The 33rd Biennial of Graphic Arts
7. 6.–29. 9. 2019
The 33rd Biennial of Graphic Arts will be curated by the Slavs and Tatars art collective. It should not be overlooked that the central role of the curator as the selector of the works presented at the 32nd Biennial edition entitled Birth as Criterion acquired a chain mechanism in which the choice was left entirely to artists. As Slavs and Tatars participated in this biennial, Birth as Criterion in a very special way influenced the design of the forthcoming Biennial.
The collective’s extensive editorial output, complex use of visual language and voracious research practice makes them a particularly resonant fit with the history of the Biennial and its contemporary role. Slavs and Tatars is an internationally renowned art collective devoted to an area East of the former Berlin Wall and West of the Great Wall of China known as Eurasia. Since its inception in 2006, the collective has shown a keen grasp of polemical issues in society, clearing new paths for contemporary discourse via a wholly idiosyncratic form of knowledge production, including popular culture, spiritual and esoteric traditions, oral histories, modern myths, as well as scholarly research. The collective’s practice is based on three activities: exhibitions, publications and lecture-performances. Their work has been the subject of solo exhibitions at the Museum of Modern Art in New York, Salt in Istanbul, Vienna Secession, Kunsthalle Zurich and Ujazdowski Centre for Contemporary Art in Warsaw, among others. Slavs and Tatars has published ten books to date, including Wripped Scripped (Hatje Cantz, 2018) on language politics, Friendship of Nations (2nd edition, Book Works, 2017) on the unlikely rapport between Iran and Poland between the 17th and 21st centuries, as well as Molla Nasreddin (currently in its 2nd edition with I.B Tauris, 2017), a translation of the legendary Azerbaijani satirical periodical. Their focus on Eurasia challenges our often times one-dimensional way of seeing relationships between science, religion, power and identity. We saw them in Ljubljana in the Systems and Patterns show in 2012. The exhibition was curated by Nevenka Šivavec, MGLC Director.
For their curatorial début, Slavs and Tatars intend to re-engage with the origins of the Ljubljana Biennial of Graphic Arts. “After a thaw in the idea of medium-specificity over the last 20 odd years, we would like to refocus on ‘the graphic’ today, both in a literal but also strategic sense. In an age of mashed up futures and scrambled pasts, the role of the graphic in public discourses and polemics seems particularly relevant today.”
The focal point of the exhibition of the 33rd Biennial of Graphic Arts will be the idea of satire as a distinctly visual language, with the ‘graphic’ that marks the history the Biennial being understood and questioned in the broad field of the expressive, uninhibited, even lurid. Is each joke, as George Orwell maintained, a tiny revolution? Or does laughter and satire deflate the pressures and tension which could otherwise lead to political upheaval? Slavs and Tatars look to humour as both strategy and content. The visual glut of our times has spawned new aesthetic languages whose messages and discourse we often find distasteful. Though the graphic arts and satire each have their own distinct specifics, they both claim to speak for and to the people.
Slavs and Tatars: Molla Nasreddin, 2011. installation view of the exhibition Systems and Patterns, 2012 at MGLC.
Photo: Jaka Babnik. MGLC Archive.
CALL FOR APPLICATIONS FOR VISUAL ARTISTS AT THE ŠVICARIJA CREATIVE CENTRE
The Švicarija Creative Centre and MGLC are looking for a visual artist, who will attend a one-month residency programme in Ljubljana. The candidate we are seeking ideally works across different mediums and genres, touches upon the notions of “community, nature and art” in their work, and/or whose practice is focused on the themes of social engagement, right to information and/or independent journalism.
Call for applications - full text
The deadline for applications is 18 February 2019.
The period of the residency is 1–30 November 2019.
+386 (0)30 708 469
CALL FOR APPLICATIONS FOR ART CRITICS / CULTURAL JOURNALISTS AT THE Švicarija Creative Centre
Švicarija Creative Centre and MGLC Ljubljana are looking for an art critic or cultural journalist, who is active in writing and publishing reviews and/or other forms of art writing in an international context. We are therefore aiming to host a critic or journalist, who has an interest in the vibrant art scene of Ljubljana and who is able to produce at least two (2) pieces of writing (reviews, interviews, columns, etc.) on selected artworks or art events in Ljubljana over the course of the residency. The articles are to be published in the English language in a relevant magazine (printed or online), radio, television or personal blog. We will select the candidate, who will provide the best possible outreach for the articles produced during the one-month “critic in residency” period in Ljubljana.
Call for applications - full text
Deadline for applications is 18 February 2019.
The period of the residency is 1–31 October 2019.
+386 (0)30 708 469
Foto: Jaka Babnik. Arhiv MGLC.
Call for applications for an artist residency in Norway
MGLC/Švicarija Creative Centre and NKD/Nordic Artists’ Centre Dale are publishing a call for submissions for an artist residency in Norway in 2019.
On the basis of an inter-institutional exchange between the Švicarija Creative Centre (MGLC, Ljubljana) and the NKD Dale artist-in-residence centre (Dale, Norway), we invite visual and/or intermedia artists from Slovenia, or those that live and work here, to apply for an artist residency in Norway. The selected artist will take part in a two-month artist residency at the NKD Dale artist-in-residence centre, which operates under the auspices of the Norwegian Ministry of Culture. As part of the reciprocal exchange of residency artists between MGLC, Ljubljana and NKD Dale, a selected Norwegian artist will be staying at the residence in Ljubljana during the summer months, while an artist from Slovenia will take up their residency in Norway.
Entire call for submissions
The deadline for applications is 11 February 2019!
In all Directions
performance at the exhibition Fair Game
Sunday, February 17, at 4 pm
The Korean dancer Yong Min Cho will carry out a dance intervention at the Fair Game exhibition based on the language of the body, setting up and articulating unusual and new trajectories among the individual artworks. Nathalie Du Pasquier has designed and selected some of the accessories that will be used in the performance by Yong Min Cho. These include graphic pieces reminiscent of road signs. And it is precisely these signs that have inspired the title Tutte le Direzioni – taken from an Italian road sign, which indicates the way leading in all directions.
Yong Min Cho: Other Objects,
performance at the exhibition by Nathalie Du Pasquier, Other Rooms
(Camden Arts Center: September 2017 - January 2018). Photo by: Camden Arts Centre.
Guided tour with Kate Sutton, the curator of the exhibition
Tuesday, 26 February at 5 pm
Photo: Urška Boljkovac. MGLC Archive.
NATHALIE DU PASQUIER, FAIR GAME
30. 11. 2018–3. 3. 2019
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.
ACCOMPANYING PROGRAMME TO THE EXHIBITION
Nathalie Du Pasquier: Mensola piena, 2011, oil on canvas.
THE LAST GUIDED TOUR OF THE EXHIBITION MILTON GLASER, POSTERS
Tuesday, February 19, at 5.30 pm
(in Slovene at 5 pm)
admission is free
Conducted by Gregor Dražil, Museum Information Officer.
Milton Glaser: I Love NY More Than Ever, 2001.
MILTON GLASER, POSTERS
23. 11. 2018–3. 3. 2019
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).
Accompanying Programme to the Exhibition
Milton Glaser, Posters, 2018.