LJUBLJANA.- With summer’s arrival, Cukrarna Gallery turns its gaze to exhibitions that explore the politics of form, perception, and artistic response. Gestures and the architecture play a vital role in giving form to the exhibitions and the projects reflect on how art can navigate the contemporary moment and reshape the visitors’ perception of art.

Hassan Khan: GESTUS
Until August 17, 2025

The GESTUS exhibition is a bold experiment that Hassan Khan deliberately designed to operate within strict constraints. Aware of the extreme conditions of contemporary times, he embraced limitations—both in terms of time and resources—not just as conditions of the process but as material to work with. Throughout the intense, time-bound production, his main focus was on the question of what kind of artwork can even operate under the given circumstances. The exhibition is structured as an assemblage, bringing together a wide range of artworks in different media and techniques. Working with musicians, actors, digital illustrators, and glassmakers, in only three weeks, he produced posters designed on a smartphone, improvised videos, glass objects inspired by populist comedy, music by a fictional band, an assemblage constructed out of leftover material found in the storage spaces of Cukrarna Gallery, and digital illustrations printed on wood panels, fabric, and aluminium sheets.

David Maljković: Razstava
Until October 26, 2025

In his exhibition project titled Razstava David Maljković explores painting as a discursive field that reflects and articulates the manifold relations between image, space, and time. Painting has always been more than the material sum of what is created in the studio out of canvas, colour, and stretcher frame. In Razstava painting no longer acts as a mediator but as a speaking voice. On view are works, produced since 2017, in which David Maljković has created stunning image constellations linking two worlds, as Gilles Deleuze argued in his lectures on painting that deal with the defined and the undefined, chaos and order, figure and ground. In this regard, Maljković’s works create multi-layered image constellations of space and time, which interrelate in a dynamic manner, thereby opening up new semantic processes. According to the artist himself he gauges “the idea of painting as a guardian of time and the painter’s position as its witness” on several levels by interweaving the past and the present.

Dorit Margreiter Choy: Passage
Until October 26, 2025

The exhibition Passage presents films, photographs, and a mobile that explore the ideological implications of modern architecture. The works convey narratives about how power, economic systems, and gender roles are inscribed in space and built environments. The exhibited works enter into dialogue with the gallery’s [AC1] own history, especially through the mobile that spells out the word “passage” and embodies the central idea: the spatialisation of time and the temporalisation of space. The films examine the stories of industrial expansion, extractivism, and shifting political identities. The film Silber juxtaposes Icelandic glacial landscapes with the history of silver as a global currency, leading from the early to the late stages of capitalism and its entanglement with environmental degradation. In the film Pavilion, the Austrian pavilion in Venice’s Giardini becomes a vessel of fragmented memory of the country’s [AC2] ideology and its politics. In the film B21 (Director’s Office) the CEO’s office inside Bata’s 77-metre tower in Zlín is portrayed through eight static shots, with the filmstrip’s length mirroring the building’s height.