THE PRIZES OF THE 32nd BIENNIAL OF GRAPHIC ARTS 

The Grand Prize winner of the 32nd Biennial of Graphic Arts is Alejandro Paz.

Research Residency Award was given to Carlos Monroy.

The jury of the 32nd Biennial of Graphic Arts: Anne Barlow, Mike Cooter, Bige Örer in Maruša Sagadin.

 

Grand Prize of the 32nd Biennial of Graphic Arts: Alejandro Paz

In his project for the 32nd Biennial of Graphic Arts, Alejandro Paz engages with the patches of paint removal and analysis that reveal the layers of history contained within the fabric of the architecture housing MGLC’s galleries. Paz’s subtle interventions overlay these fragments with partial images of the tattooed skin of Guatemalan prisoners – itself a set of complex registrations of class, social status and gang membership that is concealed by the architecture of state power. By striking a compelling balance between graphic photographic imagery and a poetic evocation of the registrations of history layered in the skins of bodies both architectural and physical, Paz’s work for the 32nd Biennial of Graphic Arts is a powerful rumination on the interwoven social, architectural and political factors that constitute individual and collective identity. On the strength of this work, within a larger practice that encompasses art and architecture, performance and installation, the jury was delighted to select Alejandro Paz as the winner of the 2017 Grand Prix.

Work on the Biennial: Hypodermic (2017, intervention), made for the 32nd Biennial of Graphic Arts.


Photo: Jaka Babnik. MGLC Archive.

 

Research Residency Award: Carlos Monroy

Carlos Monroy’s work for the Biennial impressively staged and overlaid a number of folk narratives of rebirth and regeneration in nature. Inspired by the Slovenian carnival figure of the kurent, Monroy initiated performances of a number of costumed representations of mythical figures that are at once the focus and embodiment of these folk celebrations. By engaging with Slovenian history (Monroy includes a woodcut by France Mihelič from 1955 depicting the kurent in his installation) and performers from the Contemporary Dance Studio (Ljubljana), Monroy produced an atmospheric video installation of these comparative, curiously solitary and mysterious rites being performed through the city at night. By using the body as a political and aesthetic tool, Monroy’s work raises interesting questions about the performance of ritual across cultures, research that the Jury believes would benefit greatly from the engagement with Ljubljana offered by the award of the Jury Prize and residency.

Work on the Biennial: Baphomet. One single birth made incarnate. (2017, performance and video installation), made for the 32nd Biennial of Graphic Arts.


Photo: Jaka Babnik. MGLC Archive.

 

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Watch out! Wet print! #9

Pri Zlatem stegnu (Nataša and Katja Skušek): Unicorns Come and Unicorns Go

7. 11.–4. 12. 2017

opening event:
Tuesday, 7 November, at 5 pm
the TAM-TAM Street Gallery at Vegova (opposite Glasbena matica)

Pri Zlatem stegnu, they play about with taste. In fact, they play about with the taste for food and the taste for art.
Pri Zlatem stegnu is an art project by Nataša and Katja Skušek, which has been ongoing since 2004 in various forms, from spatial installations, to video works, objects, photo-collages, fine art graphic prints, drawings and performances. The project brings the questions related to food preparation and eating as the basic human need to the forefront in a humorous and light manner. 


Pri Zlatem stegnu: Unicorns Come and Unicorns Go.

Upcoming exhibition

Boris Jesih: Connections

30. 11. 2017–11. 3. 2018

Boris Jesih (1943) established himself as an artist at the end of the 1960s as part of the expressive figuration circle of painters. Under the influence of pop art, he responded to the characteristics of the spirit of the time with his geometric transformation of everyday objects, later also turning predominantly to landscape. As a printmaker, he excels in the techniques of relief printing and flat printing, with superior results in colour lithography. As a prize winner of the 13th International Biennial of Graphic Arts in 1979 (special prize for a young artist), he attracted attention with his series of lithographs, a set of which is part of the MGLC collection. Beside the lithographs, the retrospective exhibition also presents drawings, paintings and photographs, which highlight the connections between his creative process and his works. 

Boris Jesih: A Doors (1983, color lithography).

The 32nd Biennial of Graphic Arts: Birth as Criterion

THE PRIZES OF THE 32ND BIENNIAL OF GRAPHIC ARTS HAVE BEEN AWARDED

The Grand Prize winner of the 32nd Biennial of Graphic Arts is Alejandro Paz, for the work Hypodermic (2017, intervention), the work was made for the 32nd Biennial of Graphic Arts.

The recipient of the Research Residency Award is Carlos Monroy, for the work Baphomet. One single birth made incarnate. (2017, performance and video installation), the work was made for the 32nd Biennial of Graphic Arts.

The jury of the 32nd Biennial of Graphic Arts:
Anne Barlow, Mike Cooter, Bige Örer in Maruša Sagadin.

The recipient of the Audience Award of the 32nd Biennial of Graphic Arts is american artist Christopher Myers, for the work Detritus of Dreams (2016).


Alejandro Paz: Hypodermic (2017).
Photo: Jaka Babnik. MGLC Archive.