Residency programme: Švicarija Creative Centre

With its residency programme for artists and curators, aims to stimulate the flow of artists and theoreticians in the fields of the graphic arts. The residency programme for artists encompasses work in the Print Studios as well as the integration of artists and theoreticians in the accompanying programmes. Visiting curators will be encouraged to step into a dialogue with the collection and to contextualize the Biennial of Graphic Arts and artistic production in Slovenia.

Residency dates range from one to three months, on the basis of invitations to artists and curators as well as exchanges with similar institutions.

This year, the International Centre of Graphic Arts received a new unit into its care – the Švicarija Creative Centre – which has been renovated by the Municipality of Ljubljana. Together we form a new cultural, educational and social centre in Tivoli Park, which will be this year's host to a part of the main exhibition of the 32nd Biennial of Graphic Arts.

Švicarija, named the Schweizerhaus, received a ceremonious inauguration, which included a brass band and fireworks, as a wooden guesthouse in 1835. The building was later rebuilt and the surrounding area was arranged by the owner of Tivoli Mansion, Marshal Radetzky. Today, it remains only as a memory in postcards. The name of Švicarija was accepted by the people of Ljubljana to such an extent that it stuck even when in 1909 the famous Austro-Hungarian architect Ciril Metod Koch constructed a new building – Hotel Tivoli, which soon became a gathering place for the bohemians, artists and other like-minded characters of the time. This is also where the workers collected to celebrate Labour Day on 1 May. Until the end of the First World War, the hotel served as a comfortable respite and a place of tasty refreshments for walkers and visitors. After the outbreak of the October Revolution, it was settled by Russian immigrants. At its peak, Švicarija housed a ballet school, which was after its move hired by one of the most important Slovenian sculptors, Ivan Zajec – the author of the Prešeren Monument in Ljubljana. In the early 1950s, many other famous Slovenian artists resided and worked there, until 2012, when the last artist moved out due to the plans for a thorough renovation. The City of Ljubljana has dedicated approximately twenty working-residential studios for Ljubljana based artists in the Švicarija Centre, with some space also intended for foreign artists on visiting residences.

With its rich history, the Švicarija Creative Centre provides exceptional starting points for developing various programmes that bring us closer to the Slovenian natural and cultural heritage from today’s perspective. The Centre’s programme stems from the location and history of the building, since it is inscribed as a space of hospitality, welcome, coexistence, exchange and transformation.

The Švicarija Creative Centre wishes to contribute to the quality of life of individuals and communities with the experience of art. The building connects artists with the city and its inhabitants on various levels through a series of artistic practices, disciplines and perspectives on art, and at the same time also provides a diverse programme for a variety of audiences.

Critic in Residency Programme

Artist in Residency Programme 2018 at Švicarija Creative Centre

 

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ARCHIVE

From Biennial to Biennial

28–30 November
International Centre of Graphic Arts and Švicarija Creative Centre

Books presentation
Nocturnal Singer by Alejandra Pizarnik (1936–1972)
Jure Detela, Selected Poems (1951–1992) 
Wednesday, November 28 at 6 pm
MGLC

A symposium
The Irrational in a Biennial
Thursday, November, 29 10.00–17.00
Švicarija Creative Center

Opening of exhibition
Nathalie du PasquierFair Game
curator: Kate Sutton
Friday, November 30, at 1 pm
MGLC

From Biennial to Biennial is a 3-day event which is a postponed reflection on the 32nd Biennial of Graphic Arts: Birth as Criterion. Composed of a presentation of a book Nocturnal Singer by Alejandra Pizarnik, an international symposium The Irrational in a Biennial that will discuss and challenge the traditional biennial structure, and a solo exhibition by Nathalie Du Pasquier: Fair Game, the event attempts to bring together diverse mediums of perception.


Photo: Urška Boljkovac. MGLC Archive.

Milton Glaser, Posters

SOON

23. 11. 2018–3. 3. 2019
opening: Friday 23 November, at 1 pm

The artist and his posters will be presented at the opening by the expert of visual communications, Petra Černe Oven, PhD.

Milton Glaser (1929, New York) is one of most important graphic designers in the world, who has designed hundreds of corporate images, magazines, newspapers, books, LP covers, and has created thousands of posters during his career spanning over fifty years. He has been inscribed into the world history of design with his iconic “I love NY” logo. Milton Glaser has decided to donate thirty-five original posters (created between 1966 and 2016) to the City of Ljubljana, which will enrich the collection of the International Centre of Graphic Arts after the exhibition.

A special thanks on the occasion of the exhibition goes to Mirko Ilić, who came up with the idea for the donation in 2017, when he was hosted at the Festival of Tolerance as a lecturer and the author of the TOLERANCE exhibition. The show is organised every year by Mini teater and the Ljubljana Jewish Cultural Centre with the support of the City of Ljubljana (MOL).


Milton Glaser, Posters, 2018.

Nathalie Du Pasquier

SOON

30. 11. 2018–3. 3. 2019
opening: Friday November 30, at 1 pm

The openin will be accompanied by a guided tour given by the artist Nathalie Du Pasquer and the curator of the exhibition Kate Sutton.

Nathalie Du Pasquier’s compositions transform the interiors of the International Centre of Graphic Arts into a series of immersive microenvironments, sampling from over three decades of the artist’s paintings, prints, drawings and murals, as well as a new series of silkscreen prints, which was produced precisely in the screen-printing studio of the International Centre of Graphic Arts in Ljubljana.

Du Pasquier first made her name with vibrant, eye-catching graphics and textile prints shaped by the artist’s eclectic influences, boundless imagination and impulse towards experimentation. Since the late 1980s, she has focused primarily on painting, building up a tremendous body of work, much of which has yet to be exhibited publicly. Fair Game shuns a chronological ordering in favor of forging more intuitive formal affinities between the various series. Assorted elements or objects appear and reappear in different compositional configurations, like a card in a deck that takes on new powers and limitations with each hand dealt. This visual vocabulary is distilled in a new series of silkscreen printed modules (“virtual furniture,” as the artist calls it), which she created in the MGLC screen-printing studio.

Curator of the exhibition is Kate Sutton.


Nathalie Du Pasquier: Mensola piena, 2011, oil on canvas.