LJUBLJANA.- Moderna galerija Ljubljana announced the appointment of Katerina Gregos as curator of the 11th Triennial of Contemporary Art in Slovenia—U3, to be held from June, 18, through November, 14, 2027.
Founded by Moderna galerija in 1994, U3 offers a curator’s perspective on contemporary art in Slovenia. Each edition responds to changes in artistic practice and society, while the triennial’s alternating appointments of Slovenia-based and international curators bring different perspectives to the local scene.
Previous curators include Tomaž Brejc, Peter Weibel, Gregor Podnar, Christine Van Asche, Jurij Krpan, Charles Esche, Nataša Petrešin Bachelez, Boris Groys, Vt Havrnek, and Tevž Logar, who curated the tenth edition. Across these editions, U3 has examined subjects ranging from the conditions of artistic production to ecology and forms of coexistence, while opening increasingly towards an international context.
Reflecting on the forthcoming edition, Gregos says: “I am delighted to have been appointed curator of the next U3 Triennial. I am particularly interested in the opportunity to work within its specific geographical and geopolitical context—a place shaped by the profound transformations taking place across the region and beyond. These ongoing shifts provide an important framework for thinking about how we understand place and the way histories are continuously rewritten.
Over the past twenty years, my work has focused on the relationship between art, society and politics, with particular attention to questions of democracy, rights, the commons, and the relationship between power and crises. These concerns will inform my approach to the Triennial, which I see as a space for engaging critically with the conditions of the present and with the transformations that are reshaping our societies.
At a time of profound uncertainty and galloping change, I believe it is essential to create space for artists to articulate critical voices, question established narratives and propose other ways of seeing and understanding the world. The Triennial can provide a platform for such perspectives.”
Katerina Gregos is an internationally recognized curator, educator and writer. Since 2021 she is artistic and general director of the National Museum of Contemporary Art (EMΣT), Athens. Gregos has curated or co-curated numerous large-scale international exhibitions and nine international biennials including - as chief curator - the 1st Riga International Biennial of Contemporary Art (RIBOCA1) Everything Was Forever Until it Was No More, Manifesta 9: In the Deep of the Modern, E V+ A Ireland’s Biennial, the Gteborg International Biennial, Contour: The Biennial of Moving Image (BE), The Thessaloniki Biennial and others. She has also curated exhibitions for institutions such as: Akademie der Kunst, Berlin; Reina Sofia Museum, Madrid; Museum of Contemporary Art, Rome; Museum fr Neue Kunst Freiburg (DE); Kunsthalle Tallinn; IMPAKT Media Organisation and Centraal Museum, Utrecht; Fotogalleriet, Oslo; the Latvian National Museum of Art; BOZAR, Brussels; Kunsthalle Mulhouse; and Steirischer Herbst, Graz. In addition, she has curated three critically acclaimed National Pavilions at the Venice Biennale, Denmark (2011), Belgium (2015), Croatia (2019). In 2023 she was the curator of the main exhibition Elefsina Mon Amour for Eleusis Cultural Capital of Europe (Athens, Greece). Gregos is also the curator of the visual arts program of the Munich-Athens based non-profit Schwarz Foundation. She regularly publishes on art and artists in exhibition catalogues, journals and is a frequent speaker in international symposiums and conferences. Recent notable group exhibitions at EMΣΤ include Statecraft and Beyond (2022), Modern Love: or Love in the Age of Cold Intimacies (2023) and Why Look at Animals: A Case for the Rights of Non-Human Lives (2025-26), for which she was awarded the 2025 Nancy Regan Prize by the Culture Animals Foundation (US). This year, under her directorship, the museum received the European Museum Academy's 2026 European Art Museum Award.
