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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.

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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".

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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.

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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.

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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.

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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.

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This year marks the centenary of the birth of Zoran Kržišnik, the initiator and longtime director of the Ljubljana Biennial of Graphic Arts and the International Centre of Graphic Arts. He has left an indelible mark on Slovenian post-war art, especially in the field of printmaking.

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The extensive MGLC book collection has just been supplemented with the Crack Up – Crack Down essayistic reflection of the 33rd Ljubljana Biennial of Graphic Arts of the same title.

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This year’s winners of The 2019 Turner Prize include the artists Oscar Murillo and Lawrence Abu Hamdan, who participated in the 31st Ljubljana Biennial of Graphic Arts (Over you/you, 2015, curated by Nicola Lees) and the 33rd Ljubljana Biennial (2019, curated by Slavs and Tatars).

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Justification of the jury for the Brumen Award: “A superbly made example of postmodernist design with a clear original voice. The set of basic motifs is used with humour – the recognisable illustrations and playful use of lettering elements combine in the exciting festival image.”

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