News and announcements



20 April 2018 | 12:00
Marko Peljhan is an artist and researcher working in and between art, technology and science. His projects, initiatives, and collaborations span a vast area ranging from ecology and social reflection to tactical media, technology, space explorations and geopolitics.


May — June 2018

BOOK PRESENTATION | 21 Women from Ljubljana

14 February 2018 | 18:00
Presentation of the collection of verse by Mohamad Abdul Moaenem 21 Women from Ljubljana. The poems by Mohamad Abdul Moaenem, a refugee from Syria, are dedicated to the women that have impacted him since his arrival in Ljubljana two years ago.

SYMPOSIUM AND EXHIBITION | Dedicated to Zoran Mušič in Trieste

26 January 2018 | 10:00 | Revoltella Museum, Trieste
After the extraordinary discovery of Zoran Mušič’s Dachau drawings, the Revoltella Museum in Trieste is preparing a symposium dedicated to Zoran Mušič and followed by the opening of the exhibition, where the found drawings will be on display for the first time.

Café and snack bar + Kantina

From 21 December 2017 | 10 a.m.—6 p.m.
+ Kantina is a space that provides alternative economies for affirmations of the knowledge of migrants and it aims to build social networks and exchange ideas in the wider area of Metelkova.

CALL FOR PAPERS | International Symposium: Social Choreography

Date: 10 November 2017 | Deadline for submissions: 15 October 2017
Please send an abstract of no more than 300 words, as well as a title and a brief bio-bibliography, in either Word or PDF format to The deadline for submission is 10 October 2017.

SPECIAL OFFER | Adam Harvey: Privacy Gift Shop

20 June 2017 — 21 July 2017
From 20 June to 21 July 2017 the Depository Bookstore at Museum od Contemporary Art Metelkova, +MSUM will host Privacy Gift Shop, a project by Berlin-based American Adam Harvey produced for Aksioma Project Space.

INTERNATIONAL CONFERENCE | War, Revolution and Memory

17 February 2017 — 18 February 2017
In what ways did the change of political paradigm make these monuments undesirable in the post-socialist countries? Have processes of denial and suppression contributed to the cancellation of an inherent ideological charge of these monuments? If so, are we allowed to treat them exclusively as aesthetic objects, particularly when they are preserved in fragments?