Events: MGML

You are invited to join us at the regular Saturday guided tour of the "Jaka Babnik: Pygmalion" exhibition. The myth of Pygmalion and Galatea, from Book 10 of Ovid’s Metamorphoses, serves as a symbolic backdrop, facilitating in both substantive and formal terms a reflection on the relationship that invariably arises between the chosen object, its photographic image, and the space in which they are viewed.

In his fifty years of sculpting, Jiři Bezlaj has produced numerous sculpture series and cycles that have left a recognizable mark on contemporary Slovenian sculpture. Bezlaj primarily works with stone, which is also the material with which he has achieved enviable aesthetic and creative levels.

You are invited to join us at the regular Saturday guided tour of the "Jaka Babnik: Pygmalion" exhibition. The myth of Pygmalion and Galatea, from Book 10 of Ovid’s Metamorphoses, serves as a symbolic backdrop, facilitating in both substantive and formal terms a reflection on the relationship that invariably arises between the chosen object, its photographic image, and the space in which they are viewed.

You are invited to join us at the regular Saturday guided tour of the "Jaka Babnik: Pygmalion" exhibition. The myth of Pygmalion and Galatea, from Book 10 of Ovid’s Metamorphoses, serves as a symbolic backdrop, facilitating in both substantive and formal terms a reflection on the relationship that invariably arises between the chosen object, its photographic image, and the space in which they are viewed.

You are invited to join us at the regular Saturday guided tour of the "Jaka Babnik: Pygmalion" exhibition. The myth of Pygmalion and Galatea, from Book 10 of Ovid’s Metamorphoses, serves as a symbolic backdrop, facilitating in both substantive and formal terms a reflection on the relationship that invariably arises between the chosen object, its photographic image, and the space in which they are viewed.

In his fifty years of sculpting, Jiři Bezlaj has produced numerous sculpture series and cycles that have left a recognizable mark on contemporary Slovenian sculpture. Bezlaj primarily works with stone, which is also the material with which he has achieved enviable aesthetic and creative levels.

The exhibition Aquatic Twilight_Lygophilia presents a series of projects titled Lygophilia, which artist Robertina Šebjanič started in 2017 to thematize two unusual creatures, the Mexican axolotl and the Slovenian proteus, and their love (Gr.: philéō) of darkness (Gr.: lúgē).

You are invited to join us at the regular Saturday guided tour of the "Jaka Babnik: Pygmalion" exhibition. The myth of Pygmalion and Galatea, from Book 10 of Ovid’s Metamorphoses, serves as a symbolic backdrop, facilitating in both substantive and formal terms a reflection on the relationship that invariably arises between the chosen object, its photographic image, and the space in which they are viewed.

The exhibition "Aquatic Twilight_Lygophilia" presents a series of projects titled Lygophilia, which she started in 2017 to thematize two unusual creatures, the Mexican axolotl and the Slovenian proteus, and their love (Gr.: philéō) of darkness (Gr.: lúgē).

In his fifty years of sculpting, Jiři Bezlaj has produced numerous sculpture series and cycles that have left a recognizable mark on contemporary Slovenian sculpture. Bezlaj primarily works with stone, which is also the material with which he has achieved enviable aesthetic and creative levels.

You are invited to join us at the regular Saturday guided tour of the "Jaka Babnik: Pygmalion" exhibition. The myth of Pygmalion and Galatea, from Book 10 of Ovid’s Metamorphoses, serves as a symbolic backdrop, facilitating in both substantive and formal terms a reflection on the relationship that invariably arises between the chosen object, its photographic image, and the space in which they are viewed.

You are invited to join us at the regular Saturday guided tour of the "Jaka Babnik: Pygmalion" exhibition. The myth of Pygmalion and Galatea, from Book 10 of Ovid’s Metamorphoses, serves as a symbolic backdrop, facilitating in both substantive and formal terms a reflection on the relationship that invariably arises between the chosen object, its photographic image, and the space in which they are viewed.