other K67 projects



(courtesy of the Museum of Modern Art of Ljubljana)

“Next Stop, Kiosk”

The Moderna galerija installation presents an unusual structure: the ground floor is composed of a group of kiosks, while above these there rises a house made from pine logs and discarded printing plates. The two constructions belong to very different social and geographical environments. Whereas the kiosks present an example of very well-thought-out urban design, the house on stilts, which recalls a South American palafita, is an example of creativity under conditions where the best chance for survival is, essentially, self-organization. By including the kiosks, Marjetica presents this project as an urban case study and, at the same time, links the exhibition to the local context (the installation also refers to the illegal rooftop houses of Belgrade, a consequence of the influx of people displaced because of the Balkan wars).

Marjetica Potrč likes to share her case studies with visitors to museums and galleries, and with this latest hybrid, she offers us a kind of “breathing space,” where we are invited not only to ponder a new approach to planning and creativity but also to reconsider the transitory and mobile character of today’s urban spaces, the importance of communication, and the contemporary city’s relationship to the values and legacies of modernism.

The exhibition will be accompanied by a catalogue, co-published by Moderna galerija Ljubljana and Revolver – Archiv für aktuelle Kunst, which presents an overview of the artist’s work over the past five years and includes essays by the curator of the exhibition, Zdenka Badovinac, Goran Tomčić, writings of Marjetica Potrč and her interview with Hans Ulrich Obrist and will be edited by Livia Paldi..

Moderna galerija / Museum of Modern Art Ljubljana
29 October – 30 November 2003

Marjetica Potrč

Marjetica Potrč is interested in the city as a complicated and multilayered space and social organism. Her works originate in the experience of contemporary cities, whose centers are changing into mere images, while the real life of the urban organism develops on the periphery and in intermediary spaces. On the one hand, Potrč is interested in urban voids, gaps in crowded urban structures, neglected empty areas, and the ways towns shrink and disappear; on the other, she has been focusing lately on the phenomenon of quickly growing cities (e.g. cities in East Asia). This year she was part of the Caracas Case Project team, who spent six months exploring unregulated and rapidly growing urban structures in Caracas, Venezuela. Her thesis is that the two currently most successful urban forms, i.e. the gated community and the shantytown, have in common the emphasis they place on privacy and security (a good example of this is post-apartheid Johannesburg, South Africa).
In museums and galleries Potrč often presents buildings (and calls them case studies) which are based on specific examples taken from contemporary cities (e.g. the works of Rural Studio in Alabama, USA, Barefoot College in India, and Leidsche Rijn in Utrecht, the Netherlands). Most of her case studies underscore her most burning interests; currently, this is the role of individual initiative and self-sustainability in solving the problems of energy, communication and utility infrastructure in the global city.

(source: press release of the Museum of Modern Art of Ljubljana)


“Satellites”

Magnus Bärtås participates with the series “Satellites” in the exhibition “History Now, The Presence of the Past in Contemporary Photography” at:

Dunkers Kulturhus, Helsingborg, March 29 – May 11, 2003
Sörlandets Kunstmuseum, Kristinesand, Norway, June 14 – August 17, 2003
Midlanda Konsthall, Sundsvall, August 30 – October 26, 2003
Konsthallen, Ronneby, November 8, 2003 – January 5, 2004

(source: www.rogerbjorkholmen.com)