Hire of premises

MGLC, Tivoli Mansion, Pod turnom 3

The mansion, its rooms and terrace, offer a wonderful environment for organising business, educational or festive events.

The natural environment, historical architecture and availability of all the key elements for a quality event, provide inspiring conditions for the organization of meetings of all sizes. The place where art and history meet offers a magnificent terrace overlooking the city. It is also well equipped with a playground, catering equipment and closed spaces to provide for events in small groups or in a closed circle of guests.

Offers for hire of premises
From Monday to Friday, 9.00–15.00

 

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Gallery

Surface area: 330 m2
Seating capacity: 250 people
Standing capacity: 500 people

The gallery, which is located on the first floor of Tivoli Mansion, serves as the MGLC exhibition venue. The gallery is the ideal place for organizing evening receptions, meetings, award ceremonies, concerts, promotional events, fashion shows, photographic and television shoots.

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Mansion Courtyard (right side)

Surface area: 170 m2
Seating capacity: 170 people
Standing capacity: 270 people

In favourable weather and during the warm months of the year, the courtyard of Tivoli Mansion makes for a perfect location for hosting a concert, reception, picnic, wedding, etc. The mansion is surrounded by a charming green backdrop of trees, from where the visitor can enjoy a wonderful view of the city. The remaining part of courtyard can also be hired in agreement with the coffee shop.

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Lecture Room

Surface area: 70 m2
Seating capacity: 50 people
Standing capacity: 110 people

The lecture room is situated on the ground floor of the mansion and is suitable for the organization of lectures, round tables, screenings, press conferences, symposia, various presentations, workshops, lectures, birthday celebrations, courses and similar events. A piano is available for music events.

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Library

Surface area: 84 m2
Seating capacity: 35 people
Standing capacity: 50 people

The library can be found in the attic of the mansion and is suitable for hosting small lectures, round tables, screenings, various presentations, workshops, courses and similar events, which are more study based and available to a limited number of people.

 

Spaces
Cost in euros
Gallery
800 / 4 hours
1200 / 8 hours
1500 / more than 8 hours
Mansion Courtyard
300 / 4 hours
600 / 8 hours
900 / more than 8 hours
Lecture Room
200 / 4 hours
300 / 8 hours
500 / more than 8 hours
Library
100 / 4 hours
150 / 8 hours
200 / more than 8 hours


All rental prices include 20% VAT.

 

Notes

  • The cost of hire includes basic cleaning.
  • If the exhibition is more complex, additional fees for the hire of a security guard are payable by the rentee.
  • The technical organisation of the event is carried out by an external technical team and is the responsibility of the rentee.

 

Further information
Monika Jerič
t: +386 1 241 38 08
f: +386 1 241 38 21
e: marketing@mglc-lj.si
www.mglc-lj.si

Catering
Caffe Bienale coffee shop
The Kaval Group catering company can be hired to ensure the smooth running of your events.
Marko Cerjan
t: +386 41 314 290
e: bienale@kaval-group.si
www.kaval-group.si

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Švicarija, Pod turnom 4

Originally Švicarija was a wooden guest house opened in 1835, which soon became a popular excursion point for the residents and visitors of Ljubljana. The noted architect Ciril Metod Koch designed and built Tivoli Hotel on the same spot in 1909, which went on to become a well-known gathering place for artists, bohemians and workers. After the Second World War, many renowned Slovenian artists found their work spaces in the building. Today, this tradition continues. Because of its perfect location and privacy, Švicarija is unique place for your private or business event. The hall on the ground floor and the courtyard in front of the building may be hired for a variety of events.

Hall 

Surface area: 240 m2
Seating capacity: 150 people
Standing capacity: 210 people

Courtyard 

Surface area: 800 m2
Seating capacity: 350 people
Standing capacity: 600 people

Information for event organizers

Maja Pogačnik Simončič
t: +386 41 351 897
e: maja@supercatering.si
www.supercatering.si/en

Further information

Monika Jerič
t: +3861 241 38 08
f: +386 1 241 38 21
e: marketing@mglc-lj.si
 

 

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ARCHIVE

From the Biennial Prize Winners Collection: Shifts in the Canon

Robert Jančovič, Rez I Nazenie-Pasca/, 1996, colour woodcut

 

Exhibition:

From the Biennial Prize Winners Collection: Shifts in the Canon

7 November 2019–23 February 2020

Every review of the history of the Ljubljana Biennial of Graphic Arts is also informed by the stories inscribed by the prize winners of this exhibition. The selection made by the jury members – esteemed and influential art critics, curators, art dealers and other experts from all over the world – was, for many years, the only intervention into the seemingly multitudinous mass of exhibited artworks. The eagerly awaited and often critically-acclaimed decisions imparted the event with a touch of creative competition and were the driving force of the discourse that was generated by the exhibition in the professional and general public as well as the media. After every Biennial, when the hundreds of exhibited prints disappeared from the halls and what remained was only their trace in the form of an exhibition catalogue, a handful of selected works and artists – the winners chosen by the most prominent international jury – were inscribed into the history of the biennial in capital letters, and hence into the annals of worldwide printmaking.

In a sense, the exhibition of works by the prize winners from the collection of the MGLC – International Centre of Graphic Arts aims to get us thinking about the message of the awards of the Ljubljana Biennial of Graphic Arts in the context of the canon of post-war art. Most often, the jury did not validate the Biennial’s basic guidelines regarding the quality of the artworks, nevertheless, their decisions spoke volumes in various other ways. The wavering between the need to consolidate already established directions and discover new, unknown ones can be noticed throughout.

On the other hand, the exhibition offers an insight into the collecting policy of MGLC, an institution based precisely on the heritage of the Biennial. Particularly those works that have been acquired by the museum through purchase and donation in the recent period and works that have not been especially exposed will be on display. They have been arranged chronologically into three main sections from the first exhibition of prints in 1955 to the present.

The shifts in the exhibited works from the first two periods, from 1955 to 1977, and from 1979 to 2001, can primarily be seen in the form and content of the graphic print. The prints demonstrate the emergence and consolidation of new artistic directions in the 1960s and 1970s, especially the distinct aesthetics of art informel, geometric abstraction and pop art. From the pool, not lacking in art celebrities of the older generation, the juries often awarded the most coveted prizes to young artists, the rising stars with highly innovative artistic insights.

The shifts in the printmaking of the late 1970s can also be seen in the award-winning works. With the era of popularity of the more contemporary printmaking techniques having subsided, classical ones, especially intaglio printing, came to the fore again, along with the greater popularity of smaller formats and more intimate subject matter. The award-winning works from the 1980s and 1990s do not bring about any essential artistic innovation, but rather exhibit an interlacement and diversification of established aesthetics and approaches.

With the new millennium, the Biennial experienced some radical shifts and breaks. The display of works in national pavilions was replaced by an original, curatorial approach, which has recently undergone attempts at inquiry and experimentation. At the same time, the range of artwork formats has gradually expanded. A leap from classical printmaking to the art of printing in a diversity of techniques occurred, whereas later the Biennial has also adopted performative as well as other contemporary practices. The two processes have, of course, also impacted the meaning of the prizes and the physical dimensions of the awarded works.

Authors of the exhibition: Nevenka Šivavec, Breda Škrjanec and Gregor Dražil