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The exhibition Confess is Igor Andjelić’s fourth intervention in this church. In addition to the previously mentioned work on the main altar, there are also two objects on view on the side altars. These are two highly polished objects which give the impression of mirrors. Andjelić thus emphasises the importance of the mirror in the history of art as a theme of the intervention. As curator Yasmín Martín Vodopivec wrote on the occasion of the exhibition, "The mirror, which has historically been used as a detector of misperception, returns to its original function as a key to opening up new vistas."
It is, as the artist points out, an intimate exploration of personal experience as an immersion into the fragments of time trapped in her body, which are on the other hand not only forgotten material, unused movement and a recall from past memory, but also in the same vein open up a reflection on The Moment After. Viewers were able to capture and observe the various moments caught between restlessness and longing in the sixty-minute performance, which premiered on Tuesday, 19 September at NOT Space for Art, a new contemporary art space on Vodnikov trg in Ljubljana, in this unusual creation under the curatorial direction of Yasmín Martín Vodopivec for another two days.
Natural Faith – An Intimate, Spiritual, Mystical and Critical Relationship Between Man and Nature:
The desire to return to nature is becoming stronger in this wild and complex capitalist world that undermines any sense of security. But what does that actually mean? A physical retreat into nature or a search for some kind of balance and moderation? Can we simply ask nature to be our friend when it suits us? Can we lock its wildness in a glass cage? Have we already destroyed it to the point where it will bow its head in submission? Perhaps there is still time to build a sincere, cooperative relationship with nature – but the question is whether we can do that with reason alone.
The renovation of the building lasted until May 2017, when Švicarija, which had been granted the status of a cultural monument of local importance four years earlier, was handed over to MGLC, which continues its tradition of "hospitality and coexistence" with exhibitions, international residencies, a reading room, the Stojan Batič Memorial Studio, as well as working and living studios under the banner of Community, Art and Nature, explains Yasmín Martín Vodopivec. "When we took over the management of Švicarija, it was clear that the activities of MGLC would expand both in terms of quantity and content, but we did not expect how much Švicarija would influence MGLC, including our understanding and acceptance of our responsibility towards the park's cultural heritage – the development was very two-way," she adds. To this end, in cooperation with artists and heritage experts, she developed the brochure series Art in Tivoli Park, which introduces readers and visitors to Švicarija and the Stojan Batič Memorial Studio, as well as the sculptures in the park.
… Hamja Ahsan's exhibition of a referendum on Aspergistan, an imaginary land of shy, introverted and autistic people. This silent majority represents an alternative to the domination of the extroverts. The exhibition includes a book, a film and other objects that represent a revolt against globalised PR projects by bringing together the "shy radicals" in the Black Panther Party. The Anti-Systemic Manifesto is a quiet and imaginative polemic, a satire that uses anti-colonial theory to formulate a critique of the dominant culture. This work outshines all others at the Biennale.
The dramatic moment when Leja Jurišić kicked away the chair, leaving herself, angelic-like, taped to the wall. With this work she accomplished an appropriation-transgression of Maurizio Cattelan’s “A Perfect Day” (1999) piece by performing it as an anti-masochistic escape act; arduously working her way free of the self-imposed tape trap.
The Match Gallery criticises cultural models that are determined by the logic of competition and rivalry. To ironically underline the absurdity of this kind of cultural policy, it has organised a curatorial duel. The winner will now be determined by a vote of the exhibition visitors.
