35th Ljubljana Biennale of Graphic Arts

W ramach otwartej wystawy Biennale od 15 września do 14 stycznia 2024 roku można oglądać realizację dr Roberta Sochackiego

In the End We Decided Not to Give Up, 2023

NOKS collective (Wera Morawiec and Robert Sochacki)
In collaboration with Franek Warzywa and Młody Budda

Light art installation (LED light installation, jumbo bags, projection, videos – Harshil Bhanushali "Leaving home" [Indie], Joacelio Batista "Ich bin der Übermensch" [Brazylia], soundscape loops) with live performance (soundscape and visuals)

Projekt odnosi się do idei poszukiwania poprzez ruch w publicznej, powszechnie używanej przestrzeni, która często zachowuje nieopisaną pamięć o przeszłości. Pozwala widzom dowolnie ją interpretować i znajdować ukryte szczegóły, takie jak filmy, które kiedyś były wystawiane w One Night Public Gallery, kolektywnym projekcie przestrzeni publicznej NOKS.

35th Ljubljana Biennale of Graphic Arts
From the void came gifts of the cosmos

Artistic Director: Ibrahim Mahama

Curators: Exit Frame Collective (Adwoa Amoah, Ato Annan, Bernard Akoi-Jackson, Kelvin Haizel and Kwasi Ohene-Ayeh), Alicia Knock, Selom Koffi Kudjie, Inga Lāce, Beya Othmani, Patrick Nii Okanta Ankrah

From the void came gifts of the cosmos reflects on the entanglements of built environments, infrastructures and materials with the modern histories of anti-colonial and anti-imperial struggle, nationalism, internationalism and their contemporary echoes. Examining the ways in which the revolutionary spirit of the post-Afro-Asian independence era permeated built structures, the Biennale anchors its inquiry into the residues of this ethos. What forms of life do these infrastructures inhabit today? How can the Biennale become fertile ground for thinking about future, past and present relationships between the bodies and territories mediated, transformed and/or policed through architectural forms? Can the void created by past political failures serve as the soil for nurturing different relationships based on solidarity, friendship and intimacy? The ecological disposition of this Biennale embraces synthetic, virtual, mechanical, biological, discursive and other contingent forms of artistic determinations.

The history of the Ljubljana Biennale, founded in 1955 amid the Cold War, mirrors a similar internationalist spirit. From its inception, it has invited participants from the Non-Aligned partner countries in Africa and Asia, in addition to artists from the Soviet Union and the West with a special emphasis on the former. Thus, the Biennale’s archive serves as a journal revealing traces of other important gatherings and workshops in printmaking, and other mediums such as film. The forthcoming edition of the Ljubljana Biennale of Graphic Arts will attempt to look back at how visual culture and its dissemination and circulation created spaces of potentiality. Spaces that transcended borders and enabled these networks of Southern solidarities.

The main programme includes an exhibition with site-specific commissions across multiple venues including MGLC Tivoli Mansion, Cukrarna and MGLC Švicarija, to name a few.