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Dominik Więcek, born in 92. Dancer, choreographer, performer, fashion photographer and stylist.


A graduate of PWST Kraków, Dance Theater Department, scholarship holder of the Folkwang Universität der Kunste in Essen. He cooperated with Jacek Łumiński, Jerzy Stuhr, Giorgia Maddamma, Idan Cohen, Jeans van Daele, Sylwia Hefczyńska-Lewandowska, Eryk Makohon, Karolina Kroczak, Tomasz Comfort, Mariusz Treliński, and the German group Bodytalk (Yoshiko Wakki, Rolf Baum) among others. In 2016-2019, he was a dancer of the Polish Dance Theater in Poznań, where he performed  in performances by Tomasz Bazan, Aleksandra Dziurosz, Iwona Pasińska, Jacek Przybyłowicz, Ewa Wycichowska, Kaya Kołodziejczyk and Tomasz Rodowicz among others.

He creates and co-creates performances. His solo Gold fish was awarded at the SoloDuo International Dance Festival in Budapest and in the Choreographic competition 3 ... 2 ... 1 ... DANCE! organized by the Krakow Choreographic Center - Nowohuckie Centrum Kultury in Cracow. With the Dominique solo, choreographed by Maciej Kuźmiński, he won, among others, Audience Award and 2nd Prize at the Solo Dance Contest '15 Gdańsk Dance Festival, Solo 2nd Prize at the 30th International Choreographic Competition '16 in Hanover, both audience awards at the 20th Solo-Tanz-Theater '16 Festival in Stuttgart , 1st prize, critics' award and the Alexander Izailovski at the 21st Festival of Choreographic Miniatures in Belgrade. 

He co-created performance the Musica Posthumana. He is a chorographer of the drama theatre performance Ah, how dignity they lived directed by Marcin Liber. Together with Dominika Wiak, Daniela Komędera-Miśkiewicz and Monika Witowska, he created performance the Sticky Fingers Club. Currently, together with Michał Przybyła, he formed the Direct Message Collective and created the award-winning play Bromance and Animalia.


As part of the Creative Scholarship of the Ministry of Culture and National Heritage II / 2020, he was analyzing the relationship between sport and dance, and the search for elements of art and aesthetics in sport performances. Its effects can be found on this website.

He publishes articles presenting profiles of Polish artists in the magazine entitled: Self-portrait, as part of which the texts presenting Anna Nowak, Artur Bieńkowkski, Igor Podsiadły, Aleksandra Bożek - Muszyńska and  Ilona Gumowska were published.

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How do you work on the performance?

(excerpt from the article for the Choreography in the Web platform)

Work on a performance begins long before the first steps related to its making, even before writing an application. I like when projects are growing up in me for a long time. The whole environment around me is full of notes. I record observations and inspirations wherever I can. I have notebooks, loose sheets that I put in envelopes. My phone is exploding with saved thoughts, reminders. I like when ideas can slowly develop in me. I imagine some of them as seeds from which something grows; sometimes under the influence of my care, sometimes under the influence of time, and sometimes it happens surprisingly spontaneously and is not conditioned by anything. I sort such flowers over time, I transplant them into pots with other flowers to see how they can support each other, compose together, or how I could have put them together wrongly. This is how concepts arise. Before the Gdańsk Dance Festival saw a potential and awarded it with funding and by offering space, the “Sticky Fingers Club” performance was rejected in two other places. With each subsequent attempt, I looked at my flowers in a pot, checking how I can make this composition - from the point of view of the jury, that makes the selection - more attractive.

I create performances out of the need to communicate, out of the belief that at a given moment, at a given time, I have something to communicate, confront, and confront something about myself that can influence and resonate with others. The things I create are extremely personal, I am involved with them with all my body and all my heart.

Click to read more.

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