The choir has performed in Austria, took part in the Hradec Kralove Festival (Czech Republic), sung Carinthian songs in Prague, Trieste, Gorizia, Maribor, Ljubljana and elsewhere in Slovenia, as well as in Frisia (northern Germany). In 1991, the choir received the Gallus Prize, attended the Carinthian Choral Competition and won First Prize for its dazzling performance. It has released three cassettes and a CD marking its 30th anniversary. The 2016 album “Ki so včasih bile” was produced with the assistance of music pedagogue and choral conductor Danica Pirečnik, Choral Director of the Šalek Academic Choir Velenje. The selection of songs to be presented at Cankarjev dom forms part of the programme that the choir performed at their annual 2019 concert in Cultural Centre Pliberk/Bleiburg under the motto "Beginning". The Choral Director of Podjuna iz Pliberka Mixed Choir is Anja Kapun.
In cooperation with the Association of Slovenian-Austrian Friendship Ljubljana
Within the framework of the Slovenian-Austrian Year of Neighbourly Dialogue / Nachbarschafts 2019–2020
Mixed Choir Podjuna iz Pliberka (Jauntal/Bleiburg), Choral Director: Anja Kapun
V sodelovanju z Društvom slovensko-avstrijskega prijateljstva, Ljubljana.
V okviru leta sosedskega dialoga - Nachbarschafts 2019 -2020, Slovenija – Avstrija.
Mala terasa sredi Ljubljane: Teo Collori & Mario Babojelič
Music, theatre, cabaret and everything in between…
Every Tuesday, Wednesday and Thursday between 30 June and 23 July
Teo Collori and Mario Babojelič both attended the Carinthian State Conservatory in Klagenfurt. Working together for the past ten years, their repertoire includes self-penned compositions and covers of pop songs from the treasury of Balkan pop hits that have not yet been played on the acoustic guitar.
31st Ljubljana International Film Festival – Liffe
It comes as a matter of course, as naturally as autumn follows summer, that one of the country’s main cultural events begins each second week of November. I am not referring to its content or temporal frame or audience figures. As a festival for cinephiles – some people even take time off from work to attend it – Liffe has become embedded in our November routine. Ženja Leiler, Delo
Why attend Liffe? Because it has the added value; i.e. personal interaction with the filmmakers in addition to all the complex film infrastructure. From Kaja Kovič’s interview with Simon Popek, Delo – Svet kapitala
Liffe annually attracts between 40,000 and 50,000 cinema-goers and film enthusiasts wishing to keep abreast of the global cinematic trends. The festival caters to all ages, from the youngest audiences to seniors, thus linking all generations. Liffe will soon register its 1,000,000th cinema-goer. Festival Director Simon Popek makes a well-chosen selection among the 700 films he sees throughout the season.
The festival caters for the broadest spectrum of audiences with eclectic tastes in quality art films – there’s something for everyone! Marjana Vovk, Vklop
How do you feel about people who take time off work to attend Liffe’s morning screenings?
I admire them. And everyone else: according to our statistics, Liffe cinema-goers see five films on average. Every year, I make lists with various categories to help people decide which films to see. These lists provide cinema-goers of all ages and tastes with guidance: from lovers of comedy to people appreciating introspective drama.
In general, Liffe caters for the broadest spectrum of audiences who come to see first-rate arthouse films with relevant content. I always advise people to see at least one third-world film. It is more or less impossible to see Asian, South American or African films in regular distribution. From Nadina Štefančič’s interview with Simon Popek, MMC RTV SLO
The Ljubljana Film Festival (a name that makes a felicitous and ambiguous acronym Liffe) represents a meeting point of the hearts and minds of several thousand lovers of good film and global cinematography. With a rich programme and large attendance figures, one can rest assured that quality will not be compromised in trying to appeal to popular taste. Sergej Hvala, Stop
The Perspectives section continues to form the core and heart of the festival, dedicated to first-time directors and emerging, usually young, filmmakers from all over the world; these films compete for the festival’s main prize, the Kingfisher Award. Ana Jurc, MMC RTV SLO
Liffe is a platform for numerous previews. Maja Čehovin Korsika, STA
Kingfisher, international jury award granted by the main sponsor, Telekom Slovenije, d.d., to the best film of the Perspectives section.
Dragon Audience Award to best-rated film.
FIPRESCI Prize, presented by the jury of the International Federation of Film Critics.
Best Short Film Award
Kinotrip Young Jury Award
Art Cinema Network of Slovenia Award
Cankarjev dom (Linhart and Kosovel Halls), Kinodvor Cinema, Kino Bežigrad Cinema, Kino Komuna Cinema, Slovenian Cinematheque, Maribox, Metropol City Cinema Celje and Anton Podbevšek Teater Novo mesto
Main festival venue
Cankarjev dom’s Foyer II
November is the perfect month for cinema-going, with Liffe catering for film lovers and featuring some eagerly awaited titles, releases that would be almost impossible to see in Slovenian cinemas. What’s more, some Ljubljana cinemas are bursting at the seams, which is all due to the festival. Stop
Cankarjev dom closed
In compliance with the decree issued by the Ministry of Health of the Republic of Slovenia, Cankarjev dom has cancelled all events until further notice.
Information on postponed events or refunds will be provided after the state of emergency has ended.
An exhibition illustrating the history and development of the Faculty of Architecture
In cooperation with the University of Ljubljana and Museum of Architecture and Design
A university’s creative environment is a platform for change driven by scientific curiosity, and the accumulated knowledge is enhanced by doubting mind. When the University of Ljubljana was first established, the academic environment of Slovenian architecture was marked by the artistic orientation of the key personalities of the era. Jože Plečnik was 48 years old; his Ljubljana and Prague architecture did not exist yet. In the introduction to the first generation’s miscellany of papers, he thus summed up the collective atmosphere at the former Technical Faculty: “This book emerged from pure joy: we are young and alive.
The tradition of appointing eminent architects as architecture professors in Ljubljana continued. Their teaching methods reflected their artistic beliefs, independent professional career in architecture – invariably committed to experimenting, searching for balance among prior (personal) experiences, tradition and the desire for progress, for exploring new possibilities. Given the school’s distinctive breadth of academic disciplines, it could offer education, either in the area of planning or architectural theory and criticism, to many students who went on to build internationally distinguished careers. At the same time, the school influenced the development of other disciplines, including urbanism, spatial planning, industrial and graphic design, set design, science journalism.
Soon after the establishment of University of Ljubljana in 1919, Ivan Vurnik, a graduate of the Vienna University of Technology, was appointed assistant professor at the Technical Faculty’s Department of Civil Engineering. Aiming to establish architecture as an independent academic discipline, Vurnik solicited the help of Jože Plečnik, professor at the Academy of Applied Arts in Prague who first made a name for himself in Vienna and later in Prague. Although Vurnik was in charge of the organisation and management of the newly founded Department of Architecture, which opened its doors in 1920, Plečnik was considered the “spiritual father” of the Ljubljana School of Architecture. Taking the post of architecture professor in 1921, Plečnik enriched the academic programme with his personal charisma and a special teaching method modelled after Otto Wagner’s, his teacher at the Vienna Academy. His method involved academic work in the form of workshops or tutorials, which enabled students and professors to jointly examine the entire course of architectural planning. Tuition relying on seminars attended by students ranging from freshmen to seniors has remained a specialty of the Ljubljana School of Architecture to this day.
After 1945, academic influence was exerted by professors belonging to the younger generation of architects: Edvard Ravnikar, Edo Mihevc, Marjan Mušič, Boris Kobe, Niko Kralj and others. As the leading Slovenian modernist Ravnikar laid the foundations for modern urbanism and design as academic subdisciplines. It was as far back as in the 1960s that the name Ljubljana School of Architecture was increasingly used to refer to the school in former Yugoslavia, as well as internationally, due to its high educational standards. In Ljubljana, the study programme in architecture was implemented within the context of the Technical Faculty until the establishment of the Faculty of Architecture, Civil Engineering and Geodesy in 1957. The aspirations for an independent school of architecture were fulfilled in 1995 with the inauguration of the Faculty of Architecture. The study programmes offered at FA today include architecture and urbanism. The academic curriculum is based on seminars and individual work with students. These classes continue the school’s distinctive tradition and constitute a connecting link with knowledge gained in attending social sciences and technical classes. This brings students into direct contact with the relevant issues facing their profession and society in a manner defined by the term ‘theoretical practice of architecture’. An indispensable element of academic life, the Faculty’s visiting lecturers – the numerous acclaimed foreign architects and theoreticians – serve to solidify the faculty’s embeddedness in the global network of acclaimed schools of architecture.
Oh, Triglav, My Home - cancelled or postponed
In compliance with the measures adopted by the Government of the RS to limit the spread of the novel coronavirus epidemic, the event has been postponed from 16 May to 20 September 2020, event from 17 May has been cancelled.
72nd annual production
France Marolt Academy Folklore Group
The France Marolt Academy Folklore Group will mark its 72nd season by celebrating the dance heritage of members of Slovenian ethnic minorities living abroad. The show Oh, Triglav, My Home will feature different types of dance and stories of Slovenians who live outside their homeland due to historical reasons or have emigrated abroad. This year’s show will combine as many as six Slovenian minority communities in different periods, while also touching on the topic of Slovenian immigrants.
The beginnings of the France Marolt Academy Folklore Group date back to 1934, when France Marolt – enjoying support of the Glasbena matica Society – established the Folklore Institute and began systematically researching and collecting folk heritage. Officially formed in 1948, the group was named after Marolt after his death. Since the very beginning, the France Marolt Academy Folklore Group has adhered to the guidelines of first-rate, well-devised and unconventional interpretation of folk heritage. Renowned for its professional competence and working in partnership with a broad array of experts in culture and the arts, the Academy Folklore Group plays a leading role in promoting and preserving Slovenia’s folk heritage.
Pre-screening talk will be given by Marcel Štefančič, Jr.
A delightful blend of dark humour and social critique, Parasite earned South Korean director Bong Joon-ho the prestigious Palme d'Or.
Ki-taek's family of four is close, but fully unemployed, with a bleak future ahead of them. The son Ki-woo is recommended by his friend, a student at a prestigious university, for a well-paid tutoring job, spawning hopes of a regular income. Carrying the expectations of all his family, Ki-woo heads to the Park family home for an interview. Arriving at the house of Mr. Park, the owner of a global IT firm, Ki-woo meets Yeon-kyo, the beautiful young lady of the house. But following this first meeting between the two families, an unstoppable string of mishaps lies in wait.
"For people of different circumstances to live together in the same space is not easy. It is increasingly the case in this sad world that human relationships based on co-existence or symbiosis cannot hold, and one group is pushed into a parasitic relationship with another. In the midst of such a world, who can point their finger at a struggling family, locked in a fight for survival, and call them parasites? /.../ As a depiction of ordinary people who fall into an unavoidable commotion, this film is: a comedy without clowns, a tragedy without
South Korea, 2019; 132 minut
Screenplay: Bong Joon-ho, Han Jin Won
Play: Song Kang-ho (Ki-taek), Lee Sun-kyun, Jo Yeo-jeong Jo, Choi Woo-sik Choi, Jang Hye-jin, Park So-dam, Jung Hyeon-jun, Lee Jeong-eun, Kang Echae, Andreas Fronk, Pak Hyo-Shin, Jung Ik-Han, Lee Joo-Hyung, Lee Ji-hye, Park Jae Wook
Awards: Cannes 2019 (Palme d'Or), Sydney 2019, Karlovy Vary 2019, Munich 2019
Bernhard Schlink is one of the biggest talents in contemporary German literature. He is a perceptive and highly intelligent narrator. His prose is clear, precise and nicely elegant. Frankfurter Neue Presse
At first glance, Olga is a classic, grand, historical novel but we soon find out that its tempo is dictated by a cunning author who is all the time one step ahead of his readers. Of course, the plot is historical but the narration is so full of suspense that we think the story is happening at the moment, in front of our eyes. In the late 19th century, Olga is striving for the right to self-fulfilment and love even though her era and circumstances are against it. Schlink tells Olga’s story from several perspectives and leaves the readers in uncertainty right until the end. This is a novel that one reads in a breath and it is a novel that sticks in one’s mind for a long time.
Bernhard Schlink (1944) is a 20th century literary classic and one of the most important German authors. His novel The Reader (original published in 1995) was marked as one of the biggest literary triumphs after Günter Grass’s The Tin Drum by Der Spiegel. The Reader is also the first German novel in history to have made it onto The New York Times’s ranking of best selling books. In 2008, David Hare transformed it into a film that was nominated for 5 Academy Awards and Kate Winslet received it for best actress.
One of the most famous Croatian pop stars, Danijela has gained renowned as member of the Magazin band. In 1996, Danijela embarked on a successful solo career. She has since won widespread popularity – also in Slovenia, and recorded a number of hit songs, including Da je slađe zaspati, Zovem te ja, Neka mi ne svane, Dobro je, Pleši sa mnom, Ovako ne mogu dalje, Brodolom, etc.
Her concert tour Indescribable promises a different experience and a new sound, but the same Danijela – a singer so dear to us, with unstoppable energy and full of heart that she lavishes on her audiences.
The works of Israeli historian and writer Yuval Noah Harari – especially Sapiens and Homo Deus –, in which he contemplates the development of Homo sapiens, and the species’ role in the past, present and future, have been inspiring other artists. Claiming that Harari inspired Kubrick’s timeless classic, A Space Odyssey, – an epic science fiction film and a quintessential example of ground-breaking cinema, which upon release met with criticism, misunderstanding and even ridicule – would be carrying it too far. However, one thing is indisputable – they were destined for each other and make perfect bedfellows. In late 1960s, when space exploration was in its infancy and androids and artificial intelligence were not yet topics of mainstream discussion, Kubrick similarly tackled the development of humans, their role in the future of the world and the position on robots or artificial intelligence with the help of Arthur C. Clark.
As one of the most revered films of the 20th century and the opening event of the Harari 2020 series, it is only proper that A Space Odyssey be screened in Linhart Hall – our largest movie theatre and our largest projection screen!
GB, USA, 1968, 148'
Screenplay: Stanley Kubrick, Arthur C. Clarke
Cinematography: Geoffrey Unsworth
Cast: Keir Dullea, Gary Lockwood
Drumming feet, clapping hands, clicking fingers, clattering castanets, brilliantly timed olés: no art form is more percussive than flamenco. Renowned Dutch percussion group Slagwerk Den Haag and phenomenal dancer and rhythm box Eduardo Guerrero challenge each other in a thrilling percussive “battle”. In this new Flamenco Biënnale NL festival creation ‘the upcoming new Flamenco God’ Guerrero’ employs body and feet as percussion instruments in a landscape he has never entered before. The traditional “zapateado”, the flamenco feet rhythms, and the “pure flamenco body” acquire a whole new meaning. The rich, driving flamenco rhythms rattle in every possible way in joyful interaction with the six percussionists of Slagwerk Den Haag. A simple table is transformed into a percussion instrument, a “cajon” (hand drum) gets an electronic upgrade and live castanets take on a computerized castanet orchestra! Man versus machine, emotion versus rhythm.
Dance: Eduardo Guerrero
Percusion: Slagwerk Den Haag: Fedor Teunisse, Pepe Garcia, Niels Meliefste, Joey Marijs, Frank Wienk, Ryoko Imai
A Flamenco Biënnale NL 2019 creation