Jasmina Cibic

Born in Ljubljana, Slovenia in 1979. Graduated from the Accademia di Belle Arti in Venice, Italy in 2003 and completed her MA in Fine Art at Goldsmiths College in London in 2006. Works with ŠKUC Gallery (Ljubljana).

Solo shows

“For our Economy and Culture”, Pavilion of Slovenia at 55th International Art Exhibition, La Biennale di Venezia

“Situation Anolphthalmus hitleri”, Salon 2012, European Capital of Culture, Slovenia

“Flock”, ersatz@NGB, London
“The Object of the Spectacle”, solo show, Škuc Gallery, Ljubljana
“Airport Projects”, Škuc Gallery@Trajector, Brussels

“Airport Projects”, Galerija Ganes Pratt, Ljubljana
“From Afar”, in organization of Galerija Ganes Pratt, Zemono castle, Slovenia
“Spectators, Tourists and Casual Passers-by”, ADHOC Galleria, Vigo, Spain

“Druge mitologije/Other Mythologies”, Maribor Art Gallery, Maribor
“Ideologies of Display”, Galerija Ganes Pratt, Ljubljana

“Mythmaking as a Colonisation Tactic”, Tobacco Museum, Tobacna Ljubljana, Ljubljana
“Tourists Welcome”, Ljubljana International Airport, Ljubljana
“Visitour”, Galerija Ganes Pratt, Ljubljana

“Bon Voyage”, performance on board the Casanova Eurocity train Ljubljana-Venice-Ljubljana, project INTERREG III A

“So, when do we leave for Alpha Centauri?”, Galleria Porta degli Angeli, Ferrara

Selected group exhibitions

“Disturbances”, European Month of Photography, Musée national d'histoire et d'art, Luxembourg
“U3 – Triennial of Contemporary Art”, curated by Nataša Bachelez-Petrešin, Museum of Contemporary Art Ljubljana
“30th Biennial of Graphic Arts in Ljubljana”, an invited artist project, International Centre of Graphic Arts, Ljubljana
Kaleidoscope, Farmleigh Gallery, Dublin

“Almost Springtime”, 100 years of Slovene Art, Maribor Art Gallery, Slovenia
“Strangers in a strange land”, LMAK Projects, New York
“Borderline” produced by Universalmuseum Joanneum Graz, European City of Culture Maribor 2012
“No Experience Necessary”, an Invited International Artist’s Projects for Bus-Tops, a project for the London 2012 Cultural Olympiad
“Art Lending Library”, a project by Market Gallery and Walker & Bromwich, Glasgow International Festival of Visual Art, Glasgow
“Spectral Metropole”, curated by Ken Pratt, Gallery Vžigalica, City Museum Ljubljana

“Performa”, UGM Maribor Art Gallery, Maribor
“Narratives in Progress”, curated by Juan de Nieves, Regional Museum Celje, Slovenia
“Catlin Art Prize”, Tramshed, London

“Police the Police - 4th edition of Young Artists’ Biennial, curated by Mica Gherghescu, Bucharest
“U3 – 6th Triennial of Contemporary Art – Idea for Living”, curated by Charles Esche, Museum of Modern Art Ljubljana
“Vordemberge-Gildewart Award”, Mestna galerija Ljubljana
“Sarcophagus of the Kingdome”, I-MYU Projects, London
“Appropriate Modernism” Trajector Art Fair, Brussels – with Carla Arocha + Stéphane Schraenen, Bettina Carl, Jasmina Cibic, Alex Hudson, Eemyun Kang, Anne-Mie van Kerckhoven, Uta Kögelsberger, Sadie Murdoch, Morten Viskum
“What’s happening? Stereo Exhibition”, curated by Petja Grafenauer and Vanja Žanko, Civic Gallery Nova Gorica, Slovenia

“The Secret of the Ninth Planet”, in organization of the California College of the Arts, San Francisco
“The Construction of the Virtual and the Real”, Institute Jozef Stefan, Ljubljana

“Shining”, Divus Unit 30, London
“Museum on the Street”, Moderna Galerija Ljubljana
“Natural Relations”, Galerija Škuc, Ljubljana, in organization of the City of Women Festival
“PILOT 3”, Yokohama/Tokio and Deptford X London

“Present State”, Five Years Gallery, London
“Landescape”, Künstlerhaus, Graz
“Jürgen”, Every Man is a Curator, Museum of Modern Art, Ljubljana
“Bad Girls & Bad Boys II”, Civic Gallery Ljubljana
“PILOT 3”, Venice, Italy/ Chelsea School of Art, London
“Catlin Art Prize”, Ada Street Gallery, London

“PP Untitled/Fast and Lost”, Bevilacqua la Masa, Venice
“Parklife”, Bearspace at ZOO Art Fair
“George Polke Opens, Invites, Presents”, George Polke, London
“Goldsmits Degree Show 2006”, Goldsmiths College, London
“Bad Girls & Bad Boys”, Galerija Ganes Pratt, Ljubljana

“Markers V; Poles Apart / Poles Together”, an outdoor installation for 51. Venice Biennale, curators: Doron Polak, Juan Puentes
“Everybody for Safari”, festival »Visura Aperta«, Momiano, Croatia
“89°ma collettiva”, Bevilacqua la Masa, Venice

“Dafne revisited”, Galleria A+A, Venice
“Q 13”, Centro culturale Candiani, Mestre-Venice
“Waiting Room Station No.2 Sarajevo”, Umjetnicka galerija BiH, Sarajevo
“Goldsmits Degree Show 2004”, Goldsmiths College, London
“AGORA”, Transition Gallery, London
“Gemine Muse”, Museo Navale, Venice; International Young Artists Collective Exhibition, curated by Giacinto Pietroantonio

“Waiting Room”, 11. Biennial of Young Artists COSMOS,Athens
“The Big Bright Blue Factory”, a mobile project for the exhibition “Dafne”, collaboration with Crash in Progress, fondazione Thetis, Arsenale, Venice

“85°ma mostra collettiva”, Bevilacqua la Masa, San Marco, Venice
”Forme umane”, fondazione Bevilacqua la Masa, Palazetto Tito, Dorsoduro, Venice

“ARTEC - Art reaches out to Technology in Europe through Communication”, San Erasmo, Venice

“Percorsi d`Arte”, curated by Riccardo Caldura, Galleria d`Arte Moderna, Bologna


2002 Fine Arts tutor at the Accademia di Belle Arti, Venice


Trend Award for Outstanding Achievements in Visual Art, Slovenia

Catlin Commission Winner

nominated for the Vordemberge – Gildewart foundation award

ZOO Art Fair: shortlisted for John Jones art on paper acquisition award

“Bevilacqua la Masa” foundation award, Venice

(Passaporta art group) shortlisted for Premio Furla by Cesare Pietroiusti, Galleria d'Arte Moderna, Bologna

“Bevilacqua la Masa” foundation award, Venice


“Bevilacqua la Masa 85º Colletiva”: Bevilacqua la Masa, Venice 2002
“Waiting Room”, texts: Riccardo Caldura: Comune di Venezia, Venice 2003
“Goldsmiths Degree Show 2004”, Goldsmiths College: London 2004
“Gemine Muse”, curated by Giacinto Di Pietroantonio, texts: Riccardo Caldura: Gemine Muse, Milano 2005
“Markers V; Poles Apart/Poles Together”, curated by Doron Polak and Juan Punetes: Bienale di Venezia, Venice 2005
“Bevilacqua la Masa, 89º colletiva”, texts by Marinella Venanzi and Matia Zanetti: Fondazione Bevilacqua la Masa, Venice 2005
“Goldsmiths Degree Show 2006”, London 2006
“Bevilacqua la Masa, 90º Mostra Colletiva”, Fondazione Bevilacqua la Masa, Venice 2006
“Forged Territories”: Matjaz Brulc: Polet, Delo, Ljubljana 15.3.2007
“To the national gallery as to the ZOO”: Anzej Dezan, Ona, Delo Ljubljana 24.3.2007
“Landescape”, texts by Simona Vidmar and Breda Kolar Sluga, Kunstlerhaus Graz and Maribor Art Gallery, 2007
“Pilot III”, London, July 2007
“Falter Magazine”, issue 2, London, April 2008
“Portfolio Magazine”, issue 43, Edimburg, May 2008
“Museum on the Street”, texts by Zdenka Badovinac, Bojana Piskur, Sezgin Boynik and Gal Kirn, Museum of Modern Art Ljubljana, 2009
“The Secret of the Ninth Planet”, text by Lars Bang Larsen, California College of the Arts, 2009
“Spectators, Tourists and Casual Passers-by”, text by Simona Vidmar, Oris no. 58, Zagreb 2009
“Airport Projects”, texts by Michelle Deignan, Natasa Bachelez-Petresin, Blaz Kriznik and Simona Vidmar, Maribor Art Gallery, 2009
“U3 – 6TH Triennial of Contemporary Art in Slovenia – Idea for Living: Realism and Reality in Contemporary Art in Slovenia”, editor: Tamara Soban, Igor Španjol, Museum of Modern Art Ljubljana, 2010
“Police the Police - 4th edition of Young Artists’ Biennial, curated by Mica Gherghescu, Bucharest
“distURBANces“, European Month of Photography, Kulturprojekte Berlin 2013
“Perfroma“, Mala garažna knjižnica, Maribor 2013

Jasmina Cibic

Currently based between London and Ljubljana, Jasmina Cibic is one of a new generation of Slovenian artists whose practice, although acutely conscious of a specific national political, cultural and artistic lineage creates a very distinctive language of its own. Whilst she clearly shares and addresses some of the same theoretical and political concerns present in the work of other artists from a post-communist Europe, Cibic operates within a global rather than nationalized discourse. Her work is generally site and context specific, performative in nature employing a range of activities, media and theatrical tactics to redefine or reconsider an existent environment or space. She has specifically conceived works in 'non places' such as airports, waiting rooms or aircrafts, which are characteristically anonymous, transitory and without any established identity or fixed nationality. As a result they evoke a very singular relationship with the visitor/spectator ‐ something that is key to Cibic’s artistic investigations.

Of her practice, Cibic says: 'I am interested in exploring the architectural apparatuses of the exhibition space itself, the ideological constructs behind such a space, the operative mechanisms that define its character and values as well those that frame the works' reception. I want to construct theatrical interventions and events, mise‐en‐scènes, which open up a dialogue between their origin and the place in which they are ultimately received. The idea of the spectator as an accidental or even 'faux' tourist fascinates me, as does the way that an artwork within a specific often displaced architectural framework, becomes a souvenir object par excellence – a fetish of the original experience'.

A proposed scientific illustration of Anophthalmus hitleri by Filipe Gudin, a professional scientific illustrator, in collaboration with the artist.

For our economy and culture

Jasmina Cibic's presentation for the Slovenian Pavilion, For our Economy and Culture, continues the artist’s interests and methodologies and takes the curatorial directive of the 55th International Art Exhibition - la Biennale di Venezia: The Encyclopedic Palace as a starting point to further explore systems and hierarchies of knowledge and presentation.

Using the architectural specificity of the Slovenian Pavilion, a repurposed private residence, and referencing state architectural strategies, Cibic will create an immersive multi-media installation that appropriates the entire space and explores issues around national representation and framing.

Into this context, Cibic places a variety of elements, which further examine modes of exchange, reception and constructions of identity. These include two films, shot on official state locations, which underwent numerous redesigns concurrent with national cultural and political imperatives. The films present philosophical and architectural theories of purpose, form, function and aesthetic priorities through, in one, a staged interview between a (male) architect and (female) journalist, and in the other, a recreation of a 1957 parliamentary debate set up to decide which artworks might be suitable (i.e. nationally representative enough) to ‘decorate’ the newly built People’s Assembly. In each film, the re-imagining and re-contextualising of such issues, dramatizes not only the power paradigms inherent in systems of authority, but also the explicit contradictions present in the transmutation of a national identity from past to present, place to place.

For our Economy and Culture also features a series of historical and contemporary paintings of flower arrangements drawn from the Slovenian Parliament's official art collection. Such paintings are routinely selected to decorate the current government offices, literally framing MP’s as they hang behind their heads and presenting a particular ideal of state image. By utilising these apparently neutral and decorative images within the context of her installation, Cibic further articulates her interest in art as ‘souvenir’ a token of national identity. As a further framing device, the interior of the pavilion will be entirely covered with wallpaper carrying obsessively repetitive scientific illustrations of an endemic Slovene beetle, a 'failed' national icon that has almost been completely exorcised solely because of its ideologically charged name, Anophthalmus hitleri.

The Architecture

"Architecture built during the period of socialism in Slovenia expressed strong ideas about how to build a neighborhood, how to create an image of a welfare state. At the same time it created hidden corners, such as Villa Bled, which should not be forgotten. It is one of the considerations Glanz’s legacy offers, the part that was somewhat withdrawn, hidden, forgotten. Spaces of the former bourgeoisie that had fallen into the domain of the party, were the other side of the coin, which were for the context of socialism and the question of representation a contradictory truth. How then could exclusive locations be presented as being representative of the Yugoslav socialist elite? The dilemma had befallen Glanz in the renovation Villa Bled. Items that were worn by the memory of the bourgeois past had been removed, whether it was for decoration or ridiculous association. But how then to create monumental expression, monumental frame?'

Excerpt from Landscape Windows Wallpaper, text by Nika Grabar for the Catalogue of the Slovenian Pavilion at the 55th Venice Biennale

The Decoration

“When in 1937 the Slovenian amateur entomologist Oskar Šajbl, and obviously a big admirer of Hitler, had given the name Anophthalmus Hitleri to the endemic cave beetle that was discovered in 1933 in Slovenia, he could hardly anticipate the complex ideological implications of this today infamous name. Jasmina Cibic boldly includes a direct reference to the unique national blunder of Slovenia from its nationalistic past, a period when the name “Hitler” was still not seen as problematic. Cibic thus points out to the contradictory and paradoxical notion of the artist representing her nation, or more precisely she challenges some paradoxical aspects of the identitarean politics as it is the relation between proper name and national representation.

The images of the hand-drawn beetles that are scanned, multiplied, printed and glued in a form of wallpaper all over the Slovenian Pavilion stress the problematic notion of exhibiting as a rare “animal” exemplifying its “genus” and nationhood. Arguably if interpreted in an ultimately metaphoric way there is no big difference between the endemic Anophthalmus Hitleri and the artist turned nation-representative. The isolated national artistic “sample” exhibited in the context of any contemporary international exhibition, and particularly including the Venice Biennale as one of the last remnants of the traditional exhibition structures based on national selection and representation, closely resonates with the problematic genealogy of the international exhibitions in the imperial structures of the grand exhibitions of XIX and XX centuries and their “human-zoo” elements.”

Excerpt from The political economy of name and events of representation in Jasmina Cibic’s art, a text by Suzana Milevska for the Catalogue of the Slovenian Pavilion at the 55th Venice Biennale

The Narrative

The screenplays of films, Framing the Space and Fruits of Our Land, literally summarize the minutes of a meeting of the Commission for the review of artistic works and sculptures for the new Palace of the People's Assembly, the documentation of which was found a few years ago among the documents of architect Vinko Glanz. It is a transcribed discussion between political officials, engineers, town planners, architects and art historians, deliberating on which artists will create the mosaics, wall paintings and sculptures on the portal of the People's Assembly. The discussion focuses from beginning to end on the question of the appropriateness of the artist and the artwork, which can adequately represent the Slovenian nation: the involved attempt to define the criteria of "suitability", which are already in essence ideological. The position between the individuals in contact with the mechanisms and rules of the ideological "machine", leads to a mighty conflict, which in the case of minutes of the meeting (and cinematic dramatization of Jasmina Cibic) seems impossible - a fight for unbiased assessment."

Excerpt from A double game, a text by Tevž Logar for the Catalogue of the Slovenian Pavilion at the 55th Venice Biennale

In For Our Economy and Culture, Jasmina Cibic tackles this very 'impossibility and inevitability' of representation in a Groysian 'paradox-object': an image and a critique of that image at the same time. Cibic dissects the mechanisms of national representation, or rather she over-identifies with them, embodying and channeling the processes and strategies employed in the creation and selection of national iconography. The viewer is immersed in an environment in which every element carries a historical narrative, illuminating power relations and negotiations that are at play in the selection process. One of the video works shows a heated discussion where what is being debated is whether an artwork in question is fit to represent a nation.

It is difficult to tell what the nature of the work is, or how it could possibly be so wrong, so inappropriate, to inspire such impassioned reactions from the committee. Is it Cibic's own work that is being scrutinized in such terms? It soon becomes evident that the work that is being discussed could be any artwork and that we are witnessing a moment of the formation of national iconography - a moment of mythmaking. This could be any meeting room, any country and perhaps most disturbingly, any era. The set of values, the desire to create a positive impression, to remove the image from its narrative, to remove it from its conditions of production, and present it as truth, whatever shape that may take, remains universal.

Excerpt from On the Impossibility and Inevitability of Representation, a text by Lina Džuverović for the Catalogue of the Slovenian Pavilion at the 55th Venice Biennale

The Artworks

"In the project For Our Economy and Culture, a collection of objects rather a selection of images from the art collection of the National Assembly, made by the artist, recontextualises for the viewer, revealing the relationship between economic, political, cultural and personal values of a specific time and space. In addition, the collection contains an ambivalent position as a public good, but public access to it is actually disabled and it can be seen only under certain conditions, as the works are dispersed throughout the National Assembly, which is subject to strict security controls by security services. It is not one of the national collections that are stored in sheds, but a collection whose works of art, due to their placement within working spaces of the parliament and its administration, serve as a kind of background or scenography for media to create a spectacle that is identified under the name of the country. The motif of the selected images, by renowned authors from different periods, is still life. In some way, in its genre, it relates to one of the elements of created architectural dispositions of the project where it orients the view of the spectator, while the artist's conceptual intervention justifies the selection of images into becoming rectified "ready-made" objects that reveal the most representative "strategy" of ideological models of the past and present, and directly shows that with such collections or exhibitions and national selection of artists we can never avoid the issue of ideological decisions."

Excerpt from A double game, a text by Tevž Logar for the Catalogue of the Slovenian Pavilion at the 55th Venice Biennale

30 May 2013
4 – 7 pm: Special performance for Slovenian Pavilion Opening Reception: "We’ve known all along it would be hard to put anything on these walls"
7 – 10 pm: Slovenian Pavilion Opening Reception
Galleria A+A, Slovenian Exhibition Centre, San Marco, Calle Malipiero 3073
Details of the Autumn conference to be announced


Photos on FlickrPhotos on FlickrPhotos on Flickr



Visitor information

Slovenian Pavilion:

A plus A
Centro Espositivo Sloveno
San Marco 3073, Venezia
30124, Italia

T/F: +39 041 8501468
Contact: Aurora Fonda

Opening times

Preview days:
May 29 to May 31, 2013
10 am to 8 pm

First week of the Biennale:
June 1 to June 7, 2013
10 am to 8 pm

June 8 to November 24, 2013
10 am to 6 pm

Visitor sheet

Download and print all the necessary information from this PDF file.

Visitor sheet PDF (112KB)

How to reach us

Line 1: boat stop Sant’ Angelo
Line 2: boat stop San Samuele

Jasmina Cibic: Framing the Space, 2013

single channel HD video, sound, 10:45 min
stills photography: Pete Moss
©Jasmina Cibic
courtesy of the artist and Škuc Gallery

Jasmina Cibic: Framing the Space, 2013

single channel HD video, sound, 10:45 min
stills photography: Pete Moss
©Jasmina Cibic
courtesy of the artist and Škuc Gallery

Slovenian Pavilion

A plus A
Centro Espositivo Sloveno

San Marco 3073, Venezia
30124, Italia
T/F: +39 041 8501468

Contact: Aurora Fonda

Communication and Press

Marija Skočir
Assistant Commissioner

Museum and Galleries of Ljubljana
Gosposka 15, Ljubljana, Slovenia

T: 00 386 1 241 2513
M: 00 386 41 850 413


M: 00 386 51 310 957

Arts Media Consultant

Natasha Plowright

T: 00 44 207 267 3232
M: 00 7808 738 227


Artist: Jasmina Cibic
Commissioner:Blaž Peršin, direktor, MGML
Assistant Commissioner: Marija Skočir, MGML
Curator: Tevž Logar, Galerija Škuc
Assistant Curator: Vladimir Vidmar, Galerija Škuc
Head of Slovenian Exhibition Centre: Aurora Fonda
Architecture Consultant: Mateja Šetina
Visual Art Consultant and Artist's Assistant: Manca Bajec
Visual Identity: Ajdin Bašić
Photographers: Pete Moss, Matevž Paternoster
Director of Photography: Mark Carey
Art Media Consultant: Natasha Plowright
PR and project organisation support: Maja Kovač, Nika Perne, MGML
Conservation expertise: Katarina Toman Kracina, MGML
Performance Costumography: Sanja Grcić
Construction team leader: Andrej Zavodnik
Construction team: Igor Pestotnik, Miha Premk, Milan Premk
Grate: Silvester Jelenc
Badges: Mladen Vuković
Model makers: Primož Žitnik, Marko Vidmar
Vinko Glanz Archive Consultant: dr. Nika Grabar
Production Assistant: Ramon Blanco Barrera
Opening Performance: Primož Bezjak, Gregor Luštek
Technical support: Technical service MGML
Catalogue texts by: Lina Džuverović, Nika Grabar, Petja Grafenauer, Tevž Logar, Suzana Milevska, Jane Rendell


Museum and Galleries of Ljubljana
Gosposka 15
1000 Ljubljana

T: 00 386 1 24 12 500
F: 00 386 1 24 12 540


Škuc Gallery
Stari trg 21
1000 Ljubljana

T: 00 386 1 251 65 40
F: 00 386 1 421 31 40

Thanks to: Adam Josef Barnett, Mateja Benedetti, Primož Bizjak, Atila Boštjančič, Mark Joseph Carey, Rita Maria Conry, Daša Doberšek, Aurora Fonda, Marij Geč, Sanja Grčič, Peter Gregorčič, Urška Grošelj, Gregor Gruden, Matic Gselman, Namka Hodžić, Tereza Jačimović, Branko Jordan, Samo Jurca, Tadej Kocjančič, Tomaž Koleša, Urška Lovšin, Grega Luštek, Marko Mandić, Tjaša Marin, Gaja Moderndorfer, Peter Ronald Moss, Željko Nedović, Joško Pajer, Tristan Peloz, Borut Peršolja, Ajda Primožič, Igor Rus, Barbara Savenc, Katarina Stegnar, Filip Šijanec, Janez Tomc, Tomaž Turk, Janez Vesel, Gordana Vrabec, Mladen Vuković, Andrej Zavodnik, Bojana Zavodnik, Pia Zemljič, Gregor Zorc, Aleksandra Žerjav

Special Thanks to: Dragica in/and Damir Cibic, Pete Moss, Una, Borut Peršolja, Michelle Deignan, Simon Goodwin, Katarina Stegnar, Ken Pratt, Alexei Monroe, Nataša Petrešin-Bachelez, Simona Vidmar, Matevž Čelik, Claire Dearnaley, Mark Carey, Mateja Šetina, Nina Malovrh, Bevk Perovič arhitekti, Maja Vardjan, Martina Vovk, Kaja Širok, MB GRIP d.o.o., 100tka, Julij Zornik, Blaž Jelnikar, Anže Habjan, Cilka Habjan, Okolje consulting d.o.o., Petra Čuk, Rafal Niemojewski, Tina Bajec, Boris Divjak, Judita Krivec Dragan, Tina Škoberne, Kristina Glanz, Barbara Jaki

Financed by:
Produced by:
Ministry of Culture
Museum and Galleries of Ljubljana
Škuc Gallery

Supported by:
Mestna občina Ljubljana
RS National Assembly
Calvert 22 fundation
Leeds Metropolitan University
A plus A
Golden sponsor:
Path by Starch width Riko
Kavarna Zvezda
Devil's picnic
Mladen Vukovič