Pilar Quinteros: Cathedral of Freedom

Starting point: the boat barrier on the Ljubljanica River at the Mortuary Bridge
Course of navigation: Mortuary Bridge – Butchers’ Bridge – Mortuary Bridge
Saturday, 25 July, at 10 am

In 1947, during the time of Yugoslavia, Slovenian architect Jože Plečnik proposed a draft for a new Slovenian Parliament in Ljubljana called the Plečnik Parliament or the Cathedral of Freedom, which is also the title of the project by Chilean artist Pilar Quinteros at the 31st Biennial of Graphic Arts. However, his proposal was rejected due to financial, logistic and stylistic reasons. A new open call for submissions was released in order to find the final form and the building of the Slovenian Parliament as we know it today became the winning project. Nevertheless, Plečnik’s draft remained enshrined in the collective memory and can today be seen on the Slovenian 10 cent coin, even though the project was never developed.

The project by Pilar Quinteros tries to reconstruct the model of Plečnik’s draft using lightweight materials (such as cardboard), covered with waterproof materials. Cathedral of Freedom will be installed on a raft produced by the artist herself, which she will release on the Ljubljanica River. Hence the building will not only be the first volumetric presence in the city, but will also “visit” different places without having to be anywhere for too long, since there is no room for it in the city’s urban plan. The raft, which the artists produced in Ljubljana in its entirety, is made from wood and recycled plastic bottles.

As the artist says: “My project is about a building with no space to be that, moving aimlessly across the waters of Ljubljana.”

Pilar Quinteros

In cooperation with the Ljubljana Association of River Captains.

Biography Pilar Quinteros

Pilar Quinteros was born in 1988 in Santiago, Chile. She studied Art at the Pontificia Universidad Católica de Chile gaining her degree in 2011. She has been working at the same institution for the past few years as a teaching assistant on a number of courses including Colour, Drawing and the Thesis Workshop.
She is a co-founder and active member of the MICH (International Museum of Chile) art collective, which is a multidisciplinary collective dedicated to generating reflective projects, art spaces and artwork. She is the winner of the Jean-Claude Reynal Scholarship (2012) for artists working in paper awarded by the Fondation de France and the Fine Arts Museum of Bordeaux, the third place winner of the CCU Art Scholarship (2013), and the finalist for the Future Generation Art Prize awarded by PinchukArtCentre, Kiev, Ukraine (2014).

She has shown her work in venues such as the National Fine Arts Museum (Media Arts Biennial, Santiago, Chile, 2013), the Museum of Contemporary Art (Santiago, Chile, 2010), ArteBA (Buenos Aires, Argentina 2012), Casa de las Américas (Havana, Cuba, 2013), PinchukArtCentre (Kiev, Ukraine, 2014) and Carlos/Ishikawa Gallery (London, UK, 2015).
In her work, Pilar Quinteros uses building materials such as cardboard, wood, fibreglass and plastic, among others, many of which have been discarded, to create volumes by hand. The latter represents an important aspect of her work, as she values the thinking and understanding that emerge from a direct relationship to the production processes. By involving herself both mentally and physically in the process of creation, the result is ultimately the product of her daily routine and a full life experience. At the same time, the artist turns to video to record the actions and interventions that she undertakes in diverse contexts (public spaces, uninhabited sites, etc.) as a way of sharing with others.
Her work is dedicated to understanding our immediate universe and the transformations it undergoes over time. This has led her to think and analyze how all the things that we are used to (cities, objects, cultural imaginaries of all kinds) change with the passing of the years. Her aesthetic and visual analysis of these transformations takes as its point of departure the idea that the collective imaginary is a construction in the widest sense of the word, able not only to create fictions, but also to believe them.

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ARCHIVE

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).