24th International Biennial of Graphic Arts

10 June–16 September 2005

The 24th International Biennial of Graphic Arts was marked by certain changes, with emphasis placed on the substance of the graphic arts in the context of newly emerging global art and the new internal organizational structure.

The 24th International Biennial of Graphic Arts comprised four exhibition segments
 

Print World

The exhibition was set in the premises of the Museum of Modern Art and the Jakopič Gallery. The curator Breda Škrjanec based her selection on the questions of how the original nature of print, or the multiplication of image and message, is reflected in mass-circulation goods, and what the common points are between art and ruling ideologies.

Participating artists:
Greddy Assa, John Baldessari, Monica Bonvicini, Daniele Buetti, Marna Bunnell, Guan Ce, Peter Ciuha, Claude Closky, Maja S. Franković, Adib Fricke, Catherine Gfeller, Simon Grennan & Christopher Sperandio, Izabella Gustowska, Damien Hirst, Päivikki Kallio, Micha Klein, Jakob Kolding, Ines Krasić, Oldrich Kulhanek, Kurt & Plasto, Claudia-Maria Luenig, Tracey Moffat, Juan Moro, Blanca Munoz, Marjana Pahor, Elena Panayotova, Chen Qi, Juan Carlos Romero, Thomas Ruff, Morten Schelde, Jonathan Seliger, Liina Siib, Zora Stančič, Fatimah Tuggar, Katja Valanne & Jarno Jokinen, Adriana Varella, Sašo Vrabič, Kara Walker, Christopher Wool.

Fundamina

The exhibition represented the art-historical ambitions of the Biennial. It was installed on the premises of the International Centre of Graphic Arts and it presented the following artists: Zoran Mušič (the selection was made by Zoran Kržišnik and Boštjan Soklič in co-operation with the Regional Museum in Nova Gorica), Andy Warhol (the selection was made by the curator Mark Francis), and Mimmo Paladino (the selection was made by Enzo Di Martino).
 


The exhibition Fundamina at MGLC, installation view. Photo: Igor Lapajne.

Imaging Ulysses: Richard Hamilton’s Illustrations to James Joyce

The work of Richard Hamilton, the Grand Prix winner of the 23rd International Biennial of Graphic Arts, was presented in Cankarjev Dom Gallery. The exhibition was organized in co-operation with the British Council and curated by Stephen Coppel.

Information – Misinformation, Off-Biennial Section
Individual projects were presented in Delo newspaper, on TV Slovenija, Radio Študent, and on 100 Proreklam-Europlakat billboards around Slovenia. In co-operation with the museum in progress, the works also appeared on 50 large digital info-screens at underground railway stations in Vienna and in Der Standard newspaper.
Curated by Gregor Podnar and Hans-Ulrich Obrist.
Participating artists:
Minerva Cuevas, Harun Farocki, Leif Elggren & Thomas Feuerstein, Natascha Sadr Haghighian & Rashad Becker, Apolonija Šušteršič & Jože Barši.

The Catalogue of the 24th Biennial of Graphic Arts

The 24th International Biennial of Graphic Arts was accompanied by a catalogue, which has completely sold out.

Producer: International Centre of Graphic Arts

Primary sponsor: Mobitel
Other sponsors: Autocommerce, Droga, Gorenje, Petrol
The Print World Exhibition sponsor: Lek
The Andy Warhol – Fundamina Exhibition received support from Philip Morris Ljubljana
Media sponsors: Delo, Der Standard, Proreklam-Europlakat, Radio Študent, TV Slovenija

 

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ARCHIVE

From Biennial to Biennial

28–30 November
International Centre of Graphic Arts and Švicarija Creative Centre

Book presentation
Nocturnal Singer by Alejandra Pizarnik (1936–1972)
Selected Poems Jure Detela (1951–1992) 
Wednesday, November 28 at 6 pm
MGLC

A symposium
The Irrational in a Biennial
Thursday, November, 29 10.00–17.00
Švicarija Creative Center

Opening of exhibition
Nathalie du Pasquier: Fair Game
curator: Kate Sutton
Friday, November 30, at 1 pm
MGLC

From Biennial to Biennial is a 3-day event which is a postponed reflection on the 32nd Biennial of Graphic Arts: Birth as Criterion. Composed of a presentation of the books Nocturnal Singer by Alejandra Pizarnik and Jure Detela's Selected Poems, an international symposium The Irrational in a Biennial that will discuss and challenge the traditional biennial structure, and a solo exhibition by Nathalie Du Pasquier: Fair Game, the event attempts to bring together diverse mediums of perception.


Photo: Urška Boljkovac. MGLC Archive.

Milton Glaser, Posters

SOON

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).


Milton Glaser, Posters, 2018.

Nathalie Du Pasquier

SOON

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

The openin 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 (“virtual furniture,” as the artist calls it), which she created in the MGLC screen-printing studio.

Curator of the exhibition is Kate Sutton.


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