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.
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).
3. 6. 2020–31. 7. 2020
Viktor Bernik’s creative output is endowed with two distinctive features: referencing social reality and the use of various formal solutions. Bernik takes on contemporary society with playfulness and humour, shifting back and forth between the fields of painting and those of drawing, video, graphics as well as spatial installation, intervention and events.
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.
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
Wayside (A performance yet to happen) is the newest tandem project by Calovsky and Ivanoska, envisioning hypothetical exhibition programme for the unrealised Museum of Modern Art in Skopje, designed by polish architect Oskar Hansen in 1966.
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 the 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.
8. 2. 2019–1. 3. 2019
London-based Slovenian artist Jasmina Cibic is being presented to Ljubljana’s audience with a segment of a tripartite exhibition and film project entitled ‘Spielraum’ that draws on an essay by the Austrian writer, translator and satirist Karl Kraus.
19. 12. 2018–18. 1. 2019
In his artistic practice, Dante Buu (Rožaje, Montenegro) combines photography, text, video, embroidery and performance. His works are underscored by an incessant inquiry into the increasingly blurred boundaries between the private and the public as well as between the voyeuristic and the participatory. In addition, they scrutinise traditional gender roles and associated stereotypes as well as ever more fluid identities in the digital era.
Solo exhibitionFokus Grupa
7. 11. 2018–7. 12. 2018
The Rijeka-based art collective Fokus Grupa is presenting itself to Ljubljana’s audience with an exhibition that wraps up its two-month residency at the CC Tobačna 001. In the recent years, Iva Kovač and Elvis Krstulović, the two members of the collective founded in 2012, have been looking into power relations within the contemporary art field, which is firmly embedded in economic, social and, not least, political reality.
Dušica Dražić & Wim Janssen
5. 9. 2018–20. 9. 2018
Dušica Dražić’s art practice primarily encompasses installations combining objects and video. Her works thematise spatial irregularities that offer possibilities for transformation. Wim Janssen works with a cross section of technologies and investigates the functions of audiovisual media. He usually presents the results of his investigations in the form of installations, video, or film.
26. 7. 2018–31. 8. 2018
Israeli artist Rona Stern (1984) creates carefully thought out visual constructions by combining diverse elements taken from her immediate environment.
5. 6. 2018–13. 7. 2018
A representative of the young generation of Ukrainian artists, Nikita Kadan is the recipient of the main PinchukArtCentre Prize in 2011 and the Future Generation Prize in 2014, a member of the art group R.E.P. (Revolutionary Experimental Space) since 2004, a founding member of the curatorial and activist union Hudrada since 2009, and a co-editor of the Kiev-based online cultural magazine Prostory. Completing his two-month residency in Ljubljana, he is presenting himself with a solo show at the Gallery 001.
5. 6. 2018–13. 7. 2018
A representative of the young generation of Ukrainian artists, Anna Zvyagintseva is this year’s recipient of the main PinchukArtCentre Prize, a member of the curatorial and activist union Hudrada since 2010, a co-founder of ISTM (Art Workers' Self-Defence Initiative), and a co-editor of the Kiev-based online cultural magazine Prostory. Completing her two-month residency in Ljubljana, she is presenting herself with a solo show at the Gallery 001.
4. 4. 2018–18. 5. 2018
The project "Die Grüne" is a visually diversified ambient installation combining photography, ready-made, drawing, and objects. As such, it sheds light on the artist’s practice, which is at once characterised by a masterful play with different media and a confrontation of opposing content layers.
22. 2. 2018–23. 3. 2018
The work of the Bulgarian artist Kamen Stoyanov focuses on the questions of identity, migration, historical definitions and on topical issues regarding social and cultural development. Stoyanov always uses his own perspective, creating his works by gathering first-hand experiences of the social, artistic, cultural relations of the country he is researching at the time.
Moran Victoria Sabbag
6. 12. 2017–5. 1. 2018
In her creative practice, which primarily encompasses graphic art, installations and performances, Israeli artist and violinist Moran Victoria Sabbag introduces space for interactivity and within it the possibility to subvert socially accepted norms or rules. The title of her project Adagio for Space, which consists of an installation and a performance, alludes to the artist’s reflections on sound and space.