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Cullen, Deborah 2013, Interruption: 30th Ljubljana Biennial of Graphic Arts, exhibition catalogue, Black dog publishing, Lundon, UK

Interruption: The 30th Ljubljana Biennial of Graphic Arts is the 30th edition of the Ljubljana Biennial of Graphic Arts, held from 14 September to 24 November 2013.

Established 60 years ago, the Biennial is the oldest and one of the most influential recurring exhibitions of graphic art internationally. Originally presenting only the work of printmakers, the Biennial has since expanded to include a wide range of contemporary graphic forms of expression.

Interruption presents the work of this year’s exhibiting artists with full-colour images, situated within a framework focused on the Biennial’s theme of the impact and influence of both traditional and new graphic media within the local and international context. This installation considers the evolutionary graphic field of contemporary times.

Artists featured include: Allora & Calzadilla, Dennis Ashbaugh and Willam Gibson, Luis Camnitzer, Vuk Cosic, Tomás Espina, Charles Juhász-Alvarado, Nicola López, Thomas Kilpper, Adam Pendleton, Marjetica Potrc, Gerhard Richter, Tomas Vu-Daniel, and Vargas-Suarez Universal.

Essays discuss the Biennial’s curatorial focus and other related topics, Dr Deborah Cullen, Curator of the Biennial, introduces this year’s edition, whilst writer and curator Petja Grafenauer covers its history. These are followed by texts devoted to the winners of the Grand Prize and the Honorary Award of the previous edition of the Biennial: Regina José Galindo and Miklós Erdély.

Paperback: 128 pages
Publisher: Black Dog Publishing (December 17, 2013)
Language: English
ISBN-10: 1908966300
ISBN-13: 978-1908966308

2013. Ljubljana, Slovenia, Interruption: 30th Ljubljana Biennial of Graphic Arts

opening night 13 September 2013
14 September–24 November 2013

Interruption is the 30th edition of the Ljubljana Biennial of Graphic Arts. This installation considers the evolutionary graphic field of contemporary times. Printerly processes touch many types of present-day art. Select, traditional media have evolved and adapted to maintain their relevance, while digital processes, after a long fermentation, have finally taken legitimate hold as artistic tools in their own right. Interruption surveys the extension of traditional as well as new approaches to printmaking in response to our 21st-century communications.
The works included in the Biennial echo and comment on the conditions of the world in which we live: how we receive our information, how we interact – or attempt to – with each other, how we (mis)perceive our world. Clamouring, unfiltered data bombards us. Masquerading commercial and political agendas vie for our attention alongside personal thoughts and images that are more than we can ever possibly absorb. The hyperactivity of text and image begs for our attention. While some artists respond by returning to basic, even primal, forms of image reproduction (fire, shadows, tattoos, gunshots), others embrace the randomness of social media picture boards, the ghostliness of heat-sensitive live-feed video, endless streams of leaked governmental documents, or the brief haikus of the Twittersphere.
Interruption considers both the fresh application of traditional means by leading-edge artists and the innovative incorporation of new printerly technologies in fine-art investigations. Both approaches contemplate our contemporary transmissions as the basis of their works. Interruption explores the graphic as both form and content, in an invigorated polygraphic terrain that links the work of diverse contemporary artists from around the world.Curated by Deborah Cullen, PhD.Participating artists: Allora & Calzadilla, Burak Arıkan, Dennis Ashbaugh & William Ford Gibson, Tammam Azzam, Xu Bing, Luis Camnitzer, caraballo-farman, Alex Cerveny, Mario Čaušić, Vuk Ćosić, Milos Djordjevic, Tomás Espina, Giorgi Gago Gagoshidze & Gianluigi Scarpa, Mihael Giba, Ana Golici, María Elena González, Meta Grgurevič and Urša Vidic, Dragan IIic, Sanela Jahić, Charles Juhász-Alvarado, Thomas Kilpper, André Komatsu, Gorazd Krnc, Volodymyr Kuznetsov, Nicola López, Ivan Marušić Klif, Yucef Merhi, Ottjörg A.C., Renata Papišta, Adam Pendleton, Agnieszka Polska, Zoran Poposki, Marjetica Potrč, Gerhard Richter, Venelin Shurelov, Dario Šolman, Nika Špan, Teo Spiller, Waltraut Tänzler, Rirkrit Tiravanija, Vargas-Suarez Universal, Tomas Vu-Daniel

Deborah Cullen, PhD is Director & Chief Curator of the Miriam and Ira D. Wallach Art Gallery at Columbia University in the City of New York. She served as Chief Curator for El Panal/The Hive: 3ra Trienal Poligráfica de San Juan: América Latina y el Caribe, Puerto Rico (2012). Previously, she was Director of Curatorial Programs at El Museo del Barrio, New York, where she was an editor for the 500-page anthology, Caribbean: Art at the Crossroads of the World (El Museo del Barrio and Yale University Press, 2012). Other exhibitions include Nexus New York: Latin/American Artists in the Modern Metropolis (2009) and the internationally traveling project, Arte no es Vida: Actions by Artists of the Americas, 1960-2000 (2008-2011) for which she received an Emily Hall Tremaine Exhibition Award. She curated Retro/Active: The Work of Rafael Ferrer (2010), and authored the monograph Rafael Ferrer (UCLA, 2012). Cullen wrote her dissertation on the Jamaican-American master printer Robert Blackburn, who founded The Printmaking Workshop in New York in 1948. She was curator of the Printmaking Workshop Print Collection from 1993-1996, and arranged the acquisition of 2500 works from these holdings by the Library of Congress, Washington, D.C.Venues: International Centre of Graphic Arts, Museum of Modern Art, Jakopič Promenade

M.K (9. 3.2012). Zaupaj mi, jaz tebi tudi ali kako politiki izigravajo ljudstvo

Retrieved 9.3.2012 from RTV Slovenija: http://www.rtvslo.si/kultura/razstave/zaupaj-mi-jaz-tebi-tudi-ali-kako-politikiizigravajo- ljudstvo/278572

Zaupaj mi, jaz tebi tudi ali kako politiki izigravajo ljudstvo
Razstava hrvaškega umetnika Mihaela Giba
9. marec 2012 ob 20:27
Ljubljana – MMC RTV SLO/STA
Kako so videti pogodba o pristopu Hrvaške v EU, pogodba o medsebojnih odnosih delničarjev in arbitražni sporazum med Slovenijo in Hrvaško, prenesene v umetniški jezik? V Centru in galeriji P74 pravne dokumente vizualizira hrvaški umetnik Mihael Giba.

Mladi hrvaški umetnik predstavlja projekt Trust Me I Trust You, v katerem se ukvarja s temo političnega izigravanja ljudstva. V razstavo je vključena istoimenska serija petih knjig, v katerih umetnik vizualizira omenjene dokumente hrvaške države.

S takšno vizualizacijo intermedijski umetnik sebe pokaže kot običajnega meščana, ki zaradi množice ekonomskih in pravnih izrazov ter političnih trikov, te pogodbe bere pomanjkljivo. S tem učinkovito prehaja od konkretnega k abstraktnemu, da se nato znova vrne h konkretnemu. Del razstave je tudi projekcija, ki podatke iz zasedanja parlamenta kategorizira v skupine, kot so šport, kultura, ekonomija, in jih predstavi kot podobe digitalne pokrajine. Razstava Trust Me I Trust You bo v Centru in galeriji P74 na ogled do 28. marca.

Instalacije, ki jih ženejo umetnikovi programi
Leta 1985 v Varaždinu rojeni Mihael Giba je doštudiral slikarstvo na Akademiji za umetnost Univerze v Splitu. Svoja dela je predstavljal na samostojnih in skupinskih razstavah na Hrvaškem, to pa je njegova prva samostojna predstavitev v Sloveniji. Leta 2010 je predstavljal z Daliborjem Martinisom potujoči projekt Global Picture. Umetnik, ki v svojih projektih kartografira tako individualne kot svetovne družbene fenomene, za lastna dela razvija tudi računalniške programe, ki služijo kot osnova za delovanje instalacij.

M. K.


Vodopivec, Y. M. (2012). Trust me I trust you. Ljubljana, Slovenia: Center in Galerija P74.

Mihael Giba is a Croatian intermedia artist, who is presenting the first solo exhibition of his work in Slovenia. His art focuses on the area of data visualization, and he has developed special computer software that serves as the basis for his installations. The common element in Giba’s projects is their mapping of both individual and global social phenomena.

The exhibition TRUST ME I TRUST YOU presents an installation of this same name, which is composed of a series of five artist books with the same formal character and elegance as the artist’s conceptual poetry. In this work, legal documents and international agreements signed by the Croatian government have been redesigned by Giba in his own artistic language so as to act as a transfer between viewers and the language of bureaucracy. Besides the books, the exhibition is rounded out by a projection that categorizes data from a session of parliament into such groupings as sports, culture, economics, etc., and presents them as images of a digital landscape.

The artist’s chosen mode of mapping derives from his desire to create a dialogue between the state and its citizens that is as direct as possible. Through the visualization of data, he moves from the concrete to the abstract only to return again to the concrete. Such movement Lev Manovich has described as the real challenge of data art, which, he says, “is not about how to map some abstract and impersonal data into something meaningful and beautiful” but rather “how to represent the personal subjective experience of a person living in a data society.”[1]

Mihael Giba (b. 1985, Varaždin) received his degree in painting from the Academy of Art at the University of Split, where he is currently employed as a senior assistant in electronic painting and digital photography. He is a member of the international art network Zebra, which founded the exhibition space Greta in Zagreb. He regularly exhibits his work in Croatia in both solo and group shows. In 2010, in collaboration with Dalibor Martinis, he presented his touring project Global Picture in Slovenia.
[1] Lev Manovich, “Data Visualisation as New Abstraction and Anti-Sublime” (2002), available at www.manovich.net.

Trust me I trust you

Trust me I trust you is a project which was created in response to major corruption scandals that have affected a complete Croatian government and led to arrestments of now ex-prime minister and several high-positioned politicians and ministers. This work deals with the trust that citizens have given to politicians. The project consists of five art books – legal documents of the Croatian Government that I have transformed into an artistic language. These books are 5 different Treaties that Croatian government was refusing to publish. Through visualization I am questioning how the average citizen who does not understand the legal language is reading these documents – probably as hard as my documents. Through my visualization I raise the question of whether citizens should have the knowledge to control politicians or they should simply trust them.

Croatia-EU Accession Treaty
INA and MOL Shareholders Agreement
Croatian Privatization Fund and Orco Property Group S.A. – Suncani Hvar Shareholders Agreement
Croatia – Slovenia Arbitration Agreement
INA – MOL Gas Master Agreement