Adriena Šimotová, one of the most renowned Czech painters and printmakers of the 20th century, received the Grand Prize at the 13th International Biennial of Graphic Arts in Ljubljana in 1979 and presented a solo exhibition at the Museum of Modern Art during the next Biennial. After forty years, her subtle works are on view in a retrospective exhibition that runs from 10 December 2021 to 8 March 2022 at the International Centre of Graphic Arts (MGLC). The artist once described her work as a celebration of mental and spiritual closeness.
The International Jury consisting of Lovro Japundžić, Jen Kratochvil, Sam Lackey and Poka-Yio decided that the Grand Prix of the 34th Ljubljana Biennale of Graphic Arts goes to Johannes Paul Raether. The Jury presented the Research Residency Award to Mario Mu, who also received the Audience Award, and a Special Mention from the Jury went to the BCAA System collective.
While post-communist, post-socialist and post-Yugoslav discourses merely reinforce the appearance of an unchanging and unstable present with a more or less accurate expression of the situation, Yugofuturism follows the example of other ethnofuturist movements such as Afrofuturism, Sinofuturism, Baltic Ethnofuturism and Hungarofuturism, which tactically empower peripheral identities and subversively affirm individual cultural curiosities.
Due to global networking and liberal capitalism, cosmopolitanism has also become ubiquitous in contemporary art. In the case of biennials, it has been linked above all to postcolonial discourse and universal humanist values (human rights, equal opportunities, solidarity, hospitality, critique of global capitalism). Today, after the experience of a global pandemic that has yet to be resolved, how can we think about a "new cosmopolitanism" that works towards the multipolarity of the world order with different cultures and values? What role do biennials and large cyclical exhibitions play in this?
26. 10., 18.00 @ MGLC Švicarija, conversation
Human rationality is a disappointment, a distortion into chaos. We must seek succor in other forms of rationality, including that of the computer algorithm. And at the edge of any rationality, we already sense the pull of that which occupies its Outside.
The Perennial Biennial is currently working on a new publication engaging with the biennial format as it is encountered, engaged with, and critiqued in its local context. They are reaching out to biennials, artists, collaborators and others for existing texts written in response to biennials in their local context, and specifically published outside of the international biennial discourse. Deadline is 24 October 2021 at midnight (UTC+2).
Hamja Ahsan, I DON’T BELONG HERE أنا لا أنتمي الى هنا
Historical artefacts, revolutionary iconography, never-before-seen photographs, first-person narratives by followers of the movement, extroverted enthusiasts and experts in the field of human rights and contemporary art show how the Shy Radicals project has succeeded in penetrating the crazy and largely dislocated standardised world, constantly bypassing truth and fiction, without losing its speculative core.
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.