The Print Studios

The MGLC Print Studios are organized as a production centre, offering artists the opportunity to print in a variety of printmaking techniques. They are able to make their prints themselves or can be assisted by the masters of the craft.

In their early years, the Print Studios’ primary job was the preservation and protection of cultural heritage. During this period the reprints of works by Janez Bernik, Andrej Jemec, Veno Pilon, Riko Debenjak, Bogdan Borčić, Karel Zelenko and Marijan Tršar were produced. Later, the production in the Print Studios focused on using certain classic printmaking techniques like intaglio printing, lithography and silkscreen. But the Studios were always conceived to function as a research laboratory, where local and foreign artists can explore their visual ideas as well as further their knowledge and skills.

As a production centre, MGLC offers various ways of participation. For the production of original art prints, the board of experts selects projects every year to be financed and produced in the MGLC Print Studios. Artists may apply personally by the end of the calendar year, however, MGLC may put out a call for submissions if required, or alternately make a direct invitation to a certain artist to engage in the production of a project. 

In the case of co-productions, MGLC takes care of technical and spatial requirements, and the projects are selected on the basis of artists’ proposals. In both cases, production or co-production, MGLC receives two copies of the graphic print for its permanent collection. The MGLC Print Studios are also available to hire.

  • workburger_hagelberg.jpg
    Matti Hagelberg Workburger
  • zora_stančič_napake-mistakes.jpg
    Zora Stančič Mistakes
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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