tech x space

© Christopher Kulendran Thomas / Creative Direction: Annika Kuhlmann, Photography: Joseph Kadow

Aleksandra Domanović, Harun Farocki, Vadim Fiškin, Pakui Hardware, Christopher Kulendran Thomas (in collaboration with Annika Kuhlmann), Marko Peljhan, Fatima Al Qadiri and Dalton Caldwell.

You are kindly invited to the opening of the show on Tuesday, 8th of August, at 8 pm.

New technologies are crucial to the acceleration of capitalist operations and, consistent with them, they are no longer oriented primarily towards human actors or instrumental to them. The exhibition is focused on the role of digital technologies and planetary computation for the organisation of global space, which is structured by them in ways, on a scale and at a rate that evade human perceptive and cognitive capacities. The exhibition registers the consequences and the potentials of shifting the driving force of social organisation towards automated and increasingly autonomous processes. Furthermore, it opens the question of how contemporary art, which as a field is still largely bound to its humanist base and (human) spectator, can register the rise of non-human actors, networks and systems, which take on an increasingly leading role in the organisation of complex contemporary capitalist societies.

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This is Not a Name


32nd Graphic Biennial: Birth as Criterion

You are kindly invited to the opening of the show on Friday, 16th of June, from 6-10 pm. On Saturday, 17th of June, we cordially invite you to take part in the guided tour of the exhibition, headed by Miklavž Komelj.

With the invitation from the director of the International Centre of Graphic Arts, Nevenka Šivavec, to join forces and try to confront the renewed reduction of the biennial’s significance to dichotomous debates about outmoded binary positions such as old/new, graphic/non-graphic, media/contemporary, the members of the biennial’s collective have been given a far-reaching task to consider. In its experimental form, the new format of the biennial is expected to question the established protocols of exhibition conception and realisation, curating, the central concept and theme, and the ensuing choreographies of contemporary exhibition practice. However, this was by no means a principled decision against the system, a withdrawal from it and pretension to an external position, but rather a shift in emphasis and an attempt to open another horizon in the field known as contemporary art. The biennial has thus acquired the form of a spontaneous self-evolving mechanism, which is not driven by a central figure and concept but rather by its own history and the unruly, dense poem by Jure Detela, which dictates reaction and resists being illustrative.Poetry in general was a decisive reference point when conceptualising the biennial, although neither in the central exhibition nor in the exhibition at Škuc Gallery will the visitor encounter immediate evidence of this. Nevertheless, the exhibition This is Not a Name works as a unique and compact articulation of the principle of the biennial experiment encircling poetry. This is Not a Name is by no means a didactic device or a key unlocking the reading of the central exhibition; in many ways, it is just the opposite; the viewer is additionally confused by the unexpected eclectic selection of works that prevent easy reading in the idiom of contemporary art. Namely, the idea for the exhibition was to reconstruct the trajectory leading to the special format of the biennial, and to do so precisely through works and propositions that served, at some point, and for various reasons, as starting points and points of reference. To reconstruct our path (in an inconsistent and discontinued manner) and thus convey to the audience not a logical line of development, but rather a displaced experience that explains, via a sideway, the intention of the experimental concept of the biennial: why such a biennial and what prompted it.
While conceiving the exhibition This is Not a Name, in an attempt to come up with the ultimate reflection, the members of the biennial collective in fact went back to the beginning, namely, to the question that haunted us all the time and that we never fully unpacked: why poetry and in what form? Why is it poetry that seems interesting at the outset, regardless of the fact that it does not provide our thematic starting point or interpretive moment? Instead of the horizon of reading poetry as poetry, poetry as a special attitude to language came to the forefront; a transcendental view of language in the sense of the condition of its possibilities. Poetry as a question of how language is possible. This decision determined our thinking about the format of the biennial. Applied to the situation of being trapped in the paradigm of contemporary art and its protocols, via a consideration of new approaches to designing exhibitions, this initial commitment found its ultimate motivation in searching for answers to the question of how art is possible today. How can it be thought outside the protocols of contemporary art and spoken about beyond the weary slang of art? Our thoughts were aimed at some transcendental (NOT transcendent) view referring to the conditions of possibility of art. The selection of works comprising the exhibition This is Not a Name can thus serve not to revive our thoughts and considerations, the doubts and concerns of the biennial collective, but rather to open another entry into the main biennial exhibition by interrupting some established paths and opening up new horizons, which is also the spiritus movens of this year’s edition of the biennial in general. The exhibition This is Not a Name functions as an obstacle to the generic experience of art and it does not provide an explanation for the intention of the biennial, but rather reiterates it by insisting on works that cannot be fully captured by any context.
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Open Call


Open Call

Urška Aplinc, Maks Bricelj, Maja Burja, Gašper Capuder, Janja Kosi, Blaž Miklavčič, Danilo Milovanović

31.5. – 9.6.2017


Every art scene, the specific space and time-bound environment of art production, is dominated by discourses that offer local art production a conceptual framework and a theoretical context, its points and field of reference, while at the same time they also, to a large extent, determine art production both in terms of the coordinates of its reflexivity and in terms of the ways its ideas materialise. To put it simply, the creation of artworks. Regardless of whether this is about limiting oneself by the strict formal rules of classic media or about the processual openness and ‘immateriality’ of presentation, work of art is always subject to negotiation, consideration and contemplation. Irrespective of whether this is about artefact, process or situation, this is always about a certain fixing of an idea, its capture and confinement to specific parameters, which enable its transmission and/or presentation. The circumstances of this fixing are far from insignificant; on the contrary, they are the decisive factor. The production conditions and the discourse of a milieu are formed by the two axes of a coordinate plane, in which decisions (or is this too strong a word in the context of art?) are being made about finalisation, articulation or possible formalisation called work of art. Certainly it is hardly a novelty that works of art are shaped by various forces determining their production and reception; it is the specificity of this exhibition that it presents works that take these always uncertain relations as their subject. What is under scrutiny here are the decisions that determine the mode of presenting the work (and the artist) to the art system and its trajectory; the fact that things are as they are, but they could be different with very different implications. And last but not least, the responsibility they entail.

Seven artists participating in the exhibition Open Call dissect the implications of the decision called work of art. They are traced most schematically by the peculiar combinatorics of the creation of work (of art) presented in the project by Blaž Miklavčič titled An Attempt of a System. The work takes advantage of the auto-complete function of smart keyboards, which for each selected word offers a choice of three possible words to complete the sentence; what emerges is a diagram of selected and rejected paths, which makes an uncertain viewer wander about the criteria guiding the author’s decisions and invest curiously in the interrupted lines. The author’s decisions and motivations are recognised as the result of the author’s style, already understood by the computer monitoring the user’s writing and online interactions. The self-ironic reading of artistic creation through the contextual and consensual dynamics of the art system transpires in Maks Bricelj’s video Racket Racket through a play with three shabby everyday objects. The fact that an ‘artefact’ could emerge, an object that is legible within the grammar of contemporary art despite triviality, not only indicates the limits of any materialisation of idea in a work of art, but also highlights an inner contradiction in the notion of work of art as such, which is expected to confront us with something unknown and, at the same time, to be intelligible. However, the boundaries of work of art are sometimes identifiable more directly, that is, as their context is determined by the position of power. Despite maintaining continuity with previous interventions carried out under the auspices of institutions, the modest gardening intervention by Danilo Milovanović on the lawn in front of MSUM, the privileged playground for engaged statements by the local incarnations of relational art and urban gardening, was subjected to surprisingly rapid erasure – which, perhaps, resulted from the lack of artistic pretension? Gašper Capuder’s work White Square confronts us with the dictate of not only art institutions but also art as institution, which is often constraining, but also often internalised. Rather than the white square on the black background, which the visitor is forbidden from treading on, the space is occupied and the visitor’s movement is organised by the rule as such. The experience of art is here conveyed through prohibition, albeit not a very innovative one, but rather one appropriated from the urban or transport vocabulary, which here coincides with the lexis of galleries. It feels as if the white square on the black background does not let us breathe, that is, neither the artists nor the visitors; the symbolic world of (contemporary) art has pushed us all against the wall. The anxious experience of drawing from a permanently limited range of the already seen and the devaluation of the meaning of artistic gesture within the paradigm of art, in which all forms of resistance are anticipated and received frivolously, is expressed in Janja Kosi’s gesture, in which paintings are only intimated behind the luxurious and photogenic room vegetation. Here, painting, known as a conservative medium, as well as intervention in the critical non-conceptual manner, preferred by the current zeitgeist, fall within the same banal register of a backdrop to cultural consumption. Self-reflexivity is the central drive of Maja Burja and Urška Aplinc’s work Variable. With each new repetition, the performative work is extended in accordance with the scope of the audience’s responses, which are the main material of the work’s content. The work is completely fragile in its dependence on the art audience’s interest, for which and through which it is performed; at the same time, it is also a ruthless machine for the neutralisation of its interpretive power and freedom. Although in constant risk of reproducing the system, it must not remain silent…


Tjaša Pogačar & Vladimir Vidmar



You are kindly invited to Maja Burja’s and Urša Aplinc’s performance Variable on Wednesday, 31st May, at 7 pm.

We cordially invite you to the guided tour of the show on Tuesday, 6th June, at  5 pm.


Acknowledgements: prof. mag. Jože Barši, prof. Alen Ožbolt, izr. prof. mag. Žiga Kariž

The exhibition is a collaboration project of Škuc Gallery and The Academy of Fine Arts and Design in Ljubljana.


The programme of Škuc Gallery is supported by Ministry of Culture of the Republic of Slovenia and Cultural Department of the City of Ljubljana.


re- Exhibition on the occasion of the twentieth anniversary of the World of Art, School for Curatorial Practices and Critical Writing


World of Art | School for Curatorial Practices and Critical Writing | Year 16

You are kindly invited to attend the opening of the exhibition re-, an exhibition on the occasion of the twentieth anniversary of the World of Art, School for Curatorial Practices and Critical Writing, on Tuesday, 9 May, at 8 pm in Škuc Gallery.Artists: Rene Rusjan, Blaž Miklavčič

Curators: Lenka Đorojević, Miha Kelemina
Assistant: Lara Plavčak

The exhibition was prepared and realized with the help of the participants of the World of Art School, Year 16: Urška Aplinc, Živa Brglez, Maja Burja, Anabel Karolyn Černohorski, Magdalena Germek, Anja Guid, Nika Ham, Ajda Ana Kocutar, Iza Pevec, Adrijan Praznik, Nina Tepeš.

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Small But Dangers: Not the same


You are kindly invited to the opening of the show on Tuesday, March 7th, at 8 pm.

The combinatorics of painted, drawn, sculpted and readymade fragments, which offer a new cryptic text with each set up, represents a recognisable gesture of the Small But Dangers (SBD) Read more…

Rossella Biscotti & Kevin van Braak: T

kevin van Braak library 03

Rossella Biscotti & Kevin van Braak: T

You are kindly invited to the opening of the show on Friday, February 3rd, at 8 pm.

The enigmatically entitled exhibition project T focuses on Rossella Biscotti’s and Kevin van Braak’s collaborative works and common interests in questions of history, memory and ideology, most notably bringing into focus the intersections of ideology and form. Triggered by diverse historical fragments, Biscotti and Braak develop a complex, yet very material reflection on the remnants of their original ideological inscription, through different acts of re-contextualisation dissecting the inner dynamics of the politics of form. Read more…

The Second Explosion – the 90’s

Vabilo_Ninteties voscilnica-2-1

Jože Barši, Vuk Ćosić, Maja Licul, Marko Peljhan, Alenka Pirman, Tadej Pogačar, Marjetica Potrč, Marija Mojca Pungerčar, Franc Purg, Anja Šmajdek, Nika Špan, Apolonija Šušteršič, Janja Žvegelj

You are cordially invited to attend the opening on Thursday, 15 December, at 8 pm at Škuc Gallery.

After the opening at the National Museum of Slovenia – Metelkova, we are now opening the exhibitions at the P74 Gallery and the Škuc Gallery. All three set-ups are part of the joint final exhibition of a research and training project, which took place in Ljubljana over several years. The project Second Explosion – the 1990s (2014–2017) takes place simultaneously in Ljubljana and Slovenj Gradec, thus the second part of research on the 1990s will be on display at the Museum of Modern and Contemporary Art Koroška (KGLU) and the Carinthian Regional Museum in Slovenj Gradec (9 Dec 2016 – 23 Feb 2017). Read more…

Tao G. Vrhovec Sambolec: Rhythms of Presence

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The four projects by Tao Sambolec, presented in the exhibition Rhythms of Presence, approach the visitor in their immediacy and closeness, although they raise a number of gnoseological questions that have been engaging us since the very beginnings of thinking about human condition. Read more…




Three exhibitions curated by CAC Bukovje/Landskrona

  1. 10. – 11.11.2016

You are kindly invited to the opening of the show on Wednesday, 26th October, at 8 pm at Škuc Gallery. We also cordially invite you to the preview of the show at 7 pm with Nina Slejko Blom, Conny Blom, Vladimir Vidmar.

(These texts were written in the name of CAC Bukovje/Landskrona and speak only for us, that is to say, for Nina Slejko Blom and Conny Blom. The opinions stated here are not necessarily shared by the staff of Škuc, or the featured artists, and they do not concern the works in the exhibitions.)

Yes, we like brackets. Read more…