Marcin Motyl is a multidisciplinary artist and performer whose work bridges movement, video, performance, and installation. Rooted in choreographic thinking, his practice explores the relationship between physical presence and its mediation through digital technologies.

Often operating between realism and surrealism, Marcin creates conceptual and immersive experiences that challenge perception, inviting viewers into spaces of multiplicity, ambiguity, and transformation.

His recent focus lies in developing hybrid, screen-based performance formats. Merging physicality with live video software, he transforms the camera into both stage and collaborator.

He is interested in performance as transmission, in the aesthetics of the interface, and in the emotional and dramaturgical space between performer and remote spectator.

Marcin’s artistic journey began at the Warsaw Ballet School, where he built a strong foundation in classical and contemporary dance. After graduating, he collaborated with renowned choreographers and directors such as Ohad Naharin, Veronika Riz, Jo StrΓΈmgren, Mariusz Trelinski, Ewa Wycichowska, and Iwona Pasinska β€” gaining experience that shaped his multidisciplinary approach to performance.

In 2022, he completed his degree in Intermedia at the University of the Arts in PoznaΕ„. His studies combined art history, new media, artistic production, and performative practices, and were mentored by influential figures including Marta SmoliΕ„ska and Piotr Kurka.

Marcin has participated in numerous international workshops with artists such as Franck Chartier, Gabriela Carrizo, Claire Fristot (A-li-ce), and Yuval Pick, further developing his choreographic sensibility and interdisciplinary method.

With over a decade of experience across dance, theatre, performance, and film, he continues to push the boundaries between movement and visual art. Whether through solo works, collaborations, or live transmissions, his aim remains constant: to craft art that transcends disciplines and invites new ways of seeing.