Plaza Protocol

Curator: Tjaša Pogačar

‘Soda’, digital essay

“With all the toxins and micro-plastics, my body is already able to mirror the corporate environments through which it moves. Constructing small shopping malls, echoing their ambient sounds, music, and lining up the intestinal walls with batches of intricately packaged goods. These xenobiotic environments fill it with tremors, forming zones of discomfort and pain from across which a semblance of a voice can be heard: “You ok?” Sweet old Taylor, I still often wonder what sort of groupie love keeps on summoning you here. If my gut likes you more than I do, if the biota holds a peculiar fixation on you, could it be that there is also something metabolic or even microbial about pop that supports and encourages all of this?“

Thursday, 3 December 2020, 19.00

Freaktion Bar #14, Intoxicated by estrogen

Kapelica Gallery []

Online discussion

Guest speakers: Lea Aymard, dr. Neža Grgurevič, Pia Brezavšček, dr. Adriana Knouf / Moderator: Domen Ograjenšek

Wednesday, 11 November 2020

Nicole Prutsch, beyond the measuring principle

Distanz Verlag Berlin

A conversation with the artist.

Saturday, 31 October 2020

Maska Journal, vol. XXXV, iss. 200bb (fall 2020), Aktualnosti / Actualities

‘Tongueney’, essay

”On its way to the roof of the mouth, her tongue veers off its path and takes the daring trail past the alveolar ridge and teeth, landing on the lips — it is no longer Britney, but ”tongueney”. This is no subjecitiviy; it is a schizoid sound system that is already penetrating us: full of high-pitched notes, ear wormes, conspiratorial intonations of sound imaginaries, screams of disintergrating subjectivities, and developing simulacra.”

Saturday, 19 October 2020

Rubber Boats and Plastic Islands. On ‘Introduction to Comparative Planetology’

Review of Lukáš Likavčan’s Introduction to Comparative Planetology, for

Monday, 7 September 2020

Nafukovací čluny a ostrovy plastu

Translation of review of Lukáš Likavčan’s Introduction to Comparative Planetology for

Friday, 4 June 2020

Alive & Dead, The 9th Triennial of Contemporary Art U3, bilingual catalog

Texts on Lenka Đorojević and Vuk Ćosić.

Wednesday, 14 April 2020

Borec Journal, issue 772-774 / VSTOP PROST, 20 let festivala urbanih umetniških akcij v Celju

‘Vstop prost – na sledi razširjeni koncepciji lokalnega’, article

Tuesday, 25 February 2020

Fotograf Magazine, issue 35 LIVING WITH HUMANS

Profile article on Maja Smrekar.

Monday, 24 February 2020, 19.00

Pop Affect – estetika in politika visokih tonov

Lecture at Nova pošta, Maska Institute. The lecture is part of the ‘Seminar for contemporary performative arts 2019–2020: Open questions’ organised by Maska Institute.

Additional information ( in Slovene):

Tuesday, 11 February, 18.00

Nika Kupyrova & Ekaterina Shapiro-Obermair at Ravnikar Gallery Space, Ljubljana.

Exhibition text

Tuesday, 28 January 2020, 18.00

Na moji koži strašno straši

Lecture at the Museum of Contemporary Art Metelkova. The lecture is organised in conjuction with the exhibition Živa Božičnik Rebec: Topical Applications 2.

Additional information (in Slovene):

Friday, 6 December 2019, 9.30–18.00

Exhibiting in Slovenia: A Symposium upon the 110th Anniversary of the Jakopič Pavilion’ in Ljubljana


Sunday, 1 December 2019, 19.00

PhaseBook, Prague – Artbook & Zine Fair 2019

‘No, I Don’t Cry on the Outside Anymore’, performative reading

Friday, 8 November 2019, 18.00


First we were told we can’t call her mother. Then we were told we can’t call her nature (nor should we call her culture). No Gaia or Medea for us too. Benjamin Bratton writes in The Terraforming: “There is chemistry, abstraction and phase change, pattern and then collapse, and other things besides.” A series of collapses, for that matter. The threshold ecologies.

Texts by: Bogna M Konior, Lukáš Likavčan, n1x, Domen Ograjenšek, Germán Sierra
Edited by: Marko Bauer, Tjaša Pogačar

Domen Ograjenšek “No, I don’t Cry on the Outside Anymore”,
performative reading @ Fotopub project space, Tivolska 44, 1000 Ljubljana, Friday, 8 November, 6 PM.

Special issue ŠUM#12 is published in conjunction with the exhibition Adaptation to the Future curated by Aleksandra Vajd and Edith Jerabkova.

Published by: Šum (Društvo Galerija Boks)
Co-published by: UMPRUM, Prague

Sunday, 13 October 2019, 11.00

25th International Festival of Computer Arts

Šum discussions, talk and panel discussion

Talk on the world-building of Pop music videos from the early 2000s and the realities they inform or have informed.

|\, Strangely enough, the world of Xtina’s Dirty covers a different altitude. The heights of the abandoned skyscrapers are substituted for underground basements that maze in a disorienting manner, leaving behind the once dedicated functions of the spaces they occupy. If the sauna-like furnishing of Britney’s environment still upholds the functionalist framework, it is only to accommodate the already existing micro-climate conditions — to help make sense of them; to make the rooms seem unbearable by design and thus frame the constant and unavoidable heat and moisture as a luxury or even decadence. Yet Xtina’s basement-dwelling, dark, damp and flooded with the rising seawater, leaves behind even these last remnants of making sense. It is radically anarchic and representative of a different post-apocalyptic class experience. /|

Saturday, 15 June 2019, 18.00

Centre for Contemporary Arts Celje (Likovni salon)

Fig. 2 – Video Screening

Works by: Brishty Alam, Nicole Prutsch

Curated by: Domen Ograjenšek

Part of the Museum on a Summer Night 2019 programme.

Friday, 19 April 2019, 19.00

Centre for Contemporary Arts Celje (Likovni salon)

Exhibition opening of Fig. 2

Artists: Brishty Alam, Nicole Prutsch

Curated by: Domen Ograjenšek

/ Fig. 2 is a reference to an enclosed image. It refers to “Fig.” or “Figure”, which serves as a clear way to cite and index images or illustrations in scientific publications. It is as much a proxy of the image as an extension of its cognitive function; it is the image itself, evading the anachronistic loopholes of its own phenomenal nature. /

Additional info:

Thursday, December 20th 2018, 18.00

ŠKUC Gallery, Ljubljana

Lecture | Fever Theory, Domen Ograjenšek

Wednesday, 28 November 2018, 18.00

Museum of Contemporary Art Metelkova (+MSUM), Ljubljana

Launch and presentation | ŠUM#10 – On the Contemporaneity of Contemporary Art, new issue of ŠUM Journal.

Part of the new issue also the article Fever Theory (D. Ograjenšek). The article deals with the fun facts of pop culture and the caveats of new aesthetic paradigms and genre’s of writing. [The article is in Slovene, although an English version is in the works.]

From the article:

“Her appeal is rather on the side of genre equilibrium, which neutralizes the image of ‘the intrusion of viral dividual entities’ with an image of ‘calls from the intimate stock exchange’ (calls for mutual investment – symbolic, emotional, physical, existential; a kind of “Intimacy Trade Center”). If Couroux, therefore, continues to use the excessive style of writing in order to emanate a cult of mystery and thus seize the object of theory for himself, Minogue rather stands for the circulation of the object. This replaces the violence of the “invasion” of the alien with the violence of mutual trust, sharing, and over-human “concern for”, in light of which even the fall of Mariah Carey (coinciding with the fall of the Twin Towers) becomes a sign of solidarity – at least in the sense of a sonic consolidation between the two untimely falls. Carey and the Twin Towers step into mutual investment, into a gentle embrace of a murmur that accumulates at the extreme limits of our representational capabilities: as reciprocal noise on the side of sensual reception and as mutual listening on the side of the sensuous given – a sonic “trading” or the experience forging the world. „Who would’ve believed / That you and me would fall / And land together …“ (CAREY, Mariah, “The Lead The Way”, Glitter, Virgin Records, 2001, song 2)”

Wednesday, 29 August 2018, 18.00

ŠKUC Gallery, Ljubljana

Arist talk | Jon Derganc – All That is Solid Melts into Air

Jon Derganc in conversation with Domen Ograjenšek.

More info

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