FORMA MGLC was a programme based on the use of new technologies, social media and innovative approaches within cultural institutions. The programme enabled young people, specialized in the field of culture, to target their professional profile on specific knowledge and skills in order to acquaint themselves with the use of the new media and at the same time gain knowledge of the new, and increasingly sought-after, professional profiles of: Community Management Coordinator and Digital Content Coordinator.
The FORMA MGLC programme was part of a programme aimed at young people funded by the Spanish Ministry of Labour and Social Security.

The programme, which ran from 23 March 2015 until 23 June 2015, involves young Spaniards of various profiles. The key objective of the programme was to facilitate their integration into the labour market by utilising new approaches, where creative talent as well as ability to transfer knowledge into practice and innovation are appreciated. The next instalment of the Forma MGLC programme is planned for the first half of 2016.

The FORMA MGLC programme was divided into several parts. Finding good practices for the inclusion of the new profiles linked to the Internet and the use of new technologies within cultural institutions played a vital role. As part of the project we established educational platform and the promotion of the FORMA MGLC project itself through various channels. The interested members of the public were invited to attend the educational lectures and symposia as part of the programme.

The contents of the Forma MGLC programme:

New professional profiles: The participants learned about the working environment of a museum and the ways of using the new media at the International Centre of Graphic Arts. We learned that the position of MGLC within global communication, transmission of information and understanding of culture is also changing through the use of the new media.

Community Management Coordinator: Participants further studied the significance of the profession of Community Management Coordinator and carried out research on the good practices abroad. The theory acquired during research was then put into practice in the local environment. It was crucial that the participants learned how to effectively build an online community for different audiences.

Digitisation: Storing documentation in museums is undergoing great changes through digitization – also with the aim of satisfying the increasingly demanding online public. Searching for good practices; realising the need to introduce a specific profession for the purpose of managing digital archives dedicated to long-term use. The introduction of good practices of digital management to the local environment.

Digital media in museums: An insight into the significance of various digital tools (touchscreen tablets, mobile applications and other modern tools), which can be used to attract visitors and cultural workers. Using innovative approaches; searching for solutions of how these approaches could be used at MGLC.

Communication strategies within social media: Establishing a rough framework for a communication strategy in using social networks; seeking solutions for the successful implementation of digital media into the marketing and communication strategy of the institution.

Analysis of social media: Museums have a new role within global communication, dissemination of information and cultural understanding. How to effectively measure the impact of the social media was a question that participants tried to answer.

The positioning of cultural institutions, marketing: Branding basics within cultural institutions: learning about the fact that the systematic establishment of a brand leads to visitors’ confidence, whose emotional attachment also prompts them to interact further.

 

 

 

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ARCHIVE

Boris Jesih: Connections

30. 11. 2017–11. 3. 2018

Public guided tour of the exhibition
Thursday, 18 January at 5 pm.: conducted by Nevenka Šivavec, Director of MGLC

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).

BOBRI – 10th Ljubljana Festival of Culture and Art Education

20. 1.–8. 2. 2018

LANDSCAPE – MISTSCAPE
How do we see the landscape?

Viewing of the exhibition and workshop at the Connections exhibition by Boris Jesih for organized groups of children from kindergarten and the first three-year age range of primary school. Conducted by Nika Rupnik. Organised by prior arrangement during the course of the festival. (some places are still available).

Connections / Animation workshop at the exhibition of Boris Jesih
Sunday, 28 January, 11.00–15.00

The workshop is intended for children over the age of 9; parents can also join in getting creative. In collaboration with the SLON Society.
(the workshop is already full)

Guided tour of the exhibition Connections by Boris Jesih

TODAY

Thursday, 18 January, at 5 pm.
conducted by Nevenka Šivavec, Director of the International Centre of Graphic Arts

The tour will be an attempt to gain an insight into the understanding of the connection of the artist's work with the concurrent state of society, which is latently (rather than directly) present in Jesih's creative process.

In his vision, contemporary man is losing his original connection to nature, since the development of civilization has alienated his understanding of its secret powers, their connection as well as possession. This experience has been replaced by the artificial, culturally conditioned perception of the natural environment. Jesih visually separates nature from the viewer, doing so by placing signs – obstacles in front of the illusion of the landscape and in front of the viewer. These are the artist's internal reactions to social events, to everything that disturbs him when he gazes through the window of his studio, where nature awakens into quiet mornings, whereas the reality of people in other places on Earth is completely different. His works are witnesses and a document of today's understanding of the world and man's role in it.


Boris Jesih: Waves (1995, acrylic, egg tempera)