The Study Room

The Study Room was opened due to increasing public interest and as an addition to study. It is intended for in-depth research of art publications, although it can also house exhibitions.

The visitor to the Study Room can browse through the artists’ books by authors included in the collection, since in addition to prints, the MGLC collection comprises also publications of various genres, whose common denominator is reproduction technique, from artists’ books, art journals, culture magazines, to posters, sound art CDs and theoretical literature. The MGLC collection therefore contains more than 4,000 pieces. 

Available to flick through are Viks art and culture magazines, most issues of the Point d'Ironie hybrid periodical, Gorgona, SMS, 0 TO 9 and Pist Prota. Housed in the collection are also posters and notices of the FV group (donated by Neven Korda), the archive of The Scarecrow Statelet (donated by Milena Kosec), an extensive archive on the events on the Zagreb art scene from the 1970s up till the 1990s, the complete archive of Bernard Villers’ self-published Éditions du Remorquer, as well as the collection of original newspaper projects museum in progress from Der Standard newspaper.

The materials from the collection can be viewed by prior arrangement. 

Monday-Friday, 9.00–15.00
Additional information: Breda Škrjanec, (01) 241 38 05, breda.skrjanec@mglc-lj.si

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ARCHIVE

Marathon Guided Tour: Exhibitions are visited ON FOOT!

Photo: Urška Boljkovac. Archive: MGLC.

On Saturday, 21 September, for European Mobility Week, we have prepared the themed guided tour Exhibitions are visited ON FOOT!, whilst we also host the Biennial Doors Open Day.

You will be taken around the venues of this year's Biennial by Museum Information Officer, Gregor Dražil. The meeting point for the guided tour is in front of MGLC at 11.00, and in front of the National Gallery of Slovenia at 12.30.

The tour will be accompanied by impro interventions in collaboration with Impro liga, therefore get ready for one of the more exciting guided tours so far!

P. S.: Please wear appropriate footwear (our hedgehog has also put on his trainers).

A note to visitors of the 33rd Ljubljana Biennial of Graphic Arts: Crack Up – Crack Down

We notify you that the exhibition of work by Hinko Smrekar The Seven Deadly Sins was on view at the National Gallery of Slovenia until the end of August. The works were exhibited as part of the Biennial and announced a major retrospective of the artist's works next year.

Photo: Jaka Babnik. Archive: MGLC.

About Unserious Science in Serious Art

Thursday, 26 September 2019, at 6 pm in the Grand Hall of Švicarija

About Unserious Science in Serious Art

Round table organised by the Kula Slovenian Ethnological and Anthropological Association

Alenka Pirman, Blaž Bajič, Rajko Muršič and Miha Horvat will join in the discussion.

At least at first glance, it seems that ethnography and satire could not be more different: the first tends towards respectfully describing ways of life, understanding the world from the point of view of the "native", striving to produce new knowledge, etc., whereas the second, makes a protest against a person, group, habit or system through more or less frank foolery. Yet both can be defined as ways of describing or portraying reality and – more than that – it could be said that both grab the truth of the phenomena under consideration in the moments of fiction, inherent to the most factual of descriptions. And if an ethnographic turn has occurred in art, then no satirical turn has taken place in ethnography or anthropology as such. The naive question arises – why? Are the reasons epistemological in nature, are ethnography and satire conceptually incompatible? Has anthropology imposed a limitation on itself for ethical reasons? Or is ethnography perhaps not interested in satire, quietly rejecting it because of its implicit political stance? At the same time, another naive question arises – what, if anything, can we learn from satire, and what, if anything, can we do with satire in a world that seems beyond satire because it is already satire itself?