The Ljubljana Biennial of Graphic Arts Through The Poster

6 August − 3 December 2015

NLB Gallery Avla

opening 6 August 11 a. m.

Nowadays, as we are surrounded by images and messages displayed on various media, the poster, as the oldest form of visual communication, has already been pushed aside. The history of the poster is closely connected with invention and development of print and it flourished with development of industrial and consumerist society. The poster, which conveys cultural and artistic messages, reached its peak at the turn of the 20th century. Today such a poster is more than anything else a collectable and it no longer pursues its basic mission, which is attracting crowds to arts and culture events. Now collections of posters make it possible for us to follow and interpret cultural and historical events.

The Ljubljana Biennial of Graphic Arts is an event that has chosen not to abandon the poster, even though the organiser is fully aware of its value, which is now somewhat cultural and historical rather than communicational. An overview of the Biennial through its posters is at the same time an overview of historical developments, tastes over time, and also the development of local graphic design.

This year it has been 60 years since the 1st international graphic exhibition was organised under the baton of a nine-member Organisation Committee, presided by France Stele. Secretary General at the time was Zoran Kržišnik, who later became its spiritual leader. It is evident from the minutes of the Organisation Committee that they set the framework and structure of the exhibition, criteria and technical rules for the exhibitors and the scope of visual communications to accompany the exhibition. At their second meeting they decided that a bilingual catalogue and poster would come along with the exhibition. Riko Debenjak started working on the poster, and a wood engraving Dance of Kurent, carnival figures from Ptuj, made by France Mihelič, was later selected as its leading graphic. It was printed in 500 copies and a Pablo Picasso’s graphic found its way to the cover of the catalogue due to the set of circumstances at the time. (Picasso's graphics arrived at the exhibition at the last moment, when the catalogue was already placed in the press, so the Committee decided at its 12th meeting to put a reproduction of a Picasso’s graphic on the cover, which was initially supposed to feature a graphic by Miha Maleš.)

From the first to the eighth international graphic arts exhibition, the process of making a poster was based on an invitation sent out to the artists to outline it. Ivan Picelj’s poster for the 5th international exhibition most likely broke with tradition because it was so different from previous posters. It was no longer a reproduction of an artwork laced with typography of letters, but a contemporary graphic design transmitting visual communication about this particular art event. Next year the Committee invited Jože Brumen to participate and the way he saw the visual image of the entire exhibition was so elemental, that he created both the poster and the catalogue cover (by reproducing a Riko Debenjak), and he also made a logotype by building upon the design of the previous Picelj’s posters. Since 1969 the poster and the cover of the catalogue represented a part of the Biennial design, which was practically always based on a concrete graphic arts collection, and after 1975 on a graphic of one of the award-winning artists from the previous Biennial. After 1971 the Biennial posters were therefore based on graphics by Janez Bernik, Adriana Maraž, Tetsuya Noda, Andrej Jemec, Lojze Logar, Dan Allison, Günther Uecker and other. This convention was interrupted by the 24th International Biennial of Graphic Arts in the new millennium, which revived the exhibition by challenging its structure, internal organisation, relations with the local and international public and the performance of the curator, and also by bringing a new promotional approach with new designs and tools unifying the visual identity of this event. Same as the difference in the concept of future Biennials, a constantly changing design by a different designers or a group of designers who were allowed to use visuals as they saw fit has also become its regular feature. Art graphics as the basis for visual communication has disappeared from the poster, replaced by graphic elements composing the visual identity of each upcoming event.

mag. Breda Škrjanec

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ARCHIVE

European Heritage Days

Uncovering the Sculptural Heritage of Tivoli Park

Sunday, 27 September, at 10.30 am,
in front of Moderna galerija

A new leaflet will be presented, providing visitors with a personal experience of uncovering the sculptural image of Tivoli, along with the many details of the park’s art heritage. The visible, but often overlooked or even invisible sculptures (disappeared or relocated), which, in addition to their aesthetic note, also illustrate the social history of this famous park area.

On the guided stroll, the authors of the leaflet – Gojko Zupan (author of the list and descriptions of the individual sculptures), Tadej Vaukman (author of the photographs) and Yasmín Martín Vodopivec (author of the conceptual draft) – will acquaint you with some interesting facts about the sculptural depictions in Tivoli Park that echo the community, art and nature ethos, which is the foundation of the mission of the cultural heritage programme at Švicarija.


Photo: Tadej Vaukman. MGLC Archive.

 

 

NEW WAVE FRENCH COMICS

Lecture and presentation of the Tinta comics festival programme

Tuesday, 29 September, at 7 pm, MGLC Švicarija
Free of charge

France, the so-called Mecca of European comics, has declared 2020 as the year of comics. The Tinta Ljubljana Comics Festival has also joined in the celebration.

A short lecture by Izar Lunaček will acquaint you with the new wave in French comics – a phenomenon that flooded and shook the Gallic comics scene at the turn of the millennium, giving rise to the key authors of the recent decades: Joann Sfar, Kerascoet, Manu Larcenet, David B, and of course Lewis Trondheim, who will be hosted on Skype this year, in a book, and through a display of original works at MSUM.

The pre-festival gathering will present the highlights of this year’s festival – promising exhibitions, talks and workshops, as well as prominent authors, including the French guests Fanny Dalle Rive and Anne Baraou.

The lecture and presentation will take place in the courtyard in front of Švicarija, and in Švicarija’s Great Hall in the case of rain.

The event is organised following the recommendations of the National Institute of Public Health (NIJZ) and visitors are asked to respect them. To participate, please give us advance notice of your attendance by writing to: stripolislovenija@gmail.com

Welcome!

Workshops accompanying the exhibition Nora Turato, eto ti na

You are invited to join us for the performance workshop and the voiceful workshop in the accompanying programme of the Nora Turato exhibition, eto ti na.

I’m not a kid anymore, give me power
performance workshop

Saturday, 10 October, 10.00–16.00, MGLC Švicarija
Executed by Katarina Stegnar, actress, mover and performer

The number of participants is limited to a maximum of 15 people. Bookings must be made by writing to lili.sturm@mglc-lj.si
Free of charge.

More


Photoarchive by Katarina Stegnar.

Moved by Voice
voice workshop

Thursday, 22 October, 17.00–20.00, MGLC Švicarija

Executed by Irena Tomažin, singer, dancer and performer.

The number of participants is limited to a maximum of 15 people. Bookings must be made by writing to lili.sturm@mglc-lj.si
The participation fee for the workshop is a paid ticket for the exhibition.

More


Festival Out of the Toolbox, Gent.