Dagmar Gertot
bio
my name is Dagmar Gertot
I work in the genre of luxury absurdism. I am an obscenely expensive and inconceivably complicated artist. It is probably better not to work with me, because I work only through improvisation; there is usually an absurd amount of censorship involved.
I do, however, make all of this at a very high level: fashion, painting and God knows what else.
You may verify this yourself, or ask those deranged collectors, fans and investors of mine who do, for some reason, continue to work with me.
I have a critically complicated biography and possibly multiple personality disorder. I adore cars and, for the record, I do not take drugs. I do, in fact, study many of the questions that enter the field of my art with absolute seriousness, because without that art my existence has no meaning.
I am entirely unmanageable, and I wish everyone happiness.
Disciplines converge:
Sound & Voice — vocal-instrumental improvisations rooted in the study of ritual structures across cultures, evolving into experimental sonic landscapes.
Fashion & Object — co-founder, creative director of Nomad Goba (since 2016) and co-creator, creative director of Odiosa (since 2024).
Performance & Video Art — long-duration works engaging eschatology, corporeality, and BDSM as immersive practice: a field of presence and vulnerability, a resource for art to probe psychopathologies of embodiment, feminist perspectives, and the dialectic of violence and grace.
Visual Art — auto-erotic diaries and anatomical tableaux.
BRAND
https://odiosa.eu
https://nomadgoba.com
ARTSY
https://www.artsy.net/artist/dagmar-gertot
MUSIC
https://dagmargertot.bandcamp.com/
https://music.apple.com/ru/album/os-lacrimale/1541400187
VIDEO
https://vimeo.com/user231824180
https://youtube.com/channel/UCWxgqQAeB67iWO7P6kX0UJw
I work in the genre of luxury absurdism. I am an obscenely expensive and inconceivably complicated artist. It is probably better not to work with me, because I work only through improvisation; there is usually an absurd amount of censorship involved.
I do, however, make all of this at a very high level: fashion, painting and God knows what else.
You may verify this yourself, or ask those deranged collectors, fans and investors of mine who do, for some reason, continue to work with me.
I have a critically complicated biography and possibly multiple personality disorder. I adore cars and, for the record, I do not take drugs. I do, in fact, study many of the questions that enter the field of my art with absolute seriousness, because without that art my existence has no meaning.
I am entirely unmanageable, and I wish everyone happiness.
Disciplines converge:
Sound & Voice — vocal-instrumental improvisations rooted in the study of ritual structures across cultures, evolving into experimental sonic landscapes.
Fashion & Object — co-founder, creative director of Nomad Goba (since 2016) and co-creator, creative director of Odiosa (since 2024).
Performance & Video Art — long-duration works engaging eschatology, corporeality, and BDSM as immersive practice: a field of presence and vulnerability, a resource for art to probe psychopathologies of embodiment, feminist perspectives, and the dialectic of violence and grace.
Visual Art — auto-erotic diaries and anatomical tableaux.
BRAND
https://odiosa.eu
https://nomadgoba.com
ARTSY
https://www.artsy.net/artist/dagmar-gertot
MUSIC
https://dagmargertot.bandcamp.com/
https://music.apple.com/ru/album/os-lacrimale/1541400187
VIDEO
https://vimeo.com/user231824180
https://youtube.com/channel/UCWxgqQAeB67iWO7P6kX0UJw
PRJCTs
I approach Mondino as the figure who moved the human body from the church’s deathbed into a space of inquiry.
Read MoreThe body as limit of function, being the reason of this limit. Feminine articulation and the metaphor of voice.
Read MoreMarch 7, 2025. Paris Fashion Week. Interview with a scientist — an epidemiologist and professor at a major university. Personal details are withheld for security reasons.
Read MoreIt approaches the butt as a critical locus of embodiment, visibility, and transformation.
Read MoreFirst, a lifelong fascination with the pigment Venetian red — a watercolor whose smell recalls blood. Second, the material reality of menstruation itself.
Read MoreThe voice remains the gravitational center. Here are intensity, surreal poetics, and raw improvisation, often blurring the line between music, performance, and dreamlike narration.
Read MoreI affirm the right to idleness, uselessness, and play.
Read More
