16. 12. 2021–21. 1. 2022
In her creative pratice Neža Knez uses various media, such as audio, video, photography, drawing and performance. She graduated in Sculpture and received her masters diploma at the Academy of Fine Arts (ALUO) and Design. Through the event or interventions in urban spaces, she is questioning the social, economic, and political aspects of our society.
21. 10. 2021–3. 12. 2021
The project is part of a series of solo presentations of Slovenian artists. MycoMythologies is a series of ontogenetic mythological stories, video essays and machines with which the artist examines the planetary metabolism and, specifically, the question of how mushrooms can help humans think about the possibilities of cooperation and connection.
14. 9. 2021–14. 10. 2021
Danilo Milovanović (1992, Banja Luka) graduated from the Academy of Fine Arts and Design, University of Ljubljana, where he is currently a postgraduate student. In his practice, he mainly expresses himself in the public space, with the medium and approach determined by the artistic concept.
10. 8. 2021–8. 9. 2021
The project is part of a series of solo presentations of Slovenian artists. In a documentary form and with an extensive catalogue, Polonca Lovšin will present a series of projects entitled Movement for Public Speech, which she carried out in recent years in several cities: Maribor, Strasbourg, Feldbach, Kočevje and Ljubljana (in the framework of the programme announcing the future Cukrarna Gallery).
skupinska razstavaConstanze Ruhm
30. 4. 2021–20. 6. 2021
The project interweaves several threads relating to the history and present of Italian feminism, taking the form of a dual-screen video installation connected to a series of photographs.
24. 12. 2020–12. 3. 2021
Many natural history museums around the globe are facing the dilemma of how to adjust the presentation of their collections in line with new trends. It is not a coincidence that while the public is witnessing a clash between the advocates and opponents of dioramas – with the former finding them as much under threat as animals and ecosystems exhibited, and the latter regarding them as an obsolete propaganda tool used by imperialist forces – Maja Smrekar is seeking to bring the diorama back to life in her project Optical Disturbance.
24. 9. 2020–6. 11. 2020
Certain contemporary artistic approaches and practices, especially those in which echoes of high modernism can be discerned, are sometimes described in terms of transcendental illustrations of “repressed meaning”. Such use of the notion of the unconscious in the field of the visual arts may also be seen as controversial, raising questions of what is concealed and allowing interpretive pirouettes and theories revolving around the sublime and the abstract.
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.