Reflections of Dostoyevsky, an intrepid explorer of the darkest recesses of the human mind and one of the greatest influencers of all time, are found in a selection of Beletrina’s published authors through diary entries, memoires, and allusions.
The exhibition, featuring new original portraits by photographer Mankica Kranjec, an overview of the writer’s body of work and minute details that bring to light his intimate essence, is a digital and analogous showcase of featured authors that blends their reflections of Dostoyevsky into a complex whole, thereby also marking the 25th anniversary of the Publishing House Beletrina.

The interactive exhibition is accessible to everyone and aimed at visitors aged 13+.

Visitors are encouraged to post their comments and contributions on FB and IG.

The exhibition Widows and an Orphan that had filled the empty halls of Cankarjev Dom throughout the epidemic, resonates with the message that design is capable of solving myriad issues. When its authors got back to work after the cancelled opening event, each one of them in their line of work faced the various challenges, brought about by the new and pressing realities. The insights they have gained in the fields of culture, business and healthcare will be explored in a discussion, in which they will draw attention to the key notion of including designers in the working processes of various professions that can use their experience and advice to better prepare for the times ahead.

Today the real of photography is a field in which billions of photographs linger, lives, reproduces themselves, flickers with the frequency of the digital screen, ornaments themselves with likes, comments and remarks, and constantly battles for the fleeting attention – which seem so fleeting that it seems that fort his »new« photography one does not even need the »old« photographic attention – because it is being replaced by some other more profound, for some even ominous, attention of the eye of the apparatus of algorithms. Does it even matter nowadays how we as humans see and experience photographs? Is it the more pertinent question what does the Google see? Indeed, what do the “glasses” see? It seems as we would be looking through the transparent screen, as a “window to the world” (as was long the description of photography) whereas in fact we are looking at the screen – at the veil of transparency, shrouding the reality. If one would be able to go through the glasses – what kind of the world would one find there?

The Rabbit Hole projects simultaneously question the present-day reality and unveil the ways of its technological embeddedness while hinting on the possibilities of its future permutations.

The accompanying programme will be in Slovene with an exception of 27 February event which will be held in English and will be happening in M3 + M4 Conference Hall.

In cooperation with Membrana Institute and Fotografija magazine

Cankarjev dom exhibitions are open Monday through Saturday between 12.00 and 19.00. Sundays closed.

The CD Gallery and other exhibition areas can be accessed through the employee entrance from Prešernova Street (Council of Europe Park).

In compliance with the guidelines of the National Institute of Public Health (NIJZ) on the gradual re-opening of museums, galleries and other exhibition areas visitors are required to observe the following instructions>>


Artists: Ajda Bevc, Petra Bukovinski, Hana Jesih, Maša Majce Mesarič, Ajda Schmidt, Jan Virant
Curated by: Radovan Jenko

Held as part of the Slovenia 2050 Festival

Exhibition opening: 20 January 2020 at 20.00

Curators (Membrana): Jasna Jernejšek, Jan Babnik

Artists: Marion Balac (France), Jojakim Cortis & Adrian Sonderegger (Switzerland), Miha Godec & Valerie Wolf Gang (Slovenia), Simon Menner (Germany), Špela Škulj (Slovenia)

From the early belief in the power of photography to ‘steal souls’ to the present-day belief in its power to ‘steal data’, our understanding of the origin of the medium’s special power has changed and evolved – from being anchored in the perception of photography as a magical emanation of reality to currently stemming from its embeddedness in data systems (and its power of manipulation) within the omnipresent apparatus of social surveillance.

In practices as diverse as photojournalism and spiritualism, photography has been invested with the notion that it can reveal more than the human eye, piercing the reality and turning unseen into seen, absent into present, distant into close, transgressing both the limitations of human perception and physical limitations of space and time. That is builds illusory and fantastical landscapes, whilst dispelling illusory perceptions of the world. Photography has created a new – expressly photographic – dimension of seeing and has never ceased to excite our explorative spirit in probing into the unknown, invisible, incomprehensible, exaggerated, enchanted – i.e. the world of magic.

This special power of photography has persisted to this very day, with the difference that the onetime ‘analogue’ magic has been replaced by a new, much more elusive, uncontrollable and inscrutable magic of algorithmic equations, machine vision, virtual and enhanced realities – the magic of our dystopic future. Photography has never been denied its original mystical aspects – and thus continues to be one of the most magical modern-day technologies.

V torek, 5. novembra 2019, ogled predstavitev v Prvem preddverju ne bo mogoč. Hvala za razumevanje.

Critic: Nataša Kovšca

In collaboration with Membrana 

The group exhibition Instinct represents the works of an international team of artists, who explore how the relationship between animals and humans is ideologically emphasized or concealed with images, and how the concept of instinct defines the process of photography and the photographic representation.

The artists thematize the different aspects of animal representation and address the complex attitude of humans towards animals, their coexistence and the significance of all of this from different points of view: from the conceptual treatment of pets and their respective mythologies (Alexandra Soldatova), the anthropomorphic representation of animals in popular culture and the phenomenon of interspiecies subcultures (Anja Carr), the commercialization and aestheticization of animals, the wild and nature itself (Vanja Bučan), the technological modification of animal extracts in the pharmaceutical industry and the strategies for their advertising (Daniel Szalai), to taxidermy as a standard practice for the conservation of animal carcasses and their classification for the purpose of research and exhibition (Klaus Pichler).

With the cultural marginalization of animals, as John Berger describes the relationship of humans towards animals that took place throughout the 20th century, animals have become consumer goods. The coexistence and the magical belief that shaped the human attitude towards animals has long ago moved aside, making way for the capitalistic production process. Today, humans need animals mainly as a source of food, use them as amusement and spoil them as pets.