+MSUM | 2026

The exhibition asks how to contend with the end that we are already living and will be dealing with for the foreseeable future, without veering into the utopian or dystopian, since neither hope nor despair provide a solid base or have much to contribute.

Moderna galerija Ljubljana is joining five international art institutions that, from 22 September onwards, will live-stream the latest performance by the renowned Spanish artist Santiago Sierra. The performance, Israeli State Crimes in Palestine Since 14 May 1948, takes the form of a continuous reading of the names of Palestinians killed in historic Palestine by the Israeli state, its armed forces and settlers since the establishment of the State of Israel on 14 May 1948.

The work builds on the film Yours is the world in which I move uninvited (2025), using the metaphor of ghosts or phantasms to explore the erasure and subsequent absence of people and our attitude toward them.

The exhibition presents portraits of six women who sought a new home in Slovenia as a result of war or persecution. Through personal stories and photographs, the exhibition creates a space for reflection on war, the loss of home, identity, solidarity, and human rights.

Between Roots and Crowns: Branches as a Porous Border presents some of the practices and themes Robida explores in Topolove/Topolò, a village on the border between Italy and Slovenia.

The exhibition Archival Chain Reactions emerges from a collaborative project dedicated to connecting and activating important yet precarious archives of feminist art.

The artist has carried out the performance, in which she repeatedly shouts the title phrase, several times in different contexts. It addresses her multifaceted identity and the conditions that contribute to her marginalization as a woman, a Roma, an artist, and an immigrant in Germany and the US.

In the installation, Maruša Sagadin references architectural elements from public spaces, such as columns, arches, facades and benches. These forms are not simply translated; instead, their basic structure is expanded.

In the 1970s, an extraordinary cinematic impulse formed at the intersection of countercultural mysticism, poststructuralist doubt, and emerging media technologies: to film what eludes the eye, to make the world visible through a sensory ritual that becomes a channel for communication in discovering the unseen.