You are invited to participate in creating the 32nd Biennial of Graphic Arts as part of the project To whom does this architecture belong? by artist Erica Ferrari!

This is an invitation to write your thoughts about the the city of Ljubljana, the public treatment of the architecture, heritage, sculptures, tourism. What do you think about how the city is evolving/changing? How does this affect you, your relation with the city, your daily routine. 

The sentences will be part of an artistic project by a Brazilian artist at the 23nd Biennial of Graphic Arts and will be written on the facade of Tivoli Mansion.

Please answer back this e-amil with one or more sentences it will stay in total anonimity you can write in english or slovenian.

We count with your thoughts! Thank you

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About the artist

Erica Ferrari (1981) lives and works in São Paulo, Brazil. She graduated in Visual Arts from the University of São Paulo with a BA in Sculpture. Her work focuses on the relationships between architecture, landscape and day-to-day life in the city. This includes a study of the historic and symbolic density of architectural structures, different representations of the idea of landscape and the elements that visually compose our understanding of what is constructed and what is natural. The pieces are presented as objects or panels, usually constructed of materials commonly used in houses and furniture like wood, plaster and formica.

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About the project To whom does this architecture belong?

Phrases collected, video intervention and souvenir

Architecture and its uses model life in the city. In a metropolis like São Paulo, in constant destruction and construction of its physical configuration, transience not only reflects the usually predatory dynamics of the real estate market, but also the lack of regulation and conservation of buildings and public spaces by the government. In this context of changes, how does the population express itself and consolidate its identity? One of the most interesting ways is graffiti. From the 1960s, the practice of writing over architecture became a symbol of political protest, a manifestation of identity and expression. The practice took its own characteristics in São Paulo, with the development of a specific spelling added to the challenge of writing in the high buildings of the city. In the last year, because of the tense political situation in Brazil, graffiti with political messages have reappeared strongly, particularly in the center of the city. The same practice of expression can be observed in Ljubljana, however, with some striking differences. As the center of the city has undergone a restoration process in recent years, the graffiti are not easily found there. Messages can be seen in the surrounding areas, in specific buildings that have not yet been "embellished" or in building sidings. Many of them refer to the anti-fascist struggle and the consolidation of Slovenian identity, a country that only gained independence in 1991.

In this sense, we can think of this restoration of the center of Ljubljana as part of a global scenario of investments by governments to make cities more ecological, cultural and 'beautiful', thus becoming an attraction for private investments of all kinds and part of the tourism industry. If, on the one hand, this dynamic has immediate positive results in the economy and in the physical aspect of buildings, on the other hand, it can lead to the expulsion of the traditional inhabitants of the center and cause a lack of recognition of the population with that historical and primordial space.

In the project proposed here this context is the starting point to investigate the dubiousness of this process in the city, using the facade of the International Center of Graphic Arts - MGLC - as support. As a historical building of the XVIII century, like many other constructions of this type, the building is marked by the change of uses during its existence, being a residence of nobles, property of the Church, serving for state functions and now housing a museum. Due to its location, it can be seen in the distance in the middle of the vegetation of Tivoli Park. Taking advantage of this configuration, the facade of the building will be used as a screen for the display of phrases collected from residents of Ljubljana. This collection will be done in the most anonymous way possible, through a specific email. The idea is that the facade of historical construction becomes the vehicle of manifestation of the population's thinking about the current dynamics of the city and privileged support of claim and expression of identity. The sentences will be written in the style of the graffiti observed by the city, practice that revealing opinions using the architecture itself as a support.

Inside the MGLC, it will be possible to purchase a souvenir typical of European museums (the decorative dish) with the representation of the building with the graffiti in its facade.

 

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ALEJANDRA PIZARNIK, NOCTURNAL SINGER

The book Cantora nocturna / Nocturnal Singer, which presents the work of the cult Argentinian poet Alejandra Pizarnik (1936–1972) in a bilingual Spanish-Slovenian edition, has been published. The book was one of the projects of the 32nd Biennial of Graphic Art: Birth as Criterion.

It 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.

The editor of the book is Miklavž Komelj; its translators are Nada Kavčič and Miklavž Komelj. The essays on the poet and her creations have been contributed by Nada Kavčič, Miklavž Komelj and Yucef Merhi. The book was designed by Ivian Kan Mujezinović.

EVENING WITH MANCA KOŠIR: STORIES ABOUT BOOKS AND PEOPLE

Tuesday, 11 December, at 6 pm

Guests: multimedia artist Eva Petrič, scientist dr Miha Kos and translator Luka Krek
Music: duo Čemomka

 

Milton Glaser, Posters

23. 11. 2018–3. 3. 2019
opening: Friday 23 November, at 1 pm

The artist and his posters will be presented at the opening by the expert of visual communications, Petra Černe Oven, PhD.

Milton Glaser (1929, New York) is one of most important graphic designers in the world, who has designed hundreds of corporate images, magazines, newspapers, books, LP covers, and has created thousands of posters during his career spanning over fifty years. He has been inscribed into the world history of design with his iconic “I love NY” logo. Milton Glaser has decided to donate thirty-five original posters (created between 1966 and 2016) to the City of Ljubljana, which will enrich the collection of the International Centre of Graphic Arts after the exhibition.

A special thanks on the occasion of the exhibition goes to Mirko Ilić, who came up with the idea for the donation in 2017, when he was hosted at the Festival of Tolerance as a lecturer and the author of the TOLERANCE exhibition. The show is organised every year by Mini teater and the Ljubljana Jewish Cultural Centre with the support of the City of Ljubljana (MOL).

GUIDED TOUR OF THE EXHIBITION BY Nathalie Du Pasquier

Tuesday, 18 December, at 5 pm
admission payable to view the exhibition, guided tour free of charge

The guided tours are conducted in Slovenian (beginning at 5 pm) and in English (beginning at 5.30 pm), led by Museum Information Officer, Gregor Dražil.


Photo: Urška Boljkovac. MGLC Archive.

30. 11. 2018–3. 3. 2019
opening: Friday November 30, at 1 pm

The opening will be accompanied by a guided tour given by the artist Nathalie Du Pasquer and the curator of the exhibition Kate Sutton.

Nathalie Du Pasquier’s compositions transform the interiors of the International Centre of Graphic Arts into a series of immersive microenvironments, sampling from over three decades of the artist’s paintings, prints, drawings and murals, as well as a new series of silkscreen prints, which was produced precisely in the screen-printing studio of the International Centre of Graphic Arts in Ljubljana.

Du Pasquier first made her name with vibrant, eye-catching graphics and textile prints shaped by the artist’s eclectic influences, boundless imagination and impulse towards experimentation. Since the late 1980s, she has focused primarily on painting, building up a tremendous body of work, much of which has yet to be exhibited publicly. Fair Game shuns a chronological ordering in favor of forging more intuitive formal affinities between the various series. Assorted elements or objects appear and reappear in different compositional configurations, like a card in a deck that takes on new powers and limitations with each hand dealt. This visual vocabulary is distilled in a new series of silkscreen printed modules – or as the artist calls it, “virtual furniture.”

Curator of the exhibition is Kate Sutton.


Nathalie Du Pasquier: Mensola piena, 2011, oil on canvas.