Academic Event

Note: the lecture was given in Spanish. The video is presenting a simultaneous translation to English. []

The seemingly paradoxical abstract mixtum compositum that is prospective archaeology consists of a practice that operates in accordance with two opposing arrows of time. One of these arrows is oriented vertically into the deep time of cultures that[]

General knowledge associates the concept of transparency with glass. However, glass not only stands for transparency, but also for a lack of aura. As Walter Benjamin held in Experience and Impoverishment, “glass is at all the enemy of[]

The talk will investigate the concept of transparency in the writings of Paul Scheerbart, Sigfried Giedion, and Walter Benjamin. Transparency was debated and theorized across the intellectual field, from architecture, the visual arts, and cinema, to[]

Functionality, inventiveness and aesthetics of pure forms are only a few of the basic guidelines of the educational programme of the Bauhaus, school for architecture, art and design, which today denotes a recognisable expression – not only in[]

Prof. Edvard Ravnikar, the Head of the Faculty of Architecture, Civil Engineering and Geodesy of Ljubljana, introduced a new experimental design programme – the B Course – in 1960. Along with his colleagues, he wished to convey to the[]

Bauhaus: the Imperative of Transparency was critically question the interconnection of transparency and the ideas of the famous school in the fields of architecture, art and education, and in society in general. It was also elaborate on the[]

The lecture presented a body of work and situations that have been in constant logical progression since 1992, probing the margins of technology, ecological thought, autonomy, privacy and biospheric strategies. Peljhan will use the notion of[]

Drawing from the art historic and critical apparatus of American post-WWII or Cold War criticism (specifically Jack Burnham and Rosalind Kraus), this lecture addressed the consequences of systematic exclusion of the Eastern European neo-avant-garde[]

The claim to artistic autonomy in the early modern period was never absolute. Different frames – from architecture to ideology – have always surrounded artists and shaped the idea of “free expression”. The lecture looked at[]