On 10 September 2021, Iskra Delta successfully launched 43 high-tech art projects by its 55 lucid collaborators, co-conspirators and agents in the 6 areas it has hijacked for its political-economic and artistic operations. They are on view under the brand of the 34th Ljubljana Biennale of Graphic Arts until 21 November 2021.
In a time haunted by the specters of "lost futures" the biennale harnesses the desire to inhabit a reality different from the one we inherited. Against a backdrop of social and environmental unrest, deep in the pandemic that has fixed our bodies in place and our eyes on screens, Iskra Delta returns from the future to provide a spark for imagining and constructing alternative presents. Collaborators, co-conspirators and other agents whose practices use the power of fiction, speculative design, larping, video games, the internet, pop and emerging technologies, will help her piece together the glimmering splinters of other possible worlds that are already emerging in our midst.
The new website of the Ljubljana Biennial of Graphic Arts has been conceived as an overview of Biennial events from 1955 to the present day. It presents one of the oldest international art events that began with the desire to show a graphic map of the world in Ljubljana. With the introduction of the curatorial approach after 2001, the limitations to a single medium were dispelled and it began to develop into a museum and out-of-museum entity reflecting contemporary art and curatorial practice.
The Amsterdam-based artist Nora Turato presented herself in Slovenia in 2017 as part of the 32nd Ljubljana Biennial of Graphic Arts and her solo show eto ti na took place between 11 September and 8 November 2020 at the International Centre of Graphic Arts. The curator of the exhibition Vladimir Vidmar highlights that "her works function as notations of the collective unconscious of the digital age, of our traumas and desires".
Europe witnesses significant political and cultural changes regularly putting the cohesion of European countries and actors at risk. This unrest has brought about an urgency and desire for closer collaboration in the arts. The Perennial Biennial is a partnership of five European Contemporary Art Biennials working together to develop and explore sustainable models for perennial practices in the biennial field.
The Crack Up – Crack Down exhibition, curated by the Slavs and Tatars art collective and first presented as the central exhibition of the 33rd Ljubljana Biennial of Graphic Arts in 2019, is on view as a travelling exhibition at the Centre for Contemporary Art at Ujazdowski Castle in Warsaw, Poland. In Ljubljana, the exhibition presented 37 artists, but this time, this global overview of satire as a graphic genre has been expanded to also include Polish artists.
After each edition of the Biennial, when the hundreds of exhibited prints disappeared from the gallery spaces and only their traces remained in the form of an exhibition catalogue, a handful of selected works and artists, the prize winners of the most prominent, international jury, were inscribed into the history of the Biennial with capital letters. The exhibition From the Biennial Prize Winners Collection: Shifts in the Canon consisted of the works of the prize winners kept in the collection of the International Centre of Graphic Arts.
In March 2020, Hamja Ahsan, the recipient of the Grand Prize of the 33rd Ljubljana Biennial of Graphic Arts, had a residency in Ljubljana. He was selected by the International Jury, consisting of Emily Apter, Jaroslaw Lubiak, Ištvan Išt Huzjan and Pablo Larios for his project Aspergistan Referendum, and will traditionally be presented at the next Biennial of Graphic Arts with a solo exhibition.