LJUBLJANA.- The 36th Ljubljana Biennale of Graphic Arts, The Oracle, curated by Chus Martínez, came to a close on October 12, 2025, marking the end of another vibrant edition in the Biennale’s seventy-year history. This year, artists from around the world explored fantasy, freedom and the transformative potential of art across multiple venues in Ljubljana, including the International Centre of Graphic Arts (MGLC Grad Tivoli and Švicarija), Museum of Modern Art (MG+), City Art Gallery Ljubljana and outdoor sites in Tivoli Park.
The Ljubljana Biennale of Graphic Arts has long positioned Ljubljana as a hub for contemporary art and printmaking, commissioning new works that engage with social, political and cultural questions.
Reflecting on this edition, Chus Martínez observes how the Biennale resonates beyond the exhibition itself: “An exhibition at the heart of a city is both an opportunity and a reminder for its citizens. An opportunity to enjoy and gather around artworks conceived to expand our experience of life and our sense of possibility. A reminder that art and culture are, indeed, allies in the fight for a better world. We are closing this Biennale with the feeling of leaving behind a heritage of hope and great memories that will nourish conversations and thoughts for a long time to come. For some, fantasy—the core subject of this edition—may not seem straightforwardly political. And yet, rarely in history have we been so possessed and frightened by fantasies: fantasies of totalitarianism, fantasies of exclusion, fantasies of reversing rights and democracy altogether. It is fundamental to explore the images, desires and methods used to co-opt and colonise the mind. And the great news is that audiences responded to it: they came, they engaged with the exhibition. My immense gratitude to all who made it possible—from the artists, teams, authors, visitors and readers. Long live art, education and freedom.”
Awards and recognitions
At the opening of the 36th Ljubljana Biennale of Graphic Arts, members of the International Jury—Tia Čiček (chair), Kevser Güler, Albertine Kopp, Francesco Manacorda and Apolonija Šušteršič—announced the prize winners of this edition of the Biennale. The Grand Prize was awarded to Noor Abed for a study of a stick: movement notations and notes on defiance (2025), a work exploring movement, choreography and the body as a tool for collective resilience, addressing social and political issues through collective and bodily experience. The Research Residency Award went to Gabi Dao for Sweet Blood in Stagnant Waters (2025), an experimental sci-fi film imagining a family of humanoid cyborgs navigating new worlds and forms of kinship, exploring postcolonial and queer-feminist ideas, time, labour and ecology. A Special Mention was given to Maria Arnal, whose contribution to The Oracle was a series of songs created for the exhibition’s opening ritual, using the voice as a medium to explore consciousness, identity and the power of sound as a form of connection. The Audience Award, announced at the closing of the Biennale, went to Sinzo Aanza for his series The Irregular Line (2025), a reflection on colonial art in Congo and the politics of the line. Collectively, these artists represent the Biennale’s dedication to diverse, boundary-pushing practices that expand the possibilities of contemporary art and engage deeply with social, historical and ecological concerns.
The 36th Ljubljana Biennale of Graphic Arts was reviewed to critical acclaim, including in Art Monthly, Art Forum, Art Review and Arts of the Working Class. In Studio International, writer Beth Williamson wrote: “It is the rigour of philosophical thinking that here brings contemporary artistic practice into play in a manner that is also informed by love – not a romantic idea of love, but a genuine heartfelt passion for the world we live in and where it might be heading.”
The Oracle continues
The Biennale’s journey also continues beyond its closing. The forthcoming publication The Oracle: On Fantasy and Freedom (Sternberg Press, 2025), conceived by Chus Martínez and edited in collaboration with Ajda Ana Kocutar, brings together essays by Renata Salecl, Svetlana Slapšak, Sadie Plant, Manca G. Renko and Maja Petrović-Šteger, alongside Martínez herself, exploring how art can regenerate democratic life and provide insights into the future of democracy. Designed by Grupa Ee, the book also presents the works of all participating artists, offering a rich visual and conceptual record of the project. Essays address topics ranging from political challenges in Serbia and the limits of formal politics (Maja Petrović-Šteger) to generational disillusionment in Europe (Manca G. Renko), apocalyptic fantasies and the role of oracles (Renata Salecl), the relationship between demonstrations and democracy (Sadie Plant), and artists’ acquired rights alongside contemporary democracy (Svetlana Slapšak).
Concurrently, many works from the Biennale have already embarked on international journeys or will do so in the coming year: Juan Pérez Agirregoikoa’s murals are included in his solo exhibition at Centro de Arte Dos de Mayo in Madrid; Derek Tumala will be featured in Chus Martínez’s exhibition Velvet Ant, a Flower and a Bird at the Potter Museum, Australia, in February 2026; Roman Khimei and Yarema Malashchuk will present a solo show at Museo Thyssen in Madrid organised by TBA21; and Gabi Dao will soon exhibit in Toronto. In this way, the Biennale continues to foster global artistic dialogues, its impact extending beyond Ljubljana.
