- About the Biennial
- Biennial history
The 32nd Biennial of Graphic Arts
- The 32nd Biennial of Graphic Arts - Artist Talks
- Erica Ferrari: o whom does this architecture belong?
- The 32nd Biennial Opening Days
- Accompanying Programme of the 32nd Biennial of Graphic Arts
- Cycle of Guatemalan Film at the 32nd Biennial of Graphic Arts
- Lecture: Švicarija –Ljubljana’s “nest of art”
- The prizes of the 32nd Biennial of Graphic Arts
- Book: Alejandra Pizarnik, Nocturnal Singer
- The 31st Biennial of Graphic Arts
- From Biennial to Biennial
Alejandra Pizarnik, Nocturnal Singer
Cantora nocturna / Nocturnal Singer, in a bilingual Spanish-Slovenian edition presenting the work of the cult Argentinian poet Alejandra Pizarnik (1936–1972), has answered the question as to why poetry today: “We need a space in which the impossible becomes possible.” Her entire poetic oeuvre can be read as the evocation of this transformation in the battle against opaqueness and in the desire to create “a writing thick with insufferableness, to choking, yet only made of subtle ties, that would allow the innocent coexistence of subject and object at the same level, as well as the abolition of the usual boundaries that separate me, you, he, we, you, they.”
The book was published as one of the projects of the 32nd Biennial of Graphic Arts: Birth as Criterion. The idea for it was born when Venezuelan artist Yucef Merhi, one of the pioneers of digital art in Latin America and a great enthusiast of Alejandra Pizarnik, was on the MGLC residency in Ljubljana and he met the translators of her poetry into the Slovenian language.
The editor of the book is Miklavž Komelj. In the translation of Nada Kavčič and Miklavž Komelj, Nocturnal Singer offers a representative selection of the poet’s work from all her poetry collections and from the poems that had not yet been collected into books, her essential prose Bloody Countess and notes in which she spoke about her work. What makes the edition particularly special are the unpublished letters to American writer and poet Djuna Barnes, which are published in this edition for the first time. These are followed by the essays of Miklavž Komelj, Nada Kavčič and Yucef Merhi, who also contributed seven digital art prints. In addition, the visual reproductions of the manuscripts and drawings by Alejandra Pizarnik and the drawings of Silvina Ocampo are also included.
The book has 500 pages, with 150 pages of accompanying text that opens up new views of the poet. This, and all the unpublished material, could make it interesting not only for the Slovenian but also for the Spanish-speaking audience.
The book was designed by Ivian Kan Mujezinović.
Photo: Nejc Ketiš. MGLC Archive.
Yuceef Merhi: Works and Nights (1–7), prints, produced with software, 2012.