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My practice is concept-based and interdisciplinary. Research and production are often intertwined. Thus I usually work site specific, often in collaboration with others. I make use of both hands-on DIY and more technology driven approaches which result in conceptual pieces, video works and complex installations.

My work deals with issues that revolve around class, identity and migration, often in search of situations and scenarios that have the potential to transcend borders and class differences through the use of different networks and coping strategies - a more positive outlook in a sense of community.

This search for new encounters, complicities and alliances describes an attitude which foregrounds a practice that is not defined or limited by a specific medium. It can be seen as a negotiation perhaps, or a spark that interferes with the structure of the world and that in turn allows others to interact with its complexities and its contradictions - an interplay of action, reaction and reflection.

* * *

I was born in 1985. My two brothers and me grew up on the German country side next to the Czech border. Hof, the biggest town in the area, used to be the last train stop before the Iron Curtain. After high school I went to India to do a Voluntary Social Year, during which I worked with mentally disabled people.

When I decided to come to London to do a Master at Goldsmiths University, I soon realized that it was almost impossible for me to afford the rent, the fees, the cost of living and to focus on my studies at the same time without making debts. I had to find an alternative, a coping strategy, a way to enter the city. My solution was to buy a cheap old van in Germany. I restored it and I converted it into a mobile live/work studio. In August 2014, I drove it to London. With the help of friends I discovered Cody Dock in the London Borough of Newham, where I could safely park.

In September 2016 I graduated with distinction from Goldsmiths University (MFA Fine Art).
Officially, for the past three years, I have been Cody Dock’s first artist in residence.

In my experience, if the system is too rigid to be broken, the only viable option is to find gaps that can be exploited. For example I had to ensure that my van was affordable but still met London’s Low Emission Standards to avoid excessive fines. Generally speaking: one needs to know the rules first in order to navigate them. Yet perhaps even more important than knowing those rules is a network of allies and friends.

solo exhibitions

26. May - 04. June 2017 // 'POLYGON' (Cody Dock, London, GB)

group exhibitions

03.August - 02. September 2018 // Join The Dots / Unire le distanze - 'Art Theorema #1' (Imago Mundi, Trieste, IT)
21. - 22. July 2018 // 'Habitare' (Daniel Dressel & Lynne Kouassi / Stifung Brasilea, Basel, CH)
15. September - 27. October 2017 // 'Future Refrains' (Peer Sessions / ASC, London, GB)
23. September 2017 // 'Collaboration in Question' (Peer Sessions / ASC, London, GB)
19. April 2017 // 'Peer Session #76: Jason Jones and Daniel Dressel' (Peer Sessions / Deptford X, London, GB)
24. June - 15. September 2016 // 'Damage & Loss' (Alternativa, Gdansk, PL)
14. - 18. July 2016 // 'MFA Goldsmiths Show' (Goldsmiths University, London, GB)
14. May 2016 // 'Die Yuppie Hipster Artist Scum' (No.w.here, London, GB)
25. January - 08. February 2016 // 'Between the Lines' (GRAD, London, GB)
23. April - 19. June 2015 // 'Collaborate!' (Oriel Sycharth Gallery, Wrexham, GB)
12. - 26. October 2013 // 'Anthropozänta' (Helmbrechts, DE)
03. - 09. July 2013 // 'GRA Graduation Show' (Gerrit Rietveld Academie, Frederik Roeskestraat 96, Amsterdam, NL)
16. - 24. November 2012 // 'Ultimate Harmony': HARD.CORE (Upominki, Kapelstraat 32, Rotterdam, NL)
01. - 15. September 2012 // 'Žinkovy Arts Festival': HARD.CORE (Žinkovy, West Bohemia, CZ)
12. - 13. June 2012 // 'Unfamiliar Parcours' (Holland Festival / Frascati Theatre, Amsterdam, NL)
08. - 16. June 2012 // 'Hardcore / Ding-mon-seek': HARD.CORE (Amstel 41, Amsterdam, NL)
31. March 2012 // 'Creating a Context' (Front of House, Bologna, IT)
16. October 2011 // 'Learning to Sea': HARD.CORE (Retort Art Space, Amsterdam, NL)
09. April 2011 // 'About Blank Spaces' (Daniel Dressel & Anne de Boer / 'Slow Lloyd' / Lloyd Hotel, Amsterdam, NL)
22. April 2010 // 'Call & Response' (Gallery Schijnheilig, Amsterdam, NL)


April 2015 // 'Arte + Ecología' (Cortijada Los Gázquez / Andalucía, ES)
March 2012 // 'Creating a Context' (in collaboration with Nosadella.Due and Neon Gallery / Bologna / IT)
February 2012 // 'Swedish Connection' (Aspnäs, Härnösand / SE)
September - October 2011 // 'About the Relationship between Chaos and Silence' (Kolkata / West Bengal, IN)
November 2010 - January 2011 // 'Slow Lloyd' (organised by slowLab / Lloyd Hotel, Amsterdam, NL)

commissions / grants / awards

2015 // 'ICA Moscow / MFA Goldsmiths Exchange Programme' (Moscow Biennale Foundation and the Tsukanov Family Foundation / Vishniy Volochek and Moscow, RU)
2014 - 2015 // 'DAAD Scholarship' (Fine Arts, Design & Film / Deutscher Akademischer Austausch Dienst, DE)
2013 // 'For Sylvanus': A memorial for Sylvanus Tutu Donkor (commissioned by Gerrit Rietveld Academie, Amsterdam, NL)


2014 - 2016 // MFA Goldsmiths University (Master of Fine Art / graduated with distinction / Goldsmiths University / London, GB)
2009 - 2013 // BA Gerrit Rietveld Academie (Bachelor Fine Art / Gerrit Rietveld Academie / Amsterdam, NL)
2008 - 2009 // Restaurierung am Oberbaum (Internship / Neues Museum / Berlin, DE)
2007 - 2008 // BA Philosophy & Social- and Cultural Anthropology (no degree obtained / Freie Universität / Berlin, DE)
2005 - 2006 // Sadhana Village (Voluntary Social Year / Sadhana Village / Pune, IN)

Creative Commons: LogoCreative Commons license: AttributionCreative Commons license: NoncommercialCreative Commons license: No Derivative Works
03.08. - 02.09.2018

Exhibition Flyer: Art Theorema #1
Join The Dots / Unire le distanze
Benetton Foundation and Fabrica

press conference: 03.08. | 11 a.m.
private view: 03.08. | 6:30 p.m.
preview exhibition: 04.08. - 02.09.2018

Salone degli Incanti (former Pescheria)
Riva Nazario Sauro 1
Trieste | IT


15.09. - 27.10.2017

Exhibition Flyer: Future Refrains
ASC Gallery

private view: 15.09. | 6 p.m. - 9 p.m.
exhibition: 18.09. - 27.10.2017

The Chaplin Centre
Taplow House, Thurlow Street
London SE17 2DG | GB



Flyer: Collaboration in Question
A Peer Sessions Project at ASC Gallery
ASC Gallery / 1 p.m. - 5.30 p.m.

The Chaplin Centre
Taplow House, Thurlow Street
London SE17 2DG | GB


26.05. - 04.06.2017

Exhibition Flyer: POLYGON

private view: 25.05. | 6 p.m.
exhibition: 26.05. - 04.06.2017

11c South Crescent
London E16 4TL | GB


19 APRIL 2017

Event Flyer: Peer Session #76
A Peer Sessions Project
Deptford X / 7 p.m. - 10 p.m.

Ground Floor, Norfolk House
9 Brookmill Road
London SE8 4HL | GB


24.06. - 15.09.2016

Exhibition Flyer: Alternativa 2016

opening: 24.06.2016 | 6 p.m.
exhibition: 24.06. - 15.09.2016
organizers: Alternativa Foundation & National Museum Gdansk | PL

Former premise of Gdansk Shipyard | Hall 90B

14.07. - 18.07.2016

Flyer: POLYGON - MFA Goldsmiths Graduation Show 2016
Goldsmiths University of London

opening: 14.07.2016 | 6 p.m.
exhibition: 15.07. - 18.07.2016

Ben Pimlott Building, Laurie Grove Baths & Richard Hoggart Building
New Cross, Goldsmiths University of London
London SE14 6NW | GB


14 MAY 2016

Event Flyer: Die Artist Scum
No.w.here / 1 p.m. - 6 p.m.

316 - 318 Bethnal Green Road
London E2 0AG | GB



Exhibition Flyer: Between the Lines GRAD:
Gallery for Russian Arts and Design

private view: 26.01.2016 | 6 p.m.
exhibition: 27.01. - 08.02.2016

3-4a Little Portland Street
London W1W 7JB | GB



n.    +44 (0) 7917 953 264
e.    mail(at)danieldressel.com

11c South Crescent / Cody Dock
London, E16 4TL
United Kingdom

Daniel Dressel & Alicja Rogalska

Former Olympic Truce Wall
VideoText (6:40 min)

Dimensions: 2.5m x 1.8m x 0.58m

24 sheets of Acrylic Perspex, Dichroic Film,
Blue Ratchet Straps

Future Refrains
15.09. - 27.10.2017
ASC Gallery | London, GB

A Peer Sessions Project, realized with Arts Council Funding and the kind support of ASC Gallery.

Jetwash / 5min / 360°

Collaboration in Question
ASC Gallery | London, GB

Peer Session #76
Deptford X | London, GB

Press Release:

"Future Refrains sets out to explore the potentials and limits of this mode of working together in the current socio-political climate. What claims, if any, can be made for collaborative artistic practice, beyond the direct benefit to the artists themselves? Future Refrains proposes that these emergent collaborations, in their inherent equality, mutuality and sharing, create a form of friendship that both refuses the individualism of neoliberalism and suggests tentative but potent models for future collectivity."

Peer Sessions
London UK, August 2017

The Olympic Truce is a tradition originating from Ancient Greece that dates back to the 8th century BC. A ‘truce’ (Ancient Greek: ékécheiria, meaning ‘laying down of arms’) was announced before and during the Olympic Games to ensure the host polis was not attacked and athletes and spectators could travel safely to the Games and peacefully return to their respective countries. The Olympic Truce was revived in 1992 by UN resolution 48/11 of 25 October 1993.

The idea is represented by the Olympic Truce Wall, which in 2012 was made from heavy sheets of acrylic perspex, measuring 250cm x 58cm x 7.5cm. Each sheet is coated in dichroic film, which causes visible light to be split up into distinct beams of different wavelengths (colours).

During the Olympic Games it was signed by athletes and important public figures, a symbolic gesture to transcend borders and differences in favour of a more equal and peaceful world. After the games it was meant to be displayed in the new Olympic Museum in London. However, this museum was never built and the wall was discarded.

In 2007 Tessa Jowell, the culture secretary and Olympics minister, announced a temporary diversion of a further £675 million of Lottery money from arts and charity funds toward the Olympic Games.

The total budget for the 2012 Games exceeded £9bn.

The diverted arts and charity funding totalling £2.2bn was never repaid.

In 2012, the International Olympic Committee president, the Archbishop of Canterbury and the mayor of London, Boris Johnson all signed the Truce Wall.

And so did the Syrian delegation.

I once read an article in ‘The World Today’ (July 2016) about global leadership. It ended with the statement that ‘change is war’.

Walls are there to prevent change from happening.

I have seen many fragments of the Berlin Wall in various museums and other locations around the world. You can still buy pieces of it at Berlin Schönefeld airport at prices ranging from €4.95 a piece. Considering the actual wall was 155km long, it is possible that all these pieces are originals. Though I still have a suspicion that if all these fragments of the Berlin wall were put together, they would exceed the original in length.

Today, at least 65 walls or fences have been completed or are under construction between nations, four times as many as when the Berlin Wall was toppled.

Competition is one of the driving forces in Western Societies. Neoliberalism treats competition as the defining characteristic of human relations - it allows us to distinguish who and what is valuable and to create a hierarchy.

Competition is also the most apparent purpose of any sport. Even if you do team sports you still compete against other teams.

But if you help your friend in a test at school, that’s cheating.

Let’s compete less and cheat more.

Daniel Dressel & Alicja Rogalska

London, September 2017


After the Olyympic Games in 2012, the London Olympic Truce Wall was meant to be on permanent display in the collection of the Olympic Museum in London, which was never built. The Museum was meant to be part of the legacy of the Olympic Games, a package of measurements meant to improve living conditions in one of the poorest neighbourhoods in London: the London Borough of Newham. Furthermore funding for art and culture was borrowed, pumped into the preparation for the Olympic Games and never payed back.
'Spectre' not only reflects on the politics behind these circumstances and how these parts of the Olympic Truce Wall ended up being dumped in the trash (the 2012 Olympic Truce Wall is now in the collection of the Olympic Museum in Lausanne, Switzerland), but it also can be read as a statement against competition as a neoliberal economic principle and against walls that divide nations.

London, GB
September 2017

Former Olympic Truce Wall
VideoText (6:40 min)

Dimensions: 2.5m x 1.8m x 0.58m
24 sheets of Acrylic Perspex & Dichroic Film
Blue Ratchet Straps

Future Refrains
ASC Gallery | London, UK
15.09. - 27.10.2017