The tentacle of the future patiently pounds on the glass. Dense hyperpop vapour rises from the heated planet. Reality forks in the glimmers of other possible worlds. If you thought that the Slovenian/Yugoslavian computer company, which many saw as having the potential to become a global technological power, went dark after 1989, you are mistaken.
In the more than sixty years of its existence, the Ljubljana Biennale that was founded in 1955 in the midst of the Cold War, has tirelessly responded to the ever-changing sociopolitical context while rearticulating its own identity and strategies. From the very beginning, it sought to transcend geopolitical polarities, reflecting Yugoslavia's determination to choose its own path. The Biennale continues to draw from its history and context, taking a specific local case of technological development and its unrealised potentials as the impetus for its 34th edition.
Iskra Delta was a name of a computer company from Slovenia and one of the largest computer manufacturers in Yugoslavia, which had the potential to become a major player in the global market before the breakup of the country. It was part of a broader computer industry that began to flourish after the Second World War as part of the modernisation project in the socialist republic. The story of the rise and fall of Iskra Delta is rather shrouded in mystery and as such prone to various projections, sometimes even bordering on conspiracy theories. Nonetheless, the "itch" that any story about a "could have been" provides, fuels the imagination.
In a time haunted by the specters of "lost futures" the biennale harnesses the desire to inhabit a reality different from the one we inherited. Against a backdrop of social and environmental unrest, deep in the pandemic that has fixed our bodies in place and our eyes on screens, Iskra Delta returns from the future to provide a spark for imagining and constructing alternative presents.
Collaborators, co-conspirators and other agents whose practices use the power of fiction, speculative design, larping, video games, the internet, pop and emerging technologies, will help her piece together the glimmering splinters of other possible worlds that are already emerging in our midst.
Hamja Ahsan, John Akomfrah, Astrosuka*, Ascyth*, BCAA system*, Joshua Citarella, Simon Denny, Diffractions Collective, Digitonica*, Aleksandra Domanović*, Fallwinter*, Mark Fridvalszki*, Galen Tipton*, Giorgi Gago Gagoshidze*, Himera*, Joey Holder, INSIDE JOB (Ula Lucińska & Michał Knychaus)*, Interdependence (Holly Herndon & Mat Dryhurst)*, Jakub Jansa, Kristjan Kaluža*, Jure Kastelic, Zsófia Keresztes*, Botond Keresztesi*, Princess Ketamine*, Kiss the Future*, Kladnik & Neon*, Kukla Kešerović, Luka Lavrenci*, Lawrence Lek*, msn_gf*, Mario Mu*, Nascent (Paul Seidler and Max Hampshire), Nimaš Izbire*, Katja Novitskova, OMSK Social Club*, Other Internet (Toby Shorin, Laura Lotti, Sam Hart), Marko Peljhan, Protektorama (aLifveForm, fed and cared for by JP Raether), Jon Rafman*, Živa Božičnik Rebec*, Alex Selmeci & Tomáš Kocka Jusko, Petal Supply*, Stach Szumski*, Dorijan Šiško*, Andrej Škufca*, ŠUM*, T+U (Technologie und das Unheimliche)*, Toiret Status*, Liara T’soni*, Torus*, Miloš Trakilović, Suzanne Treister, Umru*, Toyota Vangelis*, Jelena Viskovic, Warrego Valles*, Neja Zorzut*
*new works and commissions
The ISKRA DELTA folder consists of two publications in the Slovenian and English language: The ISKRA DELTA catalogue edited by Tjaša Pogačar and Nevenka Šivavec and The Millenial Files, a collection of essays and fiction, the editorial project of Muanis Sinanović. The ISKRA DELTA catalogue presents the projects, ideas and approaches of the co-creators of the Iskra Delta brand, while The Millenial Files brings the texts of some of the most penetrating young Slovenian intellectuals, who turn on the established view of social and political issues through a generational perspective.
Design: Aljaž Košir - Fejzo
The ISKRA DELTA catalogue
Editors: Tjaša Pogačar, Nevenka Šivavec
Visual interventions: Dorijan Šiško (Nimaš Izbire)
The Millenial Files
Editor: Muanis Sinanović
Writers: Muanis Sinanović, Tibor Hrs Pandur, Jernej Kaluža, Natalija Majsova, Urška Preis, Anja Radaljac, Robert Kuret
The price of the ISKRA DELTA folder: 20 EUR
The price of each separate publication: 12 EUR
MGLC BOARD OF TRUSTEES
Jan Babnik, Miha Erič, Anton Kastelic, Mojca Škrinjar, Božidar Zrinski
International Centre of Graphic Arts – MGLC
Banka Slovenije’s exhibition room Mala galerija, TR3 Gallery, ZVKDS Gallery, Perennial Biennial, Faculty of Social Sciences (FDV) – University of Ljubljana, FeKK – Ljubljana Short Film Festival, The Slovenian Cinematheque, Maska – Institute for Publishing, Production and Education, Institute OLOOP, Slon Society, Margareta Schwarzwald Institute
DIRECTOR AND ARTISTIC DIRECTOR OF THE BIENNALE
Yasmín Martín Vodopivec
CURATOR OF THE BIENNALE
CURATOR OF THE CONFERENCE AND DISCURSIVE PROGRAMME
PROJECT GROUP OF THE 34TH LJUBLJANA BIENNALE OF GRAPHIC ARTS
Kukla Kešerović, Aljaž Košir – Fejzo, Tjaša Pogačar, Muanis Sinanović, Andrej Škufca
ADVISOR OF THE 34TH LJUBLJANA BIENNALE OF GRAPHIC ARTS
JURY OF THE 34TH LJUBLJANA BIENNALE OF GRAPHIC ARTS
Lovro Japundžić (Croatia), Jen Kratochvil (Check Republic), Sam Lackey (United Kingdom), Poka-Yio (Greece)
DISCOURSE AND EXHIBITION SIDE PROGRAMME AND PUBLICATIONS
Muanis Sinanović, Tjaša Pogačar, Nevenka Šivavec
CURATOR OF THE EXHIBITION OF THE GRAND PRIZE RECIPIENT OF THE 33RD BIENNIAL OF GRAPHIC ARTS
Yasmín Martín Vodopivec
COORDINATION OF PROGRAMME AND PUBLICATIONS
Lili Šturm, Lara Mejač
Lili Šturm, Tina Boc
Lara Mejač, Karla Železnik
Sanja Kejžar Kladnik, Karla Železnik
Petra Klučar, Jasna Rackov, Jasna Zabel
Aljaž Košir – Fejzo
LOGISTICS AND TECHNICAL ORGANIZATION
Dušan Dovč, Alenka Mikuž, Luka Novak Kogoj, Jakob Puh, Boštjan Vidmar, Simona Jerala
WORK WITH VISITORS AND RECEPTION
Jasna Zabel, Nika Krnc, Anamarija Verdel, Kristina Oton, Isidora Todorić, Eva Dušak, Liza Portir, Pia Plotajs
ERASMUS +, TRAINSHEEP PROGRAMME
Kamila Walendykiewicz (Academy of Fine Arts, Varšava)