Alejandra Pizarnik, Nocturnal Singer 
 

Cantora nocturna / Nocturnal Singer, in a bilingual Spanish-Slovenian edition presenting the work of the cult Argentinian poet Alejandra Pizarnik (1936–1972), has answered the question as to why poetry today: “We need a space in which the impossible becomes possible.” Her entire poetic oeuvre can be read as the evocation of this transformation in the battle against opaqueness and in the desire to create “a writing thick with insufferableness, to choking, yet only made of subtle ties, that would allow the innocent coexistence of subject and object at the same level, as well as the abolition of the usual boundaries that separate me, you, he, we, you, they.”

The book was published as one of the projects of the 32nd Biennial of Graphic Arts: Birth as Criterion. The idea for it was born when Venezuelan artist Yucef Merhi, one of the pioneers of digital art in Latin America and a great enthusiast of Alejandra Pizarnik, was on the MGLC residency in Ljubljana and he met the translators of her poetry into the Slovenian language.

The editor of the book is Miklavž Komelj. In the translation of Nada Kavčič and Miklavž Komelj, Nocturnal Singer 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. What makes the edition particularly special are the unpublished letters to American writer and poet Djuna Barnes, which are published in this edition for the first time. These are followed by the essays of Miklavž Komelj, Nada Kavčič and Yucef Merhi, who also contributed seven digital art prints. In addition, the visual reproductions of the manuscripts and drawings by Alejandra Pizarnik and the drawings of Silvina Ocampo are also included.

The book has 500 pages, with 150 pages of accompanying text that opens up new views of the poet. This, and all the unpublished material, could make it interesting not only for the Slovenian but also for the Spanish-speaking audience.

The book was designed by Ivian Kan Mujezinović.


Photo: Nejc Ketiš. MGLC Archive.


Yuceef Merhi: Works and Nights (1–7), prints, produced with software, 2012.

 

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NATAŠA BERK: 1ST UNLIMITED EDITION

2. 4.–19. 5. 2019

Opening:
2 April, at 7 pm
Švicarija

The exhibition is part of the year-long programme of Švicarija, which in 2019 focuses on the analysis of the state of independent journalism and the right of the public to information in pursuit of the slogan community, art and nature. The participating artists question the credibility of images and their meanings at a time of the oversaturation with visual impulses and analyse the ambiguity of media messages on the world wide web.

The spatial intervention by Nataša Berk and the group of artists at Švicarija presents their diverse visual production, which usually takes place in the virtual space of the world wide web and social networks. On this occasion, it has moved into a physical space. Together, they explore the phenomenology of the image within public circulation and its impact on the perception of reality. In ironic ways, they address the norms of the advertising industry, the tendencies of the mass media, voyeurism and the social convention of the individual’s appearance. Thus, works devoted to the consideration of the nature of the image in everyday life are presented as part of the exhibition. In such a way, photographs, videos and collages open up the questions of understanding visual culture in an era when the public space has become saturated with contents and images, questions about the manipulation of the image and the ambivalence of its meanings.    

Curator: Miha Colner


Photo: Nataša Berk.

ANNOUNCING the 33rd Ljubljana Biennial of Graphic Arts: Crack Up – Crack Down

7. 6.–29. 9. 2019

Curator:
art collective Slavs and Tatars
31 artists on 9 venues in Ljubljana

Crack Up – Crack Down will take an expansive view of the genre of satire today, featuring works by historical and contemporary international artists, as well as interventions by activists, new media polemicists, performances by stand-up comedians, and others. For the 33rd edition of the Biennial, Slavs and Tatars consider ‘the graphic’ not as a medium, but as an agency. They question how graphic language engenders a form of infra-politics via irony and ridicule as a particularly resilient and contemporary form of critique. Purported to speak truth to power, satire has proven itself to be a petri dish in a world of post-truth bacteria

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POVEZUJEM/TIVOLI CREATIVE CIRCLE

The PovezujeM/Tivoli Creative Circle
programme
, which is organised by the museums around Tivoli Park, will take place again during the summer holidays.

Two time-frames are available:
8–12 July and 26–30 August,
from 8 am to 4 pm. 

Further details will be available soon!

You can pre-book your place by writing to: petra.derganc@mglc-lj.si

Part of the circle: National Museum of Slovenia, Museum of Modern Art, National Museum of Contemporary History, National Gallery of Slovenia and International Centre of Graphic Arts.

Photographic Images and Matter: Japanese Prints of the 1970s and Japan, Yugoslavia and the Biennial of Graphic Arts: Documents of Collaboration

22. 3.–19. 5. 2019

GUIDED TOUR OF THE EXHIBITION

Tuesday, April 23, at 5.30 pm
in English
at 5 pm in Slovenian

Admission for the exhibition, the guided tour is free.
Conducted by the co-author of the exhibition Gregor Dražil, Museum Information Officer.

Warmly welcome!


Photo: Urška Boljkovac. MGLC Archive.

The Family fold’r 

Dear families, you are kindly invited to explore the MGLC gallery!
We have again prepared the Family fold’r for you, which you receive free of charge when you purchase a family ticket to view the exhibition.
This time, some curious cards are waiting for you inside, and they need to find their places in the gallery with your help and the help of your children.

Good luck!

Exhibition's symposium
Japan, Yugoslavia and the Biennial of Graphic Arts: Documents of Collaboration

Wednesday, 15 May, 14.30–19.00, 
International Centre of Graphic Arts

Symposium timeline
14:00 Gregor Dražil: An Outline of Collaboration between Japan and Slovenia in the Area of Printmaking
*14:40 Bert Winther-Tamaki: The Wood Aesthetic of the “Creative Prints” Movement of Japan, 1945 to 1965
15:20 Wiktor Komorowski: From Washi to Politics: Printmaking and the Cold War Japonisme
16:00–16:20 Break
16:20 Marjeta Ciglenečki: Forma Viva in Slovenia and Japanese Artists
17:00 Noriaki Sangawa: The Japanese Art Group Ryu and Its Collaboration with the Slovenian Moderna galerija and the Biennial of Graphic Arts

Visiting lecture
*Bert Winther-Tamaki: What Happens to Contemporary Art Made in Japan When Exhibited Outside of Japan?
*The lecture will take place on Monday, 13 May, at 18:00 at the Faculty of Arts, room 343. The lecture is co-organised by the Department of Art History.

The symposium will be held in English.

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Photo: Jaka Babnik. MGLC Archive.

opening:
Friday, March 22, at 6 pm

The exhibition is made up of two sections. The first, bearing the title Photographic Images and Matter: Japanese Prints of the 1970s, is dedicated to Japanese printmaking of the 1970s and was organised by the Japan Foundation, while the second, the documentary section, is entitled Japan, Yugoslavia and the Biennial of Graphic Arts: Documents of Collaboration and has been prepared by the International Centre of Graphic Arts.

The travelling exhibition Photographic Images and Matter, with a selection of the most representative artists, presents the orientations within Japanese printmaking of the 1970s, which was the golden age of the print medium in Japan. The curator of the exhibition Kyoji Takizawa has made an attractive selection of artists, who have received many awards within the international arena and form the core of the modernist and avant-garde scene of the 1970s.

The documentary exhibition Japan, Yugoslavia and the Biennial of Graphic Arts: Documents of Collaboration, on the other hand, illuminates one of the many socio-artistic chapters tied to the history of the Biennial of Graphic Arts in Ljubljana. Through the selection of pictorial, archival, photographic and other material, it aims to show the communication between the geographically and politically disparate countries as part of an ambitious international art event like the Ljubljana Biennial of Graphic Arts. Exhibition authors are Nevenka Šivavec and Gregor Dražil.

The exhibition is accompanied by an international symposium under the same title, taking place in the month of May.

Exhibition design: Ivian Kan Mujezinović and Mina Fina.


Tetsuya Noda: Diary, September 11, '68 (woodcut and silkscreen).