THE 31s BIENNIAL OF GRAPHIC ARTS: OVER YOU / YOU
The 31st edition of the Biennial of Graphic Arts, Ljubljana, titled Over you / you, explores the sociopolitical characteristics associated with the graphic arts, particularly in relation to reproduction, publicity and community. This year’s edition – as befits a biennial which was the first to encompass all printmaking techniques – includes stone lithography, large-scale woodcuts, etchings, screen-prints, posters and artist books. It also opens up a conception of the graphic arts beyond traditional definitions, to encompass a sculpture floating through the city by river, streetlights in a park, historic drawings transformed to kinetic machines, and experimental school programs.
The title Over you / you makes reference to an unresolved tension between contrasting states of identity, while also implying the possibility of coexistence. Itself a graphic image and an unstable proposition, the title reflects a tendency on the part of the exhibition as a whole to create a discourse around attributes of graphic art such as diffusion, repetition, and distribution. Unique objects and singular narratives are thus less in evidence in the show than facsimiles, procedures of mirroring, prototypes, imperfect copies, and immaterial forms.
The main exhibition brings together over 40 artists who work in a multiplicity of ways, and includes new commissions, older works, exhibition design, redeployments and re-contextualization of publicity materials and literary artefacts, as well as presentations that bring motion into the galleries and across the city of Ljubljana.
The 31st Biennial of Graphic Arts, Ljubljana consists of the main exhibition Over you / you, curated by Nicola Lees with Associate Curators Stella Bottai and Laura Mclean-Ferris, on display at Moderna Galerija, the International Centre of Graphic Arts (MGLC), Tivoli Park, Galerija Kresija, Jose Plečnik’s National and University Library,Galerija Jakopič and facade of Mahrova house. Vladimir Vidmar curates a solo exhibition by Becky Beasley at Galerija Škuc and María Elena González (award winner of the 30th Biennial of Graphic Arts) will be on display in the Gallery of Cankarjev Dom curated by Božidar Zrinski.
Group exhibition including works by: Reza Abdoh, Giorgio Andreotta Calò, AVA (Vanja Erjavec, Evelina Hägglund, Ana Jagodic, Zala Kobe, Nina Oblak, Gregor Rozman, Luka Savić and Sanja Vatič), Chris Beauregard, Will Benedict, Wolfgang Breuer, Andrea Büttner, Ellen Cantor, castillo/corrales, Declan Clarke, Mike Cooter, Qëndresë Deda, Braco Dimitrijević, Shannon Ebner, Luca Frei, Enej Gala, Peter Gidal, Karpo Godina, David Gothard, Meta Grgurevič, Andrew Hazewinkel, Stewart Home, Tom Humphreys, Ištvan Išt Huzjan, Sanya Kantarovsky, Aidan Koch, Gabriel Kuri, Adriana Lara, Hilary Lloyd, Goshka Macuga, David Maljković, Nick Mauss and Ken Okiishi, Oscar Murillo, New Collectivism, Pilar Quinteros, Asad Raza, Josefine Reisch, Lili Reynaud-Dewar, Giles Round, Luka Savić, Thirteen Black Cats (Vic Brooks, Evan Calder Williams and Lucy Raven), Akram Zaatari, Phillip Zach.
Urban Sculpture | Rok Grdisa | Ljubljana, Slovenia | HD
• Architects
Rok Grdisa
• Location
Ljubljana, Slovenia
• Architect
Rok Grdisa
• Contractor
Trimo
• Area
25.0 m2
• Photographs
Peter Mihelic
Text description provided by the architects. This urban sculpture, a new Tivoli info point, is actually the end of another story, the¨TrimoUrbanCrash 2007 competition¨ and beginning of a new project. In the first competition, two projects were chosen to be built as temporal structures. After two months, the event was finished and we took them apart to be recycled. At this time four separate initiatives for permanent use of pavilion came to municipality of Ljubljana, and it seemed to be the perfect opportunity to reuse this urban sculpture. Initiatives were brought by International Center of Graphic Arts (MGLC), National Museum of Contemporary History, academician Jože Bernik and deputy Jožef Školč.
From : Archdaily
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VIP CAR: BALKAN MOTIF
* English below
VIP car: БАЛКАНСЬКИЙ МОТИВ
2013
30-та Бієнале Графічних Мистецтв,
Міжнародний Центр Графічних Мистецтв (MGLC),
Любляна, Словенія.
Куратор: Дебора Кален
Для роботи VIP car: Балканський мотив ми намагалися знайти марку одного з автомобілів, що використовувався словенським урядом на початку 1990-х. Група словенських політичних діячів високого рівня, військові експерти, спецназівці, армійські поліцейські та інших були пов'язані з незаконною торгівлею зброєю, продажем вогнепальної зброї, боєприпасів до Хорватії та Боснії. Скандал зачепив Австрію та Фінляндію. У Словенії розслідування цього питання є постійною та відкритою раною .
У рамках проекту ми звернулися до громадськості з пропозицією намалювати просту картинку або написати текст, який у них асоціюватиметься з незаконною торгівлею зброєю. Люди запропонували намалювати карту Югославії на автомобілі, а також і додати слова: LUKA KOPER (порт в Словенії, через який зброя перевозилася), TITO JOƵE LOPOVI SE MNOƵE (Йозеф Тіто множить мафію ), ім'я JANEZ (можливо назва з Янез Янза, який був тісно пов'язаний з незаконними маніпуляціями з продажу зброї), знак € і $, США, СРСР, VSTAJA! (Прокидайся!), і слово PATRIA (Батьківщина, також Patria — назва Броньовика). Після того, як малюнок на автомобіль було нанесено, тоді ці слова та картинки почали вистрілювати професійні стрілки, тобто кульові отвори повторювали малюнки на поверхні автомобіля.
VIP CAR: BALKAN MOTIF
2013
The 30th Biennial of Graphic Arts,
International Centre of Graphic Arts
(MGLC), Ljubljana, Slovenia.
Curator: Deborah Cullen.
For the work VIP car: Balkan Motif, we tried to find the car that was used by the first Slovene government in early 1990's. A group of high-level Slovene politicans, military experts, Special Forces soldiers, army police, and others were linked to the illegal arms trade, selling guns and ammunition to Croatia and Bosnia. The scandal has since reached into Austria and Finland. In Slovenia, the investigation of this issue is an ongoing and open wound.
Within the project I turned to the public and asked people to draw a simple picture or write some text that would associate with illegal trade. People suggested to draw a map of Yugoslavia on the car and added those words: LUKA KOPER (the port in Slovenia through which arms was transported), TITO JOƵE LOPOVI SE MNOƵE (Jose Tito multiply the mafia), the name JANEZ (perhaps the name of Janez Jansa, who was deeply connected to the illegal arms manipulations), sign € and $, USA, USSR, VSTAJA! (wake up!), and the word PATRIA (Motherland, also Patria - the name of Armored Modular Vehicle). After all the drawing was done, the shooters shot over the words and pictures on the car, so the bullet holes on its surface would repeat the drawings.
CAR: BALCAN MOTIF
54. Ljubljana jazz festival: Interview with Peter Brötzmann
It was in 1960 in Bled that the Slovenian Jazz Festival was born, which makes it one of the oldest in Europe.
The Festival's focus has been directed towards the oeuvre of a versatile artist and, above all, an outstanding German free jazz saxophonist and clarinettist, PETER BRÖTZMANN. In cooperation with the International Centre of Graphic Arts Ljubljana MGLC, an art exhibition of his paintings, graphic prints and other works produced between 1959 and 2013 will be held. The exhibition will also include two recently released documentary films on Peter Brötzmann, Soldier of the Road and Film Portrait. Apart from which, Žiga Koritnik will curate an international photo exhibition, entitled This is Our Music!, to retrospectively present this jazz artist's music career. Held at the Small Gallery of Cankarjev dom, the exhibition opening will precede the Sax & Drums project on 3 July 2013.
ljubljanajazz.si
Password: Printmaking
Geslo: Grafika
Potujoča razstava in umetniške rezidence (2012--2014)
17. 4. 2013--26. 5. 2013, MGLC
Potujoča razstava sodobnih del umetnikov pretežno mlajše in srednje generacije je najvidnejši del evropskega projekta, ki ga je osnovalo šest evropskih partnerjev. Projekt vodi Mednarodni grafični likovni center (Ljubljana), medtem ko so ostali partnerji v projektu Hablar en arte (Madrid, Španija), Frans Masereel Centrum (Kasterlee, Belgija), Muzej moderne i suvremene umjetnosti (Reka, Hrvaška), Foundation Tallin Print Triennial (Tallin, Estonija) in International Print Triennial Society (Krakov, Poljska).
_____________________________________________________________________________________
Password: Printmaking
Travelling Exhibition and Art Residencies (2012--2014)
17. 4.--26. 5. 2013, MGLC
The travelling exhibition consisting of contemporary works by authors of predominantely younger and middle generation is the most visible part of the European project, which was designed by six Euroepan partners. The project is coordinated by the International Centre of Graphic Arts (Ljubljana, Slovenia), while its other partners are: Hablar en arte (Madrid, Spain), the Frans Masereel Centrum (Kasterlee, Belgium), the Museum of Modern and Contemporary Art (Rijeka, Croatia), the Foundation Tallinn Print Triennial (Tallinn, Estonia), and the International Print Triennial Society (Krakow, Poland).
Miroslav Cukovic/ kartografija medprostora
Miroslav Cukovic, Kartografija medprostora
19. 2.--7. 4. 2013
Leta 2012 se je Miroslav Cukovic prvič predstavil v MGLC v sklopu skupinske razstave Odtisi in vtisi, pregledu sodobne slovenske grafične produkcije, kjer je njegovo delo vzbudilo pozornost strokovne in splošne javnosti.
Tokrat samostojno predstavlja svojo produkcijo zadnjih treh let. Po razstavi Kartografija medprostora se obiskovalec sprehodi tako, kakor jo gradi umetnik: dela sestavljajo pripoved z medprostori, praznino, ki pa ni statična, pač pa se v njej odvija nenehna tranzicija navzkrižnih razmerij med razstavljenimi deli. Miroslav Cukovic dojema tranzicijo kot transformacijo. Tranzicija v sebi nosi idejo končnega cilja in prihodnosti. Gibanje proti končni točki zaznamuje brezčasnost.
Razstava vzpostavlja spontan, a vseprisoten dialog z opusom Williama S. Burroughsa, saj se kot on tudi Miroslav Cukovic zanima za nepredvidljive možnosti papirja, kolaža in grafičnih tehnik kot medijev.
Miroslav Cukovic (1982), ameriški umetnik jugoslovanskega rodu, je akademski slikar, ki je leta 2005 končal College for Creative Studies v Detroitu (država Michigan, ZDA), kjer je bil nekaj časa tudi predavatelj za grafiko. Kot asistent je bil zaposlen na grafičnem oddelku v Detroit Institute of Arts. Svoje grafike, risbe, kipe ter instalacije redno razstavlja v Evropi in Združenih državah Amerike, kjer je prejel tudi več nagrad. Deluje tudi v javnem prostoru, leta 2009 je v Mariboru izvedel intervencijo Oranžno gibanje in lani projekt Mariborske mlečne ceste, ki je bil del programa Evropske prestolnice kulture Maribor.
Kuratorka razstave je Yasmin Martín Vodopivec.
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Miroslav Cukovic, Cartography of In-Between Space
19 February--7 April 2013
Miroslav Cukovic first presented himself at the International Centre of Graphic Arts a year ago as part of the Prints and Impressions exhibition, a review of contemporary Slovene graphic arts production, where his work raised the approval of the expert as well as the general public.
On this occasion, he presents his production of the last three years in a solo show. The visitor strolls through the Cartography of In-Between Space exhibition in the same way as it is built up by the artist: the works make up a story with in-between spaces, emptiness, which is, however, not static, but is the place of constant transition of cross-relationships between the exhibited works. Miroslav Cukovic perceives transition as transformation. Transition carries within itself the idea of the final destination and the future. Moving toward the final point is marked by timelessness.
The exhibition establishes a spontaneous, yet pervasive dialogue with the oeuvre of William S. Burroughs, since Miroslav Cukovic, like Burroughs himself, is also interested in the unforeseen possibilities of paper, collage and printmaking techniques as mediums. The exhibition was curated by Yasmin Martin Vodopivec.
Miroslav Cukovic (1982), an American artist of Yugoslav descent, is an academy trained painter, who completed his studies at the College for Creative Studies in Detroit (Michigan, USA) in 2005, where he was also a printmaking lecturer for a time. He was also employed as an assistant in the Graphic Arts Department at the Detroit Institute of Arts. He regularly exhibits his prints, drawings, sculptures as well as installations around Europe and in the US, where he has been the recipient of several awards. He also works in the public space. In 2009, he carried out the intervention Orange Movement in Maribor, and last year, the project The Maribor Milky Way, which was part of the Maribor European Capital of Culture programme.
The curator of the exhibition: Yasmin Martín Vodopivec.
Brezdelje, disciplina in kazen / Leisure, discipline and punishment
Projekcija filmov v sklopu projekta Brezdelje, disciplina in kazen
Projection of films in the framework of the project Leisure, Discipline and Punishment
Avtorji / Authors:
Keren Cytter, Sonia Boyce, Louise Hervé & Chloé Maillet, Agnieszka Polska, Marinella Senatore, Dario Šolman, Peter Wächtler
International Centre of Graphic Arts
Contour Mechelen Biennial
Göteborg International Biennal for Contemporary Art
Liverpool Biennial
BrÖtzmann solo works 1959 - 2013
Peter Brötzmann solo
Dela 1959-2013
2. 7.--25. 8. 2013
Umetnik in glasbenik Peter Brötzmann je eden izmed najpomembnejših evropskih predstavnikov sodobne improvizirane glasbe, javnosti manj znana pa je njegova vizualna umetniška produkcija. Na likovnem področju dosledno ustvarja od konca petdesetih let in občasno razstavlja v Evropi in ZDA. Na njegovi pregledni razstavi v Mednarodnem grafičnem likovnem centru, prvi v Sloveniji, so na ogled dela na papirju -- risbe, grafike in akvareli, nekaj slik in objektov ter ovitki plošč in plakati.
Koordinatorka razstave: mag. Breda Škrjanec.
V koprodukciji s Cankarjevim domom in 54. Jazz Festivalom Ljubljana.
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Peter Brötzmann solo
Works from 1959 to 2013
2. 7.--25. 8. 2013
Artist and musician Peter Brötzmann is one of the most important European representatives of contemporary improvised music, whereas his visual art production is less known to the public. He has been consistently active in the art field since the late fifties to the present day, occasionally exhibiting in both Europe and in the U.S. His retrospective show at MGLC, the first in Slovenia, showcases the author's works on paper -- drawings, prints and watercolours, some paintings and objects, as well as record sleeves and posters.
Coordination of the exhibition: mag. Breda Škrjanec.
In co-production with Cankarjev dom, 54th Ljubljana Jazz Festival.
Cut ups, Cut ins, Cut outs / The art of Williams Burroughs
Razrezano, vrinjeno, izrezano
Umetnost Williama S. Burroughsa
19. 2.--7. 4. 2013
Razstava Razrezano, vrinjeno, izrezano; Umetnost Williama S. Burroughsa je predstavitev vznemirljivega in eksperimentalnega opusa ameriškega pisatelja in umetnika Williama Sewarda Burroughsa (1914--1997). Obsega tematski izbor njegovih del, ustvarjenih v različnih medijih: od zvočnih cut-upov, vizualnih kolažev in abstraktnih slik, narejenih s puško šibrovko, do redkih knjig, filmov, fotografij in efemernega gradiva. Številna dela so bila do zdaj le redkokdaj razstavljena. Umetniško delo Williama S. Burroughsa je težko definirati, saj umetnik ponuja številne načine branja in razumevanja svojega obsežnega ustvarjalnega opusa. Na razstavi je poseben poudarek na tehnikah kolaža in cut-upa, ki tvorita pomemben in vpliven del tako Burroughsovega umetniškega jezika kot njegove umetniške zapuščine.
Na razstavi je mogoče videti Burroughsove cut-upe v številnih in različnih medijih, razstava izpostavlja za njegov opus značilno spajanje umetniških področij. S to metodo je vplival na široko področje pop kulture, umetnosti, glasbe in tehnike digitalnega vzorčenja (semplanja). Metoda cut-up je bila nadaljevanje idej Tristana Tzaraja, ki jih je opisal v Kako napravite dadaistično pesem (Pour faire un poème dadaïste, 1920). Burroughsa je s to metodo seznanil Brion Gysin, ki jo je v Parizu oktobra 1959 po naključju odkril oziroma znova iznašel, ko je izrezoval paspartuje za akvarele z olfa nožem.
Burroughs je s svojimi inovacijami vplival na delo več generacij umetnikov, s svojimi stališči pa nasploh zaznamoval razmišljanje več generacij. Burroughsovi zgodnji eksperimenti v kolažu z vsemi možnostmi, ki so jih odpirali, so imeli širok vpliv na uporabo lepljenja magnetofonskega traku in obliko besedil pri številnih glasbenikih, kot so na primer The Beatles, Frank Zappa, Lou Reed, David Bowie, Brian Eno, Patti Smith, Laurie Anderson in Sonic Youth. Kot svobodomislec pa je Burroughs razširil svoj vpliv predvsem v obdobju druženja z ameriškimi beatniki, med katerimi sta bila Jack Kerouac in Allen Ginsberg. Njegovo idejo elektronske revolucije so posvojili tako hipiji kot punkerji ter kasneje cybernisti.
Razstava Kunsthalle Wien v sodelovanju z Mednarodnim grafičnim likovnim centrom.
Kustosa razstave: profesor Colin Fallows in Synne Genzmer.
Koordinatorka razstave: Lili Šturm.
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Cut-ups, Cut-ins, Cut-outs
The Art of William S. Burroughs
19 February--7 April 2013
Cut-ups, Cut-ins, Cut-outs: The Art of William S. Burroughs is a presentation of the exciting and experimental oeuvre of American writer and artist, William Seward Burroughs (1914--1997). It encompasses a thematic selection of his works created in a variety of mediums: from audio cut-ups, visual collages and abstract paintings depicted with a shotgun, to rare books, films, photographs and ephemeral material. Many works have so far been rarely exhibited. The artwork of William S. Burroughs is hard to define, since the artist offers many ways of reading and understanding his extensive creative oeuvre. The exhibition places a special focus on the collage and cut-up techniques, which form an important and influential part of Burroughs' artistic language, as well as his creative legacy.
Since Burroughs' cut-ups can be seen at MGLC in numerous and very diverse mediums all in one place, the exhibition highlights the merging of artistic fields, so typical for his body of work. He had an influence on a wide range of pop culture, art, music and digital sampling with this method. The cut-up method was a continuation of the ideas of Tristan Tzara, which he described in How to Make a Dadaist Poem (Pour faire un poème dadaïste, 1920). Burroughs acquainted Brion Gysin with this method, who accidentally discovered or re-invented it in Paris in October 1959, when cutting out passe-partouts for watercolours with a Stanley knife.
Burroughs influenced the work of several generations of artists with his innovations, and generally made an impact on the thinking of several generations with his viewpoints. Burroughs' early experiments in collage, with all the possibilities that they opened up, exerted great influence on a number of musicians in the way they spliced magnetic tape and formed texts, like for instance The Beatles, Frank Zappa, Lou Reed, David Bowie, Brian Eno, Patti Smith, Laurie Anderson and Sonic Youth. But as a free-thinker, Burroughs was particularly influential during the period when he spent time with the American beatniks, including Jack Kerouac and Allen Ginsberg. His idea of the electronic revolution was adopted by the hippies as well as the punks, and later by the cybernists.
An exhibition of the Kunsthalle Wien in cooperation with the International Centre of Graphic Arts.
The curators of the exhibition: professor Colin Fallows in Synne Genzmer.
Coordination of the exhibition: Lili Šturm.