in an attempt to question conventions of societal norms. He graduated from RMIT in Melbourne with a Master of Fine Arts in 2023. He exhibited locally as well as internationally in exhibition spaces and galleries such as the Spazio Futura (Milan), Grow (London), First Site (Melbourne), and Le18 (Marrakech).

STUDIOZAROWNY@GMAIL.COM
Instagram
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Djago is a city in turmoil. Dark-eyed denizens wander apocalyptic streets,their syncopated steps muffled by clangling machinery and pulsingtechno.

Decades ago, Djago was a thriving worksource for low-paidLabourers; stitchers, pickers, sorters, deliverers all made their meagrewages there. But the profit margins of this industrial heartland wereescalated by an influx of Creatives, who lay claim to the land, markingtheir territory with gaudy paint and snaffling up industrial debris to
furnish informal abodes.

Yet the nature of Djago is flux; where concrete and bitumen yield hard,golden fruits, there can be no stasis. Today, revolution and conflictblossom between the city’s castes; Landlords form an unsteady alliance with Leaseholders, united by a mutual disdain for the hoards of home-thirsty Creatives who blindly tend the fertile pavements.

Ripples odisplacement stalk the streets, sniffing out budgetary vulnerabilities anexiling those responsibleThese are the future relics of Djago’s Creaceous period; documentsor delusions proffered by the Creative caste. Each piece embodies theforceful chaos of emotions which led the Creatives into revolution – anultimately, to their own demise. Seething with deep truths and well-intentioned dishonesties, these missives emerge from the epicentre of theCreative revolt to present problems, solutions, observations,
and omissions.




























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