Born in 1972 in Opole.
Student of College of Education in Opole and the Painting Faculty at the Academy of Fine Arts in Krakow (graduating from it in 1997).
In 2011 did his doctorate majoring in Intermedia at the Sculpture Faculty of the Academy of Fine Arts in Krakow.
Artist, activist and experimenter, poet, theoretician, occasionally a curator.
An initiator and co-founder of the SAOZ Health Centre Artistic Association/Stowarzyszenie Artystycznego Ośrodek Zdrowia (1999-2002), the 36.6 Foundation/Fundacja 36,6, and such music&performance collectives as: Ślina/Saliva (since 1999), The Coming Community (since 2010) and Ensemble (since 2011)
The author of ca. 60 critical and theoretical papers published in Poland, Germany, Canada, and the Czech Republic. His poems were featured in the Anthology of New Polish Poetry 1999-2000/Antologia Nowej Poezji Polskiej 1999-2000.
Roman Dziadkiewicz’s works cross the boundaries of traditionally understood art. He is involved in non-institutional education and projects combining art and social activity, exploring relations between individuality of the artist and wide social and political context and other areas of culture and life.
His ventures are always organised in the form of workshops (Thinking workshop/warsztaty myślenia, 2004), surveys (e.g. What counts the most/Co jest ważne a co najważniejsze, since 2000), texts and manifestos (e.g. Blobbing out manifesto/Manifest nicnierobienia, 2004).
Dziadkiewicz conducted several of his artistic projects in cooperation with Zorka Wollny, e.g.: the Still natures/martwe natury video film (2004) or Kidnapping of the curator/porwanie kuratorki(Palimpsest Museum/ Palimpsest Muzeum, Art Biennale, Łódź, 2004) during which they fictionally kidnapped Aneta Szyłak.
The 2005 Robinson Crusoe or Stranger than Paradise project conducted by Roman Dziadkiewicz in Cleveland, USA was inspired by the relation between fiction and reality in American conditions. For this venture the artist played the role of Robinson Crusoe, the discoverer and coloniser, treating city inhabitants as natives. Dziadkiewicz managed to invite Noam Chomsky to one of 11 episodes included in this series.
The SFX:Audience/SFX: Publiczność project carried out since 2005 was devoted to the comparison and exploration of structure and conditions of widely understood “audience” in a Western state (Germany) and a post-communist country undergoing the process of transformation (Poland). He invited to his democratic information exchange platform numerous artists and activists and – last but not least – the audience visiting the exhibition.
In 2006 within the Guide/Przewodnik cycle at the National Museum in Krakow Dziadkiewicz prepared a project called Imhibition. The word created by the artist is the antonym for “exhibition”. At the Gallery of Polish Art of the 20th Century he organised together with curators of the series, i.e. Ewa Tatar and Dominik Kuryłek the “panel of works” metaphorically or literally referring to the motif of concealing and covering.
Dziadkiewicz also creates installations which are intervening commentaries to works exhibited. During the Performer exhibition at Warsaw Zachęta focusing on artistic oeuvre of Jerzy Grotowski, the artist placed numerous items, photos, and drawings referring to the reception of Teatr Laboratorium on a table corresponding to the table scene from the famous The Constant Prince/Książę niezłomny theatrical performance (C-D-G, 2009).
The Stink of Youth/Smród młodości installation during the Schism/Schizma exhibition (2009) at the Zamek Ujazdowski Centre of Contemporary Art, devoted to Polish art of the nineteen nineties, Dziadkiewicz in his installation occupying an entire room referred to the previous decade not as a canonical set of critical art works, but as the process of shaping personality of the young artist.
During the Lucim’s alive/Lucim żyje! Exhibition (2009) at the Torun Znaki Czasu Centre of Contemporary art the artist presented Study of mud/Studium błota, but because of the presence of a video material featuring an act of masturbation, the work was censored by the authorities of this institution.