Experimental Printmaking at the End of the Promenade
After the viewing of the current exhibition and the presentation of the MGLC Print Studios, we will be developing inventive printmaking processes and creating motifs and compositions on the topic of what the future will bring.
Mario Giacomelli, From Luigi Crocenzi’s Archives
6 June–1 July 2012
ARTIST Mario Giacomelli
CURATOR Walter Liva, CRAF
The exhibition presented a selection of the most representative works by Italian photographer Mario Giacomelli.
Io non ho le mani che mi accarezzino il viso / I have no hands that caress my face, 1962−63.
In 1995, CRAF – the Center of Research and Archivation of Photography from Spilimberg in Friuli−Venezia Giulia acquired the archives of Luigi Crocenzi consisting of letters, books and photographs. The archives contained an especially precious collection of over 250 vintage photographs taken in the period from the 1950’s to the end of the 1970’s by Mario Giacomelli, one of the most important Italian photographers of the 20th century. Giacomelli and Crocenzi, both photographers, were good friends and collaborated on two film scripts, first in 1961 for the film Un uomo una donna un amore (One Man One Woman One Love), and then again two years later for the film A Silvia (To Silvia).
The first part of the exhibition presented the series of photographs from the 1950’s entitled Prime fotografie (First Photographs), Nudi (Nudes), Mare (Sea), Paesaggi (Landscapes) – a motif which remained a constant also in Giacomelli’s later work – Apuglia, Gente dei campi (Land People), Lourdes and Scanno. The second part of the exhibition featured Giacomelli’s masterpieces from the 1960’s and 1970’s: Mattatoio (Slaughterhouse), Io non ho mani che mi accarezzino il viso (I have no hands that caress my face), A Silvia (To Silvia), La buona terra (The Good Land), Verrà la morte e avrà i tuoi occhi (Death will come and will have your eyes), Motivo suggerito dal taglio dell’albero (Motif suggested by the cutting of a tree), Caroline Branson, Studenti (Students).
Caroline Branson, 1971−73. ©CRAF
Giacomelli is one of the most prominent Italian photographers. He was self-taught and did not belong to any school of photography. He is considered a representative of Italian Neo-realism, a movement that began after 1945 mainly in cinema. In Giacomelli’s work, it takes the form of a symbolist discourse verging on photographic expressionism which points out the emotional aspect of reality underlined with contrasts and signs. Much like the master of cinema Federico Fellini, Giacomelli turned the Neo-realist point-of-view upside down by introducing a new, almost dreamy tonal poetry into his photographs, and by weaving a photographic narrative from stories and landscapes free from unnecessary detail.
Mario Giacomelli (Senigallia, 1925–2000) was the eldest of three brothers. When he was nine, his father died. It was around that time that he began making drawings and writing poems. At thirteen, he started working in Tipografia Marchigiana, a printing house where he was so captivated by the endless possibilities of combining words and images printing offered that he worked there throughout his working life, and later became its owner. He engaged in photography every day in his spare time. In 1963, John Szarkowsky, a curator at the Museum of Modern Art (MoMA) in New York, purchased his series of photographs entitled Scanno, and then published one photograph from the series in the prestigious catalogue of the museum Looking at Photographs. That made Giacomelli famous in Italy and abroad.
The exhibition was organised in collaboration with CRAF, which was able to present a selection of Giacomelli’s photographs by kind permission of the photographer’s family, especially his son Simone and his niece Katiuscia Biondi. The show was part of the Photonic Moments 2012 organised by Photon Gallery.
Prints and Impressions
20 April−17 June 2012
ARTISTS Boris Beja, Franc Berhtold, Sara Bolte, Jaka Bonča, Stojan Brezočnik, Miroslav Cukovic, Lenka Ðorojević & Matej Stupica, Emerik Lan Dovgan, Vesna Drnovšek, Mina Fina, Črtomir Frelih, Maša Gala, Matjaž Geder, Tomaž Gorjup, Samuel Grajfoner, Svetlana Jakimovska Rodić, Danilo Jejčič, Gašper Jemec, Jernej Jemec, Anja Kolenko, Bojan Kovačič, Eva Lucija Kozak, Nina Koželj, Miran Kreš, Tanja Lažetić, Neda Madjar, Davor Mesić, Martina Mihoković, Nataša Mirtič, Tina Mohorovič, Ana Ida Mordej, Ivo Mršnik, Jasmina Nedanovski, Janko Orač, Ksenija Orhini, Petra Petančič, Nika Petek, Eva Petrič, Matjaž Penko, Alja Piry, Silvester Plotajs Sicoe, Arjan Pregl, Vojko Pogačar, Marija Mojca Pungerčar, Tamara Rimele, Tjaša Rener, Drago Vit Rozman, Kristina Rutar, Zoran Srdič Janežič, Zora Stančič, Romeo Stubelj, Brane Širca, Tanja Špenko, Urša Vidic, Leon Zakrajšek, Mojca Zlokarnik, Klemen Zupanc, Jaka Železnikar, Eva Žula.
CURATORS Breda Škrjanec, Božidar Zrinski
Klemen Zupanc, Boxes, 2011, installation.
The exhibition Prints and Impressions was produced on the basis of a public call for submissions to artists. More than 150 authors responded, submitting more than 1,000 pieces, among which works of diverse genres by 60 artists were selected for show. The selections were made by Breda Škrjanec and Božidar Zrinski.
The exhibition, which presented various starting points in terms of style and content, from traditional prints to computer graphics, objects, postcards as well as artists’ books, followed the artists by year of birth, going from the oldest to the youngest. In such a way, an interesting overview of the current graphic art production was obtained, based on various generational aspects as well as artistic starting points.
Lenka Đorojević and Matej Stupica, D BUK, 2011, artist’s book.
With this exhibition the International Centre of Graphic Arts continued its ongoing presentation of the activities in the field of graphic art and the art of printing, which it has been intensely researching and shaping over the past fifteen years. The past few years have seen MGLC organize several exhibitions highlighting the vitality and innovation of Slovenia’s diverse graphic art production. The exhibitions that were organized on the basis of direct invitations to artists or as curatorial selections of artworks created over a certain period of time, involved mostly younger artists, who in such a way predicted and demonstrated a continued interest for this type of creativity. In 1993, some new artists presented themselves in the Young Slovene Printmaking exhibition, who are today ranked among the classics of Slovene printmaking and who are at the same time also recognized in the field of contemporary art. Five years later, in 1998, The New Generation exhibition again drew attention to the lively goings on in the Slovene graphic arts; likewise the 2008 show entitled A Third Look – The Multiplicity of the Graphic Arts Today.
Ksenija Orhini, Untitled, 2010, aquatint.
The experienced generation of authors (Danilo Jejčič, Bojan Kovačič, France Berhtold, Stojan Brezočnik, Ivo Mršnik, Tomaž Gorjup, Vojko Pogačar, Tanja Špenko, Janko Orač, Zora Stančič) largely followed their already established artistic expressions and consolidation of positions within contemporary art production.
The artists born in the sixties (Drago Vit Rozman, Jaka Bonča, Samuel Grajfoner, Črtomir Frelih, Leon Zakrajšek, Romeo Stubelj, Matjaž Penko, Svetlana Jakimovska Rodić, Mojca Zlokarnik, Silvester Plotajs Sicoe, Tanja Lažetić, Marija Mojca Pungerčar) showed a striking diversity and variety of genre, characterized by experimentation with various materials and the use of modern means of reproduction.
A diverse production also marks the generation of artists born in the seventies (Jaka Železnikar, Arjan Pregl, Zoran Srdić Janežič, Gašper Jemec, Martina Bohar, Matjaž Geder, Tamara Rimele, Miran Kreš, Jernej Jemec, Nataša Mirtič, Vesna Drnovšek, Mina Fina, Urša Vidic, Eva Žula). They presented themselves with apparently very different pieces, techniques and subject matters, which were linked by a relaxed artistic expression, humour as well as amusing and sarcastic contents.
But it was the youngest generation of artists that showed itself as the most abundant and active (Jasmina Nedanovski, Petra Petančič, Nina Koželj, Ana Ida Mordej, Alja Piry, Miroslav Cukovic, Eva Petrič, Lenka Đorojević in Matej Stupica, Boris Beja, Tjaša Rener, Eva Lučka Kozak, Klemen Zupanc, Maša Gala, Emerik Lan Dovgan, Nika Petek, Ksenija Orhini, Tina Mohorovič, Anja Kolenko, Davor Mesić, Kristna Rutar, Neda Madjar, Sara Bolte). This generation, born in the eighties, has been established alongside the Academy of Fine Arts and Design in Ljubljana, also by two increasingly prominent and active graphic art centres in the Fine Art Department of the Faculty of Education in Maribor and the Faculty of Education in Ljubljana. These young artists stand out by their technical expertise, mastery of skill and ingenuity of production, which they further enhance by using subjects relevant to today.
Bojan Kovačič, Humankind XI, 2010, colour etching, aquatint, drypoint.
Editor Božidar Zrinski
70 pages, Slovene and English language
Price 10 EUR
20 April−17 June 2012
ARTISTS Pila Rusjan and Nung-Hsin Hu
CURATOR Yasmin Martín Vodopivec
The circumstances which led to the formation of the experimental interactive video project by Pila Rusjan and Nung-Hsin Hu are linked to the ECVP collaborative project known as the Exquisite Corpse Video Project. This is an original cross-cultural collaboration of artists working in experimental video and is inspired by the surrealist method of the ‘cadavre exquis’. The surrealist method was based on the randomness of the story assembled by the words or phrases added by different collaborators, whereas with ESVP, each participant produces a video piece created in response to the last ten seconds of the video by the preceding artist. Ten participants of the ECPV project formed the TRAFFIC JAM #1 video group. The artists first met at the Casa das Caleiras residency in São Paulo in 2010. TRAFFIC JAM #2, in which Pila Rusjan and Nung-Hsin Hu made the creative connection, went on in Taipei, as part of the Treasure Hill Artist Village residency programme from January to March 2012. In the intense atmosphere of creative collaboration, the two artists conceived the collaborative Bedtime Stories project.
Photographs courtesy of the artists.
The project springs from their own experience of loneliness in a foreign country and at the same time discusses the paradoxical situation of increasing solitude in a world characterized by intense communication aided by modern technologies. The interactive book and bed make up the audio-visual installation that creates an intimate and pleasant atmosphere, where visitors could browse through the book and choose their bedtime story. The stories that were projected onto the bed were presented in different forms, blurring the line between reality and dreams.
Pila Rusjan studied at the School of Arts of the University of Nova Gorica, where she graduated in 2010 on the Digital Arts and Practices programme. She consolidated her international activity in the ECVP project, which had a pronounced effect on her. She works in video, photography and performance.
Nung-Hsin Hu is from Taiwan but has lived and worked in New York for the past six years. She studied sculpture at Long Island University, while she often uses performance, stop-motion animation and video as her expressive medium. She has been involved in the ECVP project from the onset, although she can also take the credit for the realization of the Traffic Jam residency in Taiwan.
Storytellers: Nung-Hsin Hu, Pila Rusjan Stina Pehrsdotter, Kim Dotty Hachmann, Bruno Penteado, Jorge Bachman, duo EYES (Sunny Su and Yannick Cariot), Jing-Jing Wang, Ji and Yin Meemalai, Pierre Chen.
Interactive book production: OpenLab.Taipei (我, Akinori Kinoshita, Dieter Hsu, Ling Zong Ting and Honki), Knjigoveznica Jaka Zdešar, Fotolito Dolenc and Mr Tine Ribič.
Thanks also to: Matthias Roth, Niclas Hallberg, THAV, Jasmin Talundžić, Brane Ždralo, Yasmin, Dog 2.6, R&B, as well as all those storytellers that did not make it into this selection. Producer of the project: Traffic Jam Taipei.
Co-producer of the project: OpenLab Taipei.
Artists’ Books on Tour, Artist Competition and Mobile Museum
21 February–25 March 2012
ARTISTS Claire Andlauer/Tristan Perreton, Georgina Aspa/Javiera Pintocanales, Aïdée Bernard, Manuel Blázquez, Válerie Buess, Lien Buysens, Vuk Cuk, Susan Deakin, Amélie Dubois, Sandra Đurović, Gerhild Ebel, Rainer Fest, Marie-Noëlle Fontan, Irena Frantal, Sabine Golde, Laure Grimal, Lyn Hagan, Katrin Herzner, Gerlinde Hofmann, Ilona Kiss, Julie Kačerovská, Mario Kolarić, Edith Kollath, Agata Kosmacz, Matthias Krinzinger, Lucas Kunz, Beatrix Mapalagama, Max Marek, Livia Mateiaş, Michail Molochnikov, Igor Mudronja, Sky Nash, Kate Owens, Elena Peytchinska, Andrea Pezman, Rachele Riviere, José Rosinhas, Christoph Rothmeier, Patrick Sauze, Libby Scarlett, Veronika Schäpers, Karin Sulimma, Maria Szczodrowska, Josipa Šarić, Carolyn Thompson, Filip Tofil, umraum artcollectiv, Celestina Vičević, Consuelo Vinchira, Katarzyna Wolny
The exhibition was the result of a cooperation between the MAK – Austrian Museum of Applied Arts/Contemporary Art in Vienna, the UPM – Museum of Decorative Arts in Prague, and the MGLC – International Centre of Graphic Arts in Ljubljana. In order to familiarize a broader public with the multi-faceted genre of artist’s books, the institutions joined forces to launch Artists‘ Books on Tour. Artist Competition and Mobile Museum, a EU-funded project. One major objective of the competition was to gain a better view of the Europe-wide creative work in the field of artist’s books. To this effect, Europe’s (book) artists were invited to deal with the subject of artists’ books and their multiple forms of aesthetic expression. The exhibition featured the five winning projects and 45 other selected competition works.
Julie Kačerovská (Czech Republic), Paper Landscape, 2009.
©MAK/Georg Mayer. (prize winner)
Elena Peytchinska (Austria), Book Geometry, 2011.
©MAK/Georg Mayer. (prize winner)
Essentially, artists’ books are contemporary art. Art theory describes them as visual art artefacts that present artistic ideas in the form of various books by referring to their conceptual and physical properties. Artists’ books are books or book-like objects over the final appearance of which an artist has had a high degree of control; where the book is intended as a work of art in itself. With artists’ books it is generally one individual making all the choices, without the involvement of an editor or publisher. Final product reflects the artistic vision of one person, without imposed constraints connected to marketing or even censorship. Artists’ books have employed a wide range of forms, including scrolls, fold-outs, concertinas or loose items contained in a box as well as a bound printed sheet. Artists have been active in printing and book production for centuries, but the artist’s book is primarily a late 20th century form. Artists’ books are not children’s books, nor diaries or sketch books. They are not blank books, exhibition catalogues, reproductions of a body of an artist’s work, nor art books (a common misnomer). However, they may parody or play with any of the above, as well as all other standard categories such as novels, self-help books, non-fiction, cookbooks, operating manuals, manifestos, travel guides, essays, etc. Artists’ books function in the same way as contemporary art: as an expression of someone’s creativity, often with social commentary, but sometimes in a purely abstract way, in absence of words or recognizable imagery. Artists’ books may adopt any and all forms of contemporary art, such as painting, sculpture, photography, printmaking, installation and performance art (including film and video) plus all forms of ‘craft’ which have crept into contemporary art on their own, such as textiles or fibre art, bookbinding, typography, calligraphy, papermaking etc.
What distinguishes artist's books from other art forms? They are usually intended to be portable. They often come with specially created cases or containers to help in the storage, protection and transportation of the work. They are mixed-media. They combine many processes. They are usually supposed to be touched and interacted with, often with a specific predetermined sequence. All of their physical attributes are not visible at once. A single work may have a number of different display possibilities.
Agata Kosmacz (Poland), Book on the Elements, 2010.
The exhibition was complemented with works of Slovene artists from the collection of the International Centre of Graphic Arts.
ARTISTS Eduard Čehovin, Vuk Čosić and Irena Wölle, Andrejka Čufer, Matej De Cecco, Dejan Habicht, Ištvan Išt Huzjan, Janez Janša, Žiga Kariž and Vasja Cenčič, Saša Kerkoš, Jakob Klemenčič, Matej Lavrenčič, Marko Kociper, Boštjan Pucelj, Matej Stupica, Andrej Štular, Petra Varl, Franco Vecchiet, Matej Andraž Vogrinčič.
Vuk Ćosić & Irene Völle, Trabakula, 1996. From the Collection of MGLC.
Friday, 9 March at 18:00
Mark Požlep, Drunk Cook Book, performance.
Tuesday, 20 March at 11:00
Salon für Kunstbuch (Artist’s Book Salon), Vienna: Presentation and lecture by Bernhard Cella.
Sunday, 25 March at 12:00
Exhibition tour with coordinator of the exhibition Breda Škrjanec.
Editor Kathrin Pokorny-Nagel
80 pages, English language
Price 10 EUR
Ivan Kožarić, Prints from the Collection of the International Centre of Graphic Arts
21 February–1 April 2012
ARTIST Ivan Kožarić
CURATOR Breda Škrjanec
Artist Ivan Kožarić created eighteen colour screen prints at the International Centre of Graphic Arts, which included his Untitled print, 2002, as well as two print portfolio entitled A Bouquet of Genes, 2002−04 and I am happy to be happy, 2007.
Untitled, 2002, colour screen print.
Ivan Kožarić is an unconventional author, a sculptor who also works in other media such as temporary sculpture, installation, drawing, painting, photography, commercial advertising, and printmaking. He treats the creation of prints as a process composed of changeable, transient and random elements. His works emanated his merry, spontaneous, nonchalant, and almost too bold attitude towards life.
Ivan Kožarić (1921) is one of the greatest sculptors of Croatia. He graduated from the Academy of Fine Arts and held his first solo exhibition in 1955. He spent several months in Paris supported by the Moša Pijade grant (1959/1960), where he was noticed by Jacques Lassaigne – the respected French art critic. This period was very important for him, but despite the chance to pursue a European career, Kožarić “escaped from success” and returned to Zagreb where he joined the informal group Gorgona, which advocated unconventional forms of artistic expression and was developing a new artistic sensibility. Kožarić’s work is created on the margins of conceptuality and is expressed through different materials, mediums, forms, topics, iconography and directions. Kožarić’s works can be found in many European and world contemporary art collections, and his name and works are mentioned in many European and international anthologies, as well as in global reviews of contemporary sculpture. In 2007, Kožarić’s entire studio (including more than 6000 art pieces) was bought by the City Department for Education, Culture and Sports of Zagreb and was placed in permanent preservation at the Museum of Contemporary Art. Ivan Kožarić influenced and inspired many generations of artists and – as an extremely creative artist – also engaged himself in numerous actions at the local and national level. Ivan Kožarić lives and works in Zagreb.
Editor Breda Škrjanec
30 pages, Slovene and English language
Price 5 EUR
Tinca Stegovec, Prints and Drawings from the Collection of the International Centre of Graphic Arts
1 December 2011–8 February 2012
ARTIST Tinca Stegovec
CURATOR Breda Škrjanec
Tinca Stegovec, Tourists, 1976, colour etching and aquatint.
Tinca Stegovec is a Slovene painter and printmaker, a member of the Ljubljana school of graphic arts. In 2011 she donated her entire printmaking oeuvre together with matrices and four drawings, as well as a large portion of her professional library, to the International Centre of Graphic Arts. The exhibition at MGLC was the first comprehensive presentation of the printmaking oeuvre of Tinca Stegovec and verified her place in the history of modern Slovene printmaking, in which the excellence of her colour aquatints had not been fully recognised in the past. In addition to her aquatints, the display also included woodcuts, lithographs, etchings, vernis mou, matrices and drawings.
Tinca Stegovec, On the Beach, 1973, colour etching and aquatint.
The life’s work of Tinca Stegovec is multifaceted and complex. She is not only a painter, printmaker and illustrator, but has also dedicated a large part of her life to teaching work, journalism, translation and travel. She was born in 1927 in Planina pri Črnomelju. She had her first solo exhibition of prints and wash drawings in 1954 in Ljubljana’s Mala galerija. From her first job at the grammar school in 1952 and up till her retirement in 1978 she was involved in pedagogical work, undergoing constant further training in art theory and through her study trips across Italy, France, Switzerland and Greece. She became established as a printmaker in the sixties. In 1963 she received a six-month scholarship to study in Paris and decided to take up intaglio printmaking in the Atelier 17 studio with Professor Stanley William Hayter. The Paris scholarship represented a wished for professional departure into the world, whereas the Parisian studio gave her much technical knowledge as she was able to use it to experiment with various combinations of printmaking techniques. In 1966, she held her first solo exhibition abroad, followed by a busy exhibiting period, with a particularly resounding solo show in 1969 in Mala galerija, where she exhibited twelve relief etchings with aquatint and vernis mou. In 1976 she received the Prešeren Fund Award. One of her most resounding prints The Call was created in 1978 and received a silver award in Paris in 1985. She abandoned printmaking for health reasons after 1988 and devoted herself to drawing and painting.
Tinca Stegovec, Swing, 1975, colour etching, aquatint and vernis mou.
The prints of Tinca Stegovec largely comprise of images that are extracts of life and life situations. By mixing the printmaking techniques of etching, aquatint and vernis mou she achieved her technical and creative peak. Tinca Stegovec, a highly figurative artist, is a subtle observer of the world around her and interpersonal relations. Her works are deep personal stories, characterized by a deliberate choice of subjects and carefully selected visual means.
Tinca Stegovec, The call, 1978, etching and aquatint.
A conversation with Tinca Stegovec conducted by Irene Mislej.
Demonstration of aquatint printmaking conducted by Ksenija Orhini.
Exhibition tours with Tinca Stegovec, Boge Dimovski and Breda Škrjanec.
Editor Breda Škrjanec
Pages 312, Slovene and English language
Price 19 EUR
The Treasures of Slovene Printmaking 1955–2005
Collection of the Slovene Academy of Sciences and Arts (SASA)
23 June–4 September 2011
ARTISTS Zvest Apollonio, Janez Bernik, Janez Boljka, Bogdan Borčić, Lucijan Bratuž, Jože Ciuha, Riko Debenjak, Štefan Galič, Bojan Gorenec, Samuel Grajfoner, Irwin, Božidar Jakac, Andrej Jemec, Metka Krašovec, Tomaž Kržišnik, Lojze Logar, Vladimir Makuc, Miha Maleš, Adriana Maraž, Živko Marušič, Kiar Meško, France Mihelič, Jožef Muhovič, Zoran Mušič, Valentin Oman, Klavdij Palčič, Marjan Pogačnik, Marij Pregelj, Jože Spacal, Lojze Spacal, Tinca Stegovec, Branko Suhy, Gorazd Šefran, Marijan Tršar, Karel Zelenko, Mojca Zlokarnik.
Adriana Maraž, Skirt, 1990, colour etching.
This was a display of a comprehensive collection of 143 graphic works by thirty-six Slovene artists; the works were created between 1955 and 2005. The collection, which was curated by Dr Lojze Gostiša, is owned by the Slovenian Academy of Sciences and Arts, and was donated by the Krka pharmaceutical company (Krka d. d. tovarna zdravil Novo mesto). The collection was first put on show in 2006 in Skopje, and was supplemented in 2007 with works by Slovene authors from abroad, before being presented again, but not in full scope, in 2008 at Ljubljana Castle. The collection clearly and comprehensively showcases one of the most important areas of the Slovene recent history of art.
Zoran Mušič, Istrian soil, 1959, colour etching.
The works in the collection are mostly the work of artists defined by Slovene art history as members of the Ljubljana school of graphic arts. This developed, alongside the Biennial of Graphic Arts and the quality technical teaching of the Academy of Fine Arts in Ljubljana, for Slovene printmaking. The informal beginnings of the Ljubljana school of graphic arts are linked to the year 1955 and the first international graphic arts exhibition (later biennial). The fact is that participation in the biennial represented the artist with a ticket to becoming part of the group, which was later to define the school. The endeavour for high technical perfection of the graphic print mainly carried out in the techniques of etching and aquatint, the precision and consistency of prints where there is no spontaneity, gestuality or decorative desire, the delivery of a patinated surface, in a mostly light tonal scale, in the case of the overwhelming majority, the steady insistence on the edge of the conceptual world, the aspiration for the independence of printmaking as a medium, the creative presence of the artist in the entire process of the emergence of the graphic print from the idea, the technological processes, to the print, were the main features of the group of artists belonging to the Ljubljana school of graphic arts. This established itself during the period from 1955 to 1970, it determined the criteria of the Slovene graphic arts and still today remains synonymous with the Slovene printmaking tradition, while also being one of Slovenia’s most successful art brands that have established themselves on the international art scene.
Živko I. Marušič, Tulip, 1994, woodcut.
Guided tours will be held on Sundays at 12:00, on 3 and 17 July, 7 and 21 August, and 4 September.
Change the Colour!
22 April–12 June 2011
ARTISTS BridA (Tom Kerševan, Sendi Mango, Jurij Pavlica)
CURATOR Božidar Zrinski
The first retrospective exhibition to present the group’s paintings, prints, videos and intermedia projects produced between 2005 and 2011.
BridA, PCB, new production supported by the Ministry of Culture of the Republic of Slovenia, 2010.
Courtesy: BridA (Tom Kerševan, Sendi Mango, Jurij Pavlica).
BridA formed in 1996 at the Academy of Fine Arts in Venice, where its members Tom Kerševan, Sendi Mango and Jurij Pavlica also graduated. Their work is based on the consideration of processes and applications within the context of contemporary art, on the principle of artistic integration and teamwork, as well as research and projects involving collaboration with various other artists, experts and creators. What makes them special is their engagement in their own locality, numerous connections with research institutes and universities, successful appearances abroad, their own artist in residence programme and so on. Their latest project is a collaboration in the Time For Nano project, which is being carried out under the auspices of the EU, and focuses on communication and bringing nanotechnology and awareness of it closer to the youngest audience. BridA lives and works in Šempas.
BridA, Modux 3.4, Ars Electronica, Lentos Museum, Linz, Austria, 2008.
Courtesy: BridA (Tom Kerševan, Sendi Mango, Jurij Pavlica).
BridA’s projects display a uniform system of thought and preparation of artworks that is best understood if we just step into it and experience it ourselves. The works are based on discussion, careful planning and professional execution. They are characterized by their constant passing from the two-dimensional visual surface into the three-dimensional space. BridA treats the artwork as an open space, in which various types of information circulate, with spectators’ interventions continuously adding to and affecting the final result. Despite their use of new media, high technology and science, they have never abandoned drawing and painting. And as they maintain themselves, a new medium or new technology has also never been an impulse, but rather a path, in the realization of a new project. Important for getting to know BridA’s work is their DIY – Do It Yourself project initiated in 2005, a CD with instructions on how to create a painting (the idea for the title of this exhibition also originates from this project). Researching how to present information and its effects is also repeated in later projects.
BridA has so far presented itself in the International Graphic Arts Centre in three group exhibitions. The solo exhibition shows a five-year overview of paintings, prints, videos and intermedia projects: Modux, Modux Datascapes, Information Accelerator 1.1, DIY, Les mouches, Printed Circuits, the Trackeds series, Nanoplotter, the Lunch Break videos, Layers, Viktor, Radioteleskop, Time For Nano, Nanoplot, Ca' nun ce sta nisciuno. As highlighted by the exhibition curator, this presentation was not a normal survey of art, but illustrated the development of technology and its stages, which had an effect on the art-making methods as well as individual projects. Therefore, viewing a survey of the creative process of artists who are essentially characterized by the concept of continuous development, can easily become an investigative challenge also for the visitor.
BridA, Nanoplotter, U3, curated by Charles Esche, Moderna galerija Ljubljana, 2010.
Courtesy: BridA/Tom Kerševan, Sendi Mango, Jurij Pavlica.
Guided tours, lectures, workshops, performances and animations.
On International Museum Day, 18 May, there is no admission fee to the exhibition all day.
Every Sunday, 11:00–13:00, the Animator Attention! programme of DIY (Do It Yourself!) workshops for children, young people and adults will be carried out in the courtyard in front of Tivoli Mansion. Admission free.
Every Tuesday afternoon, 16:00–18:00, animators in the gallery will inform and animate visitors free of charge.
Editor Božidar Zrinski
Pages 90, Slovene and English language
Price 10 EUR
Reproduction, Repetition and Rebellion
Multiplicity in Spanish Emerging Art
17 February–3 April 2011
ARTISTS Democracia, Azucena Vieites, La Más Bella, PSJM, Javier Arce, Daniel Silvo, El Cartel, Fernando García, Noaz, Enrique Radigales, Ediciones Puré, La Lata, S.T. Libro Objeto
The exhibition features works by five artists and eight art collectives.
CURATOR Javier Martín-Jiménez
Javier Arce, The Count-Duke of Olivares, “Crumpled” Series, 2007.
Felt-tip pen on tear-proof paper, 360 x 270 cm.
The exhibition presents works from Spain’s contemporary art production in the areas of printmaking, multiple art, and other art practices based on reproduction. It is organized around three conceptual groupings: reproduction, repetition and rebellion. Reproduction is understood as a copy of an original by a mechanical process, using, for instance, a printing press, a photocopier, or a digital printer; repetition refers to one of the essential values of multiple art; while the third conceptual grouping, rebellion, presents a selection of exhibited works in two aspects: as a defence of new Spanish graphic production and the practices that derive from it, and, at the same time, as a reflection of the message that is interwoven in the social critique of contemporary art.
PSJM, Marx®, 2008. Street campaign.
Organized in collaboration with Asociación Hablar en Arte (http://www.hablarenarte.com) and Ingráfica (http://www.ingrafica.org) from Madrid.
Also participating: SEACEX, Sociedad Estatal para la Acción Cultural Exterior; Embajada de España en Eslovenia; Ministerio de Asuntos Exteriores y de Cooperación, Dirección de Relaciones Culturales y Científicas.
9 + 9, Artists’ Books and Artists
23 November 2010–8 February 2011
ARTISTS Andrejka Čufer, Tanja Lažetić, Marko A. Kovačič, Eva Petrič, Petra Petančič, Alenka Pirman, Tadej Pogačar, Sašo Sedlaček Mladen Stropnik
CURATORS Breda Škrjanec and Božidar Zrinski
Nine Slovene artists – Andrejka Čufer, Tanja Lažetić, Marko A. Kovačič, Eva Petrič, Petra Petančič, Alenka Pirman, Tadej Pogačar, Sašo Sedlaček and Mladen Stropnik – have created nine new projects, installations, and gallery environments in nine exhibition rooms at the International Centre of Graphic Arts. They took as their starting point works chosen from the Centre’s collection of original publications and artists’ books.
The collection of original publications and artists’ books began to form in 2001 with a donation from the French Cultural Centre; today it consists of 3,782 items. The collection encompasses artists’ books, book objects, artist-made newspapers and magazines, newspaper projects, ephemera such as artist-designed posters and invitations, photographic publications, postcards, stamps, stickers, graphic works (other than fine art prints), photocopies, sound art, and related literature. It contains works by a number of important representatives of the avant-garde of the 1960s and 1970s as well as later. Artists and writers in the collection include Vito Acconci, Ben, Christian Boltanski, Daniel Buren, Hanne Darboven, Alfredo Jaar, Lucy Lippard, Mangelos, Annette Messager, the OHO group, Iztok Osojnik, Vesna Črnivec, Dušan Pirih Hup, Zora Stančič, and others. The 25th International Biennial of Graphic Arts, in 2003, which focused on the concept of the artist-produced publication, contributed greatly to the expansion of the collection, as did several donated archives (the FV archive, Milena Kosec’s Scarecrow Statelet archive, publications from the group museum in progress, the hybrid periodical Point d’ironie, and others).
Andrea Moccio, Giurnalia, Buenos Aires, 2003.
(Selected by Eva Petrič.)
Project by Eva Petrič: On the other side of the telephone book, video, 2010.
James Lee Byars, The Cube Book, Eindhoven, 1983.
(Selected by Andrejka Čufer.)
Project by Andrejka Čufer, 2010.
The twentieth-century phenomenon of the artist’s book, which developed in the ideological context of the 1960s, became a major democratic project for artists, since convenient and inexpensive book publications were a good way to embody the dematerialization of art projects, promote new creative forms, and spread new ideas. The idea of the book, its form, communicative ability, and reproducibility are attractive to artists; also, the book offers artists numerous colourful and diverse ways to approach it: photography, film, assemblage, print, drawing, sound recording, etc. But how does one separate books that are works of art from all other books and publications that, in one way or another, have been authorized by artists? The history of the artist’s book is marked by many explanations and efforts to find suitable definitions for the phenomenon. The artist’s book introduces a new model of interaction between the artist, the book, and the public; it creates an active reader/viewer. It is a means of expression for the artist, a work of visual art, a disseminator of ideas, and an object of communication.
Your Private Sky, Bukminster R. Fuller, Baden, Zurich, 1999. (Selected by Sašo Sedlaček.)
Project by Sašo Sedlaček, 2010.
Peter Fischli & David Weiss, Will happiness find me?, Cologne, 2002. (Selected by Petra Petančič.)
Project by Petra Petančič: Will happiness find me?, 2010.
Through their art projects, reactions, interpretations, new art production, and gallery and museum installations, the invited artists created new meaningful groupings of works chosen from the Centre’s collection of original publications and artists’ books. Each artist, after researching and examining the Centre’s holdings, chose one or more artworks, which then became the basis for their thinking about what they wanted to do in the gallery space; at the same time, these works gave rise to reinterpretation by the artists’ own projects, which were realized exclusively for this exhibition. The invited artists were placed in the role of designers of installations of museum objects. What emerged were new starting points, in terms of both content and theory, for understanding not only the artist’s book, but also museum and gallery work, the presentation of exhibits, their interpretation, and the actualization of museum collections.
The exhibition was part of the programme Ljubljana, The World Book Capital City 2010.
Exhibition sponsor: Lek.
Editor Breda Škrjanec
Pages 68, Slovene and English language
Price 10 EUR
We Want to be Free as the Fathers Were
9 September−7 November 2010
ARTISTS Viktor Bernik, BridA (Tom Kerševan, Sendi Mango, Jurij Pavlica), Jure Cvitan, Ksenija Čerče, Jon Derganc, Mito Gegič, Bojan Gorenec, Boštjan Jurečič Vega, Žiga Kariž, Gorazd Krnc, Polona Maher, Arjan Pregl, Nina Slejko, Miha Štrukelj, Maruša Šuštar, Manja Vadla, Sašo Vrabič, Tanja Vujinović.
CURATORS Breda Škrjanec and Božidar Zrinski
Painting exhibitions are rare today. The exhibition presented eighteen Slovene artists from various generations, all of whom were dealing with the following questions through their research of the painting medium: How does the contemporary media image of the world show itself in today’s painting? How do artists respond to the short-term view, television and internet collages? How do they understand the contemporary media landscape, its characteristics, operation and inclusion into the social microstructure?
BridA, Butcher's Bridge, 2010, acrylic on canvas.
The 1990s saw a change in visual art as painting reacted strongly to image digitalisation, and the "pixellated" images influenced even the abstract painting which was considered to be the showcase of modernism. In the mid 90s a generation of artists established themselves in Slovenia who understand painting as a screen and who thus adopted the formal image of the electronically and technologically mediated painting. At the break of the millennium painting became interesting due to its reaction to the flood of media images and the research of the characteristics of the new media in which these images appeared. Today the existence of mediatised images in painting is taken for granted. It is no longer enough for a painting to leave space for the reflection of the broader visual scope within society. The selection of paintings at the exhibition We Want to be Free as the Fathers Were investigated the ways in which painting reacts to the broader visual scope at the current moment in time.
Arjan Pregl, Fan Art II., 2007, collage.
The question of paintings that reflect the media image, that was posed already in the 1990s, is today of greatest interest to the youngest generation of painters who are just leaving university and are in this exhibition represented by the works of Jon Derganc, Mito Gegič and Maruša Šuštar – joined by the painting of the slightly older Jure Cvitan who can also be placed within this frame. The works of Žiga Kariž, Arjan Pregl and Viktor Bernik focus on the history of art and the great painting themes. The research of the painting’s status in contemporaneity is joined by the opus of the younger generation painter Nina Slejko. The tendency to experiment and use various painting structures, layers of paint and different ways of placing the image within the painting is typical for Bojan Gorenc and Boštjan Jurečič. The research into the new possibilities for the base upon which the painting can be materialised marks the work of Gorazd Krnc (metal sheets) and Ksenija Čerče (fabrics). Some of Miha Štrukelj’s paintings are made from readymade objects − Lego bricks − which preserve the pixellated surface that has been characteristic for his painting since the late 1990s. Manja Vadla uses recycled waste to create the bases for her paintings. The wall paintings of Sašo Vrabič are images, compounded from words, on the border between poetry, comic books and paintings. The works of Polona Maher, whose work emerges from sculpting practices, Tanja Vujinović with printed computer animations and the BridA group with its art practice emerging from painting based on the visualisation of digital data, all border on the research between painting and other media.
Žiga Kariž, Untitled (Painter 73-2), 2009,
acrylic and photography on canvas.
Guided tours by Božidar Zrinski, Petja Grafenauer, Miha Colnar, Saša Nabergoj, Bojan Gorenec and Žiga Kariž.
Talks with artists Boštjan Jurečič and Arjan Pregl, led by Božidar Zrinski.
Lecture by Petja Grafenauer.
Workshops with the BridA group (Tom Kerševan, Sendi Mango, Jurij Pavlica) and participating artist Manja Vadla.
Editors Petja Grafenauer, Božidar Zrinski
Pages 100, Slovene and English language
Price 10 EUR
The Image of the Book
16 July–7 September 2010
ARTISTS Žiga Aljaž, Miha Artnak, Ana Baraga, Eva Barborič, Anina Benulič, Suzana Bricelj, Filip Burburan, Nenad Cizelj, Laura Dowling, Andreja Džakušič, Miha Erjavec, Eva Ferk, Katja Kastelic, Rada Kikelj, Tanja Komadina, Matjaž Komel, Eva Kosel, David Krančan, Tibor Kranjc, Jaka Krevelj, Jana Pečečnik, Anže Pintar, Marko Potočnik, Sabina Rešić, Špela Rihar, Pia Rihtarič, Luka Seme, Tanja Semion, Ingbjörg Sigurðardóttir, Anja Šlibar, Nina Štajner, Nika Troha, Bára Typltová, Andreja Vekar, Aljaž Vesel, Tadeja Vidmar, Aljaž Vindiš & Mina Žabnikar.
TUTORS Stane Bernik, Lucijan Bratuš, Eduard Čehovin, Radovan Jenko, Tomaž Kržišnik, Ranko Novak, Milan Pajk, Zdravko Papič, Peter Skalar, Inger Merete Skotting, Jernej Stritar, Aleksandra Vajd.
The exhibition was one of the events celebrating Ljubljana as the 2010 World Book Capital. It presented book designs by students of the Department of Design of the Academy of Fine Arts and Design of the University of Ljubljana from the past fifteen years.
Prof. Radovan Jenko about the exhibition:
At the Department of Visual Communication Design we devote special attention to all aspects of book design. By introducing our students to a variety of media that call for design (illustration), we encourage them to develop genuine enthusiasm for book design. Depending on the genre, we approach book design in many different ways. In addition to our students mastering the basics (layout, typeface and materials), we seek to teach them how to make the book’s content and form coalesce into a harmonious whole.
The aim of The Image of the Book exhibition is to showcase a wide variety of approaches to book design. As a medium, the book is one of the most demanding, yet interesting challenges, while its unique rhythm and three-dimensional character require designers to rely on their extensive knowledge and experience if they are to do it justice and achieve the desired effect.
Exhibition design: Jure Kožuh & Tanja Semion
Art director: Prof. Radovan Jenko
The Academy of Fine Arts and Design of the University of Ljubljana
The project received financial support from the City of Ljubljana.
Reflections of Consciousness
Ivo Mršnik: Drawings and Prints
17 June−29 August 2010
AUTHOR Ivo Mršnik
CURATOR Breda Škrjanec
Ivo Mršnik, 1000 & 1, 2005, pencil on label. Photo: Sašo Kovačič.
Ivo Mršnik (b. 1939) is a Slovene painter and printmaker. In 1968, he graduated from the Department of Painting of the Academy of Fine Arts in Ljubljana and was that same year hired as an art teacher at Vič Primary School in Ljubljana. At the same time he pursued his specialist degrees, studying Painting with Prof. Maksim Sedej and Printmaking with Prof. Riko Debenjak and Prof. Marjan Pogačnik. He completed his specialist programme in Printmaking in 1972, and his specialist programme in Painting, with Prof. Gabrijel Stupica, in 1975. From 1978 to 2005 (when he retired), he worked as a professor of Drawing and Printmaking, along with their teaching methodology, at the Pedagogical Faculty of the University of Ljubljana. He lives and makes art in the village of Dragomer near Brezovica. He has taken part in more than a hundred solo and group exhibitions, and has received several awards for his printmaking and drawing. His more notable presentations include his participation at U3 – 2nd Triennial of Slovene Art (Moderna galerija, Ljubljana, 1997) and his solo show at Mala galerija in Ljubljana in 2004.
Ivo Mršnik, Figure I, 1970/71, colour lithography.
Photo: Sašo Kovačič.
Ivo Mršnik, Head, 1986, charcoal on paper.
Photo: Sašo Kovačič.
The present exhibition features Mršnik’s prints and drawings: from his earliest lithographs, made at the beginning of the 1970s, to his most recent prints from the series Stardust. The greater part of Mršnik’s works are related to portraiture – of himself and of strangers. As he explains himself, these portraits are sorts of signs, extremely reduced concentrates, which are records of intense inner pulsation. For his series Portraits of NNs, from the 1970s, he found his subjects in magazines and then precisely recorded their portraits on computer printout paper. In the past decade he has made series of what he calls psychograms, which, in Mršnik’s oeuvre, represent an extreme, condensed stage of the creative process; here the role of support is often assumed by other kinds of serial materials, such as stickers. Computer printout paper and stickers, which were spread out in the gallery spaces into intriguing spatial installations, are rather unconventional art choices, made from the desire to preserve a spiritual dimension in the dominion of machines and serial production. Into a time of automation, of our environment and our lives, Ivo Mršnik’s works introduce a personal expression and a personal spiritual manuscript. As Jožef Muhovič explains, "The nature of subjectivity in art is not fundamental but rather based in the medium."
The exhibition was supported by Okvirji Vrhunc.
Ivo Mršnik, Portraits of NNs, 1976, charcoal on computer printout paper.
Photo: Sašo Kovačič.
Ivo Mršnik, 2009, pencil, frottage on computer printout paper.
Photo: Sašo Kovačič.
Editor Breda Škrjanec
Pages 170, Slovene and English language
Price 15 EUR
The Book: A Machine That Makes Art
17 June−29 August 2010
AUTHOR Sol LeWitt
CURATORS Emanuele de Donno and Giorgio Maffei
Sol LeWitt (1928–2007) became a star of contemporary American art with his seemingly simple geometric “structures” (a term he believed was a better description of his sculptures), drawings, and wild, ecstatically coloured wall paintings. LeWitt helped establish conceptual art and minimalism as the leading movements of the post-war era. He was a patron and friend to many artists of his day, both young and old. He reduced art to a few basic shapes (square, circle, triangle), colours (red, yellow, blue, black), and lines. Much of what he left behind has remained in the form of an idea or directive: a notion that needs to be considered, a plan for a drawing, or possible actions to be carried out.
The book occupies an important place in LeWitt’s artistic creativity. While for many people this is a less-known aspect of his work, he himself treated the book as fully equal to the other art forms in his practice. It is in his books that all his research is to be found. The development of the content in his books is handled along general themes and in accord with the development of his artistic oeuvre. For him it was important to realize a book that would be as faithful as possible to whatever goal he was trying to attain at that particular moment. The appearance, the format, the presence or absence of colour, the selection of the paper – all these things in fact depended not on the imagination but on the objective circumstances and abilities of the project’s publisher. In his books LeWitt strives to convey the great variety and diversity of his work. His books are of a medium-sized format, printed mainly in the offset method; the colours and number of pages are not precisely determined but only approximate. The binding, designs, and title reveal the content. Inside we find photographs, designs, or texts, and sometimes all three, but always perfectly balanced.
This exhibition, which was created in collaboration with Viaindustriae, in Foligna, Italy, showed the role of LeWitt’s books as art forms that hold a key to understanding the artist’s creative path; for this reason, the books were displayed in chronological order. The artist’s book marks the various periods of LeWitt’s artistic career, and through them he explains the methods and meanings of his art. Each of the books Sol LeWitt made is easily recognizable as being manifestly and unmistakably "his".
The Sol LeWitt exhibition received support from Viaindustriae and the Italian Institute of Culture.
GESAMTKUNST LAIBACH, Fundamentals 1980–1990
15 April–6 June 2010
CURATOR Lilijana Stepančič
SELECTION OF ARTWORKS Lilijana Stepančič, Laibach
More than thirty years have passed since the founding of Laibach, a group whose music and performances have become part of cultural history. What many do not know, however, is that Laibach in fact began its career as a visual art group. Images that most of us know from the paintings of the Irwin group – the cross, the coffee cup, the deer, the metal worker – were originally Laibach motifs. They were part of the capital the group invested in the newly established collective Neue Slowenische Kunst in 1984. With the founding of NSK, the visual art tradition Laibach had been creating up to that time was taken over by Irwin.
Laibach Kunst, linocut, 1980.
Laibach Kunst, 1980.
Laibach brought an alternative post-modern form of creativity into Slovene art. The group drew connections between New Image painting, the do-it-yourself art of punk bands and the post-conceptual practices that were being promoted in the Belgrade and Zagreb art scenes. Laibach "welded together" various media – music, video, film and performance – "high" and "low" culture, pop culture, politics and art. And at the very start of the 1980s, they defined in clear terms the fundamentals of the Retro-Avant-Garde.
Installation view of the exhibition at MGLC.
Installation view of the exhibition at MGLC.
Laibach’s first realized exhibition (not including the one in Trbovlje in 1980, which was so controversial it was banned before it ever opened) took place in June 1981 at the Srećna galerija of the Student Cultural Centre in Belgrade. Some of the group’s members had been doing their army service in Belgrade and, in their spare time, had developed contacts with the alternative and New Wave scene that met at the student centre. Titled Ausstellung Laibach Kunst, the exhibition presented some of the group’s early prints and paintings as Laibach’s music buzzed alongside them from a cassette recorder.
The artworks represented a response to the contemporary art scene outside of Yugoslavia, especially the Neue Wilde artists in West Germany, who in the late 1970s depicted such urban phenomena as the punk scene and addressed certain suppressed topics from recent German history, specifically, from the Nazi and post-war periods. Punk and the reinterrogation of Nazism and other totalitarian ideologies was also an integral part of the subculture scene in Ljubljana.
This first show in Belgrade was followed by the extraordinary ambient exhibition Plane Crash Victims, in December 1981 at the newly formed Disco FV in the Rožna Dolina Student Village in Ljubljana; Laibach then went on to have fairly regular exhibitions at Galerija ŠKUC in Ljubljana, Galerija PM in Zagreb and the Student Cultural Centre in Belgrade. With the founding of NSK in 1984, Laibach redirected their energies into music, while the art tradition they had created was largely taken over by the Irwin painters. With the disintegration of Neue Slowenische Kunst, which in the early nineties gradually reshaped itself as a utopian “state in time” (without its own territory), each of the member-groups continued to develop their own aesthetics and Laibach again started appearing from time to time in a gallery context. Thus, in 2009, at the Muzeum Sztuki in Łódź, Poland, Laibach had its first retrospective exhibition, which was very well received by the Polish media. Three large gallery presentations were also planned for 2010: in Ljubljana (at the International Centre of Graphic Arts), Trbovlje (at the Workers’ Hall) and Zagreb (at the Croatian Association of Artists).
Photo: Dušan Gerlica
The interview, TV Ljubljana, 23 June 1983.
The exhibition at the International Centre of Graphic Arts presented a survey of Laibach’s art in the first decade of their career, when they played a central role in the art of the 1980s subculture movement. The show presented Laibach as a multi-media group combining art, music and theoretical writings, with the transfer of theoretical thinking from Laibach to NSK shown using the example of visual culture. The exhibition itself was historic, since paintings, prints, posters, publications, newspaper pages, invitations, record covers, photographs, concert stage sets, videos and promotional products were assembled and displayed for the first time in 30 years. Also on view were three new installations made especially for the exhibition at the International Centre of Graphic Arts.
Tomaž Hostnik (1961−1988), Laibach, 1982.
The exhibited works came from the archives of Laibach, Darko Pokorn, Srečko Bajda, Barbara Borčić, Škuc Forum, Radio-Television Slovenia and the photographers Boris Cvetanović, Dragan Papić, Jane Štravs, Nikolaj Pečenko, Antonijo Živković, Siniša Lopojda and the Photon Gallery, as well as from the collections of the International Centre of Graphic Arts, Neil Rector and Daniel Miller, and the photography collection of the National Museum of Contemporary History.
Guided tours by Alexei Monroe, Božidar Zrinski, Barbara Borčič, Darij Zadnikar and Laibach.
Exhibition installation: Lilijana Stepančič, Ana Kogovšek, Laibach.
Media sponsors: Delo, Mladina, Radio Študent, City Magazine.
21 April–12 May 2010, Galerija Luwigana, Ljubljana
23 April–14 May 2010, Galerija 14, Bled
Prints and posters are among the basic forms of expression for the Laibach group. Even at their earliest exhibitions, between 1980 and 1984, graphic art represented a core of the group’s repertoire. Laibach still returns to printmaking on occasions, and the exhibition presented their latest graphic work, an accompanying programme to the exhibition Gesamtkunst Laibach, Fundamentals 1980–1990. With never-ending artistic freshness, Laibach creates a path for reading images that also appeals to the new generation born after 1980.
ALEXEI MONROE ABOUT THE EXHIBITION
Quartet–Four Biennials Reflected in Prints
21 January−28 March 2010
CURATOR René Block
The exhibition presented print portfolios from four biennials (Hamburg 1985, Sydney 1990, Istanbul 1995 and Cetinje 2005) containing more than eighty graphic works by sixty well-known and established artists from all over the world; thus it mirrored the development of art within the past twenty years. These print portfolios represent a unique artistic and art-historical achievement, for they show the development of printmaking techniques and their involvement in the context of contemporary art. They present artists from different generations and different geographical settings; in this way they tear down borders and encourage further communication and creative possibilities – which is also what reproduced, multiplied and distributed art generally does.
Halil Altindere, Love it or Leave it, 2005. (Cetinje 2005)
Maaria Wirkkala, Unaccompanied Luggage, 1995.
Joseph Beuys, KP Brehmer, John Cage, Robert Filliou, Nam June Paik, André Thomkins, Lawrence Weiner, Emmett Williams.
Dennis Adams, Barbara Bloom, KP Brehmer, Janet Burchill, John Cage, Tony Cragg, Rosalie Gascoigne, Richard Hamilton, Ilya Kabakov, Allan Kaprow, Bjørn Nørgaard, Nam June Paik, Sarkis, Julian Schnabel, Rosemarie Trockel, Peter Tyndall, Ken Unsworth, Ben Vautier, Boyd Webb, Lawrence Weiner, Emmett Williams.
Ayşe Erkmen, Rebecca Horn, Alfredo Jaar, Ilya Kabakov, Per Kirkeby, Komar & Melamid, Olaf Metzel, Tatsuo Miyajima, Aydan Murtezaoğlu, Nam June Paik, Sarkis, Serge Spitzer, Rosemarie Trockel, Ken Unsworth, Lawrence Weiner, Richard Wentworth, Maaria Wirkkala.
Marina Abramović, Nevin Aladağ, Halil Altindere, Maja Bajević, Luchezar Boyadjiev, Danica Dakić, Braco Dimitrijević, Ayşe Erkmen, Jakup Ferri, Mona Hatoum, Edi Hila, Irwin, Sanja Iveković, Šejla Kamerić, Gülsün Karamustafa, Vlado Martek, Aydan Murtezaoğlu, Oliver Musovik, Dan Perjovschi, Marjetica Potrč, Anri Sala, Bülent Şangar, Sarkis, Erzen Shkololli, Nedko Solakov, Mladen Stilinović, Raša Todosijević, Jelena Tomašević, Milica Tomić, Jalal Toufic.
Nam June Paik, Fluxband, 1985, (Hamburg 1985).
Allan Kaprow, Yard, 1990, (Sydney 1990).
Edition Block was founded in 1966 by René Block in Berlin. It belongs to the longest standing and most renowned publishers of multiples and graphic arts by international contemporary artists. In addition to the most significant editions by Joseph Beuys pathbreaking multiples by Marcel Broodthaers, John Cage, Richard Hamilton and Nam June Paik appeared at Edition Block. Publications like "Grafik des kapitalistischen Realismus" (Polke, Richter et al., 1967), "Schlitten" (1969) and "Filzanzug" (1970) by Joseph Beuys, Rebecca Horn’s "Handschuhfinger" (1973) , "The Manuscript" (1974) by Marcel Broodthaers, and Nam June Paik´s video installation "Der Denker" (1976/78) belong to the first editions of Edition Block. Meanwhile they became established in important collections. Among the current editions are multiples by Henning Christiansen, Maria Eichhorn, Ayse Erkmen, Sejla Kameric, Jaroslaw Kozlowski, Olaf Metzel, Aydan Murtezaoglu, Bülent Sangar, and Carles Santos inter alia.
Guided tours by René Block, Božidar Zrinski and Breda Škrjanec.