On the ground floor of Švicarija is the Stojan Batič Memorial Studio (1925–2015), which is a reconstruction of the sculptor's studio in Svetčeva ulica in the Rožna dolina district of Ljubljana.

Stojan Batič left his mark on post-war Slovenian sculpture with his creative work. He inherited his first studio in Gallusovo nabrežje from his professor at the Ljubljana Academy, the sculptor Frančišek Smerdu. However, when the artist visited Paris for the first time in 1956, he was already working in a studio in Švicarija. He worked here in the period from 1954 to 1959. In 1957, he created the sculpture Ballet, which can be seen as we walk along the Jakopič Promenade past the fountain to Grad Tivoli. In 1959, Batič moved to a new studio at Svetčeva ulica 1, and his work followed a new direction under the influence of Ossip Zadkine.

The current spatial reconstruction revives the atmosphere and set-up of this very studio. It allows us to become acquainted with the sculptor's oeuvre, his drafts for famous monumental works and his small sculpture pieces, to which Stojan Batič paid much attention. Among others, both self-portraits are exhibited here, even one of the first resting girl nudes in fired clay, a monumental figure of a miner in plaster, a version of the glass Composition with which he completed his famous series in glass Explosion, drawings from the Tragos cycle, while among the terracottas we note works from the cycles Ithaca, European Legends, Slovenian Myths and Legends, as well as other small sculptures.

The studio also houses some of the artist's personal belongings, documentation, tools he used in his work, as well as the artworks the artist exchanged with his friends (the large canvas by Stane Kregar, the portrait of his wife Milena, a work by Vladimir Lakovič).

As the entire ground floor of Švicarija is dedicated to public programmes, the revival of Batič's studio, together with the presentations, talks and lectures on art, sculpture workshops, or simply the possibility of becoming acquainted with the rich artistic heritage of the past century, represents an extraordinary experience. The Stojan Batič Memorial Studio is both a museum installation and a space that inspires creativity.

Photo: Jaka Babnik. MGLC Archive.

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Samuel Grajfoner: The Material Presence of the Mental Imprint

21. 1.–8. 3. 2022
MGLC - Tivoli Mansion

The exhibition presents large-format prints in the techniques of engraving and drypoint, created in recent years and mostly presented to the public for the first time. They reflect the artist's understanding of the creative process as a spontaneous, organic development of the preparation of the matrix, which materialises in an impression on paper or, for the first time, in bronze. 


Samuel Grajfoner, Untitled (from the cycle Nothing), 2021, engraving

Adriena Šimotová: Encounter. Touch and Imprint.

10 December 2021 to 8 March 2022
Tivoli Mansion

You are welcome to visit the exhibition Encounter. Touch and Imprint. by Adriena Šimotová. This selective retrospective at MGLC features artworks in which Šimotová radicalized the existentially conceived topic of the human personality while engaging in an earnest determination of the conditions and relationships she found relevant. 


Mi smo tisti, ki jih iščemo I–V, 2011–12, transparentni papir, pigment, pastel, grafit, 111 x 79 cm, Fundacija Adriene Šimotove in Jiříja Johna, Praga


7. 1.−13. 2. 2022
MGLC Švicarija

Adrijan Praznik plays various roles in the world of art – he is a painter, illustrator, curator, producer and artistic director of Simulaker Gallery in Novo mesto. In January 2022, he completed a two-year artist residency at MGLC Švicarija. Upon his departure, he prepared the exhibition --WHERE OUR HEARTS HAVE LED US... The spatial installation of two large-scale paintings raises questions that illustrate his work and research focus in 2021 particularly. Namely, he is concerned with the form and status of the artwork, the appropriation of the media image and the combination of pictorial means of expression as well as materials.


Photo: Urška Boljkovac. MGLC Archive.