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

Programme of the Švicarija: Community, Art and Nature Project in June

Sunday guided tour of the exhibition
Švicarija: Community, Art and Nature in English and Slovenian, conducted by Matic Ferlan
Sunday, June 24, at 3 pm

theme-based guided tour
Jože Plečnik and Tivoli Park
conducted by Darja Pergovnik
Thursday, June 21, at 4.30 pm

Photo: Nejc Ketiš. MGLC Archive.

Cycle of films by David Lynch at The Slovenian Cinematheque to accompany the exhibition Fire on Stage

The art of living with David Lynch

Thursday to Thursday, 21–28 June, The Slovenian Cinematheque (Miklošičeva 28)

Opening projection:
Thursday, 21 June, 21.00
In Slovenia for the first time!

David Lynch: The Art Life
Directed by: Rick Barnes, Jon Nguyen, Olivia Neergaard-Holm, USA, 2016, colour, 98'
Biographical documentary about David Lynch as a multifaceted artist.

Programme

Blue Velvet, 1986, 120', sp, Friday, 22 June, 20.00

Blue Velvet Revisited, documentary, Friday, 22 June, 22.15 
Directed by: Peter Braatz, Germany/Slovenia, 2016, 85', sp

Inland Empire, 2006, 180', sp, Saturday, 23 June, 20.00

Twin Peaks: Fire Walk with Me, 1992, 135', sp, Sunday, 24 June, 20.00
Before the projection: Mirt Komel: The Golden Circle of Appetite and Satisfaction, lecture

Lost Highway, 1997, 135', sp, Tuesday, 26 June, 21.00

Dune, 1984, 140', sp, Wednesday, 27 June, 20.00

Eraserhead, 1977, 89', sp, Thursday, 28 June, 21.00

Admission payable

A ticket to the David Lynch exhibition comes with free admission to a chosen projection in the David Lynch film cycle. The holders of The Slovenian Cinematheque tickets for a film from the David Lynch cycle receive a 50% discount on the purchase of a ticket for the David Lynch exhibition.


Courtesy by Film Constellation and Slovenka kinoteka

David Lynch: Fire on Stage

Tuesday guided tours of the exhibition

Tuesday, June 26, at 6 pm

Every Tuesday in May and June
at 6 pm.
Every Tuesday in July at 7 pm.

Guided tours in Slovenian and English, conducted by Museum Information Officer, Gregor Dražil.
Admission payable.

Occasionally also guided tours by curators and guests; please follow www.mglc-lj.si.


Photo: Urška Boljkovac. MGLC Archive.

RABBITS
puppet show

Friday, 29 June, 21.00

The gallery is open till 9 pm on that day.
Admission 5 EUR (ticket for the exhibition)

Rabbits are a conceptual puppet interpretation of Lynch's comedy-horror-sitcom internet TV series Rabbits (David Lynch, 2002).

Author: Patricija Šošter
Puppets: Barbara Stupica
Set: Marko Turkuš
Directed by: Mirt Komel


Photo: Patricija Šoštar.

EXHIBITION: BLUE VELVET REVISITED

The photographs from the film Blue Velvet are back on view at Kinodvor from 1 June.

To accompany the exhibition
David Lynch: Fire on Stage you are invited to the Kinodvor Gallery, where the photographs from the shooting of the film Blue Velvet taken by Peter Braatz will be on view again.


Photo: Peter Braatz.