From Biennial to Biennial

Books presentation, symposium, exhibition
28 – 30 November
International Centre of Graphic Arts and Švicarija Creative Centre

Book presentation
Nocturnal Singer (selection of works of Argentinian poet Alejandra Pizarnik (1936–1972)
Selected Poems by Jure Detela (1951–1992)
Wednesday, 28 November, at 6 pm
International Centre of Graphic Arts

Symposium
The Irrational in a Biennial
Thursday, 29 November, 10 am – 6 pm
Švicarija Creative Centre
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Exhibition opening
Fair Game, Nathalie Du Pasquier, curator Kate Sutton
Friday, 30 November, at 1 pm
International Centre of Graphic Arts

The three-day event entitled From Biennial to Biennial is a postponed reflection on the 32nd Biennial of Graphic Arts: Birth as Criterion. It is composed of a presentation of the book Nocturnal Singer by Alejandra Pizarnik and Selected Poems by Jure Detela, an international symposium, The Irrational in a Biennial that opens up questions on the traditional biennial structure and critique, and a solo exhibition by Nathalie Du Pasquier entitled Fair Game. The book presentation, symposium and exhibition as diverse mediums of perception invite reflection on the phenomenon of the biennial.

The book Nocturnal Singer brings a selection of works by the Argentinian poet Alejandra Pizarnik (1936–1972). The extensive monograph contains a major part of her poetic oeuvre, the prose Bloody Countess, and the poet’s own reflection on her poetry. What makes the edition particularly special are her drawings and two unpublished letters to Djuna Barnes. The works have been selected and translated by Miklavž Komelj and Nada Kavčič, who are also the authors of the accompanying essays. A text on Alejandra Pizarnik’s relationship to colour has been contributed by artist Yucef Merhi, who is the author of the digital art prints published in the book for the first time. The publication was created as part of the project of the 32nd Biennial of Graphic Arts.

Jure Detela (1951–1992) was not only one of the most important poets in the Slovenian language, we have recently been discovering just how outstanding his poetry – which tried to establish new possibilities for communication between people and the “beings from foreign worlds” – is also by world measure. This printed edition, which consists of two books and is accompanied by extensive notes, includes his entire collection of poetry on 1800 pages edited by Miklavž Komelj. The vast majority of the poems and fragments have been published in this edition for the first time.

All the artists invited to participate in the 32nd Biennial of Graphic Arts: Birth as Criterion in Ljubljana received the poem Birth as Criterion by Jure Detela with the desire to trigger something along with their invitation.

The book was published by Beletrina Publishing Institute in 2018.

Nathalie Du Pasquier established herself with her striking graphics and textile prints, whereas she has focused primarily on painting since the late 1980s. The exhibition Fair Game looks for the intuitive formal links between the individual parts of her oeuvre. 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. The compositions in which the artist uses the motifs from her paintings, prints, drawings and murals, transform the gallery space into a set of microenvironments that immerse the visitor.

The starting point of The Irrational in a Biennial symposium is an experiment – the process of selecting the artists of the 32nd Biennial of Graphic Arts: Birth as Criterion, which can be regarded as a departure from the academicism of the curatorial practices due to its hint of the irrational. The symposium will try to address the problematic nature of the biennial structure and at the same time present concrete examples of biennials that have managed to go beyond the established methods of selection. The event also acts as the announcement of the next, 33rd Biennial of Graphic Arts, which will be curated by the Slavs and Tatars collective. The focal point of the biennial will be the idea of ​​satire as a distinctly visual language, with the “graphic” that marks the history of this event being understood and questioned in the broad field of the expressive, uninhibited, even lurid.

With contributions by Zasha Colah (Clark House Initiative, Bombay), Ana Dević (WHW – What, How and for Whom collective, Zagreb), Anselm Franke (Haus der Kulturen der Welt, Berlin), Gerardo Mosquera (independent curator and critic, Madrid), Christian Oxenius (freelance curator, author and researcher, Athens), Viktorija Rybakova (artist and architect, Brussels), Slavs and Tatars (artists, curators of the 33rd Biennial of Graphic Arts), Nevenka Šivavec (director, International Centre of Graphic Arts, Ljubljana), Vladimir Vidmar (curator, ŠKUC Gallery, Ljubljana) and ŠUM (art theory collective, Ljubljana).

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ALEJANDRA PIZARNIK, NOCTURNAL SINGER

The book Cantora nocturna / Nocturnal Singer, which presents the work of the cult Argentinian poet Alejandra Pizarnik (1936–1972) in a bilingual Spanish-Slovenian edition, has been published. The book was one of the projects of the 32nd Biennial of Graphic Art: Birth as Criterion.

It 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.

The editor of the book is Miklavž Komelj; its translators are Nada Kavčič and Miklavž Komelj. The essays on the poet and her creations have been contributed by Nada Kavčič, Miklavž Komelj and Yucef Merhi. The book was designed by Ivian Kan Mujezinović.

EVENING WITH MANCA KOŠIR: STORIES ABOUT BOOKS AND PEOPLE

Tuesday, 11 December, at 6 pm

Guests: multimedia artist Eva Petrič, scientist dr Miha Kos and translator Luka Krek
Music: duo Čemomka

 

Milton Glaser, Posters

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).

GUIDED TOUR OF THE EXHIBITION BY Nathalie Du Pasquier

Tuesday, 18 December, at 5 pm
admission payable to view the exhibition, guided tour free of charge

The guided tours are conducted in Slovenian (beginning at 5 pm) and in English (beginning at 5.30 pm), led by Museum Information Officer, Gregor Dražil.


Photo: Urška Boljkovac. MGLC Archive.

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

The opening 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 – or as the artist calls it, “virtual furniture.”

Curator of the exhibition is Kate Sutton.


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