30. 1. 2020–13. 3. 2020
Bojan Fajfrić’s exhibition The Void conveys a specific manner of viewing history by conflating personal memories, collective historical consciousness and the inevitable events, while the use of non-linear timeline in his videos and films often turns them into speculative history.
26. 3. 2020–15. 5. 2020
Relating to the specific spatial features of the Tobacco Gallery, Bernik’s exhibition will investigate intersections between art and everyday life in the artist’s characteristic style as well as address the issue of social space and the ways in which art can enter it. The visual artist from Ljubljana, Viktor Bernik (1971) graduated from painting at the Academy of Fine Arts in 1998 under the mentorship of Metka Krašovec and Bojan Gorenc. Under Gorenc’s supervision, he also completed his specialization.
4. 6. 2020–31. 7. 2020
Siniša Ilić (1977, Belgrade) is a visual artist whose creative practice incorporates drawing, painting, installation, video, books, and performance. In his work, Ilić investigates social phenomena and explores various forms of social violence. He is a co-founder and member of the art and theory platform TkH (Theory of Walking), which was established at the end of 2000 in Belgrade by a group of theoreticians and artists.
24. 9. 2020–6. 11. 2020
Arjan Pregl is a representative of the generation of Slovenian painters born in the first half of the 1970s, who began to be active in the Slovenian art milieu after graduating in the late 1990s. Pregl graduated at the Academy of Fine Arts in Ljubljana in 1998 under the mentorship of Metka Krašovec and Bojan Gorenc, and continued his education by enrolling in two postgraduate studies – painting (2001, under the supervision of Bojan Gorenc) and graphic design (2004, under the supervision of Lojze Logar).
26. 11. 2020–4. 1. 2021
Maja Smrekar (1976) graduated from sculpture at the Academy of Fine Arts in Ljubljana, where she also completed her Master’s degree at the Department of Video and New Media. In her work, she thematizes radical social changes caused by using new technologies. In the Tobacco Gallery, she will present her latest project, in which she will address the question of what artificial intelligence can learn from dogs.
5. 12. 2019–15. 1. 2020
Robertina Šebjanič engages in investigating living systems (bio art) and sound. Taking on the form of interactive installations on exhibition grounds, her research-based art projects primarily focus on cultural, political, and biological realities of both marine and freshwater ecosystems.
Yane Calovski & Hristina Ivanoska
24. 10. 2019–22. 11. 2019
Envisioned as a choreographed installation, the project refers to a number of sources including Hansen’s Open Form theory, the composition ‘Novara’ (1962) by American composer Earle Brown and the recreation of clothing left behind in a sketchbook of Antoinette van Eyck, a young student of tailoring in Maastricht in 1935.
30. 9. 2019–18. 10. 2019
There is something tenacious about the fragility with which Natalija Vujošević communicates her thoughts and emotions–insights and affects–in her referential installations. This determination is provoked by the hardly bearable mission she is conducting, and she conducts it on her own terms: the mission to contemplate banality. Instead of exposing, appropriating or laughing at banality she aims to actually and urgently contemplate it from a rather melancholic, yet critical, attitude. As Benjamin argued, it is in fact the state of ruin that materialistically exposes this remarkable conceptual combination of melancholia and critical vigour.
Anca Benera & Arnold Estefan
2. 7. 2019–9. 8. 2019
Benera and Estefan investigate conflict zones, past and present, and how they relate to territory, water, other natural resources, technological progress and, of course, the eternal common denominator: profit.
26. 4. 2019–14. 6. 2019
"I think that we are, that most Slovenians are very humble, um, that we're nice, that we know how to take care of the environment, most of us do." (Alina, 10 years old)Growing up is political; we are conditioned ideologically and affectively by the social communities that surround us. Referring to this, Dejan Kaludjerović’s art project Conversations: Hula-Hoops, Elastics, Marbles and Sand (2013–present) reminds us of the fact that childhood is not spared from political reality and political thought however much this period of life, often referred to as the age of innocence, may be devoid of social responsibility for the things that happen and will continue to happen in the future.
15. 3. 2019–19. 4. 2019
In 1966, it took youth brigades, supported by the wider local community, lottery and the former construction giant Vegrad, less than fifty days to build 2000 square metres of exhibition spaces that were festively opened under the auspices of the United Nations. The twentieth anniversary of the end of the Second World War and the publication of the Universal Declaration of Human Rights inspired the title of the exhibition – Peace, Humanity and Friendship among Nations.