The International Centre of Graphic Arts (MGLC) is pleased to announce Ibrahim Mahama as the artistic director of the 35th Ljubljana Biennale of Graphic Arts (15 September 2023–14 January 2024). The artist announced that the next Ljubljana Biennale would be very simple. At the same time, it will draw connections that have been lost or even probably never been made within its context.
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 Encounter. Touch and Imprint. 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.
We invite you to watch the presentation of this year's Biennale, which took place on 2 December 2021. Nevenka Šivavec, director of MGLC and artistic director of the 34th Ljubljana Biennale of Graphic Arts, and curator of the Biennale, Tjaša Pogačar spoke about its concept and the challenges that arose during its preparation. IBA Stage allows biennials to present themselves to audiences who did not have the opportunity to visit them in person.
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).