Ravnikar Projects

08/06/2026

🅡 X ETC. | around every circle another can be drawn
Artists: Maja Bojanić, Rayna Teneva, Center for Peripheries, Damir Avdagić, Luka Cvetković, Indra Gleizde, Nevena Aleksovski
Curated by: ETC. & Vasil Vladimirov�20/05 – 22/08/2026

Emerging from the framework of ETC. Magazine’s fifth issue, Full Circle, the exhibition around every circle another can be drawn, brings together artistic positions that engage with migration, displacement, borders, and the unstable construction of collective memory across the regions stretching from the Balkans to the Baltics. These geographies resist easy definition. Often grouped under the reductive category of “Eastern Europe,” they are in fact shaped by profoundly heterogeneous histories, languages, political realities, and cultural experiences. One element, however, persistently traverses them: the continual renegotiation of borders and identities through war, state dissolution, ideological transformation, and migration.

History, identity, and belonging are never fixed, but continuously reshaped through movement, rupture, and return. The title of the exhibition, borrowed from Ralph Waldo Emerson’s essay Circles, reflects on the impossibility of definitive endings. Every border implies another threshold, every displacement another beginning, and every historical formation the possibility of transformation.

Rather than presenting a singular narrative about these processes, the exhibition unfolds through a polyphony of perspectives, methodologies, and artistic languages. The exhibited works move between personal testimony and collective history, tracing how large-scale political transformations become embedded within intimate experiences, inherited trauma, labour, language, and the material conditions of everyday life.aleksovski, 2022–
Melancholy of the Abandoned Lands

, 2025
The Neighbour’s Garden





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01/06/2026

🅡 X ETC. | around every circle another can be drawn
Curated by: ETC. & Vasil Vladimirov
20/05 – 22/08/2026

Nevena Aleksovski | Melancholy of the Abandoned Lands (2022–ongoing)

In the latter half of the 20th century, migration in the Balkans was shaped by post-war industrialisation, socialist modernisation and the eventual dissolution of the Yugoslav state. Rural areas experienced depopulation under the guise of progress and the creation of a working class aligned with state ideology. Mining towns provided employment and stability, but often at the cost of forced resettlement and the subordination of entire communities to extractive economies. The project by
Nevena Aleksovski emerges from this context. It traces the interconnected histories of her family’s migration from rural North Macedonia to a Serbian mining town. The artist situates personal narrative within broader industrial and political frameworks, demonstrating that the extraction of land and labour is inseparable from the extraction of memory, belonging and identity. The installation, incorporating archival photographs, drawings, textual fragments, and readymade objects, constructs environments that oscillate between ruin and remembrance. These materials preserve history in the absence of comprehensive records. Family images, found photographs and natural materials serve as repositories of memory, while speculation becomes a means of engaging with absence.



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27/05/2026

🅡 X ETC. | around every circle another can be drawn
Artists: Maja Bojanić, Rayna Teneva, Center for Peripheries, Damir Avdagić, Luka Cvetković, Indra Gleizde, Nevena Aleksovski
Curated by: ETC. & Vasil Vladimirov
20/05 – 22/08/2026

Emerging from the framework of ETC. Magazine’s fifth issue, Full Circle, the exhibition around every circle another can be drawn, brings together artistic positions that engage with migration, displacement, borders, and the unstable construction of collective memory across the regions stretching from the Balkans to the Baltics. These geographies resist easy definition. Often grouped under the reductive category of “Eastern Europe,” they are in fact shaped by profoundly heterogeneous histories, languages, political realities, and cultural experiences. One element, however, persistently traverses them: the continual renegotiation of borders and identities through war, state dissolution, ideological transformation, and migration.

History, identity, and belonging are never fixed, but continuously reshaped through movement, rupture, and return. The title of the exhibition, borrowed from Ralph Waldo Emerson’s essay Circles, reflects on the impossibility of definitive endings. Every border implies another threshold, every displacement another beginning, and every historical formation the possibility of transformation.

Rather than presenting a singular narrative about these processes, the exhibition unfolds through a polyphony of perspectives, methodologies, and artistic languages. The exhibited works move between personal testimony and collective history, tracing how large-scale political transformations become embedded within intimate experiences, inherited trauma, labour, language, and the material conditions of everyday life.





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21/05/2026

V Ljubljani se začenja LJUBLJANA ART WEEKEND 2026 ⎯⎯ FULL CIRCLE , ki prinaša številne dogodke in poveže vrsto ustanov in kolektivov.

Kakšna je vloga zgodovine in kako preteklost to sploh postane, kakšne so strukture moči, ki zgodovino konstruirajo, predvsem pa, kako je mogoče, da se človeštvo vrti v ciklu, je nekaj tem, ki bodo ta konec tedna v ospredju Ljubljana Art Weekenda.

Peta izvedba dogodka, ki za nekaj dni poveže vizualno prizorišče v mestu, se zdaj že tretje leto tematsko povezuje z aktualno številko revije ETC., ki je v prav tako peti številki izšla pred mesecem dni.

Letos se dogajanje odvija pod krovno temo Vedno znova (Full Circle), s katero uredniška in kuratorska ekipa v sestavi Hana Čeferin, Ajda Ana Kocutar in Lara Mejač razmišlja o cikličnem ponavljanju napak tako na širši družbeni in politični ravni kot v okviru osebnih zgodovin. Kaj se torej zgodi, ko se krog sklene?

Kakšna je vloga zgodovine in kako preteklost to sploh postane, kakšne so strukture moči, ki zgodovino konstruirajo, predvsem pa, kako je mogoče, da se človeštvo vrti v ciklu, je nekaj tem, ki bodo ta konec tedna v ospredju Ljubljana Art Weekenda.

14/05/2026

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🅡 — Aurélien Potier & Neja Zorzut: Proximity | Bližnjost
25/03 — 16/05/2026
Curated by Olesia Shuvarikova

Neja Zorzut’s installation Stubble Field spreads across the gallery floor, where soft leather foam elements are arranged into a landscape of organic configurations that recall musculature or bound bodies. Softness here functions not as comfort but as constraint, an absorbing surface that holds force in suspension. Embedded plexiglass objects act as markers of potential action, shifting between lingering and striking, and destabilising the distinction between observation and attack, anticipation and ex*****on. The work understands violence not as accidental, but as something that operates through controlled proximity and delayed action, so that the present becomes charged with signs that influence how the future is interpreted. In Zorzut’s practice, violence persists not only through destruction but also through repetition, anticipation, and the disciplined organization of space and bodies.


Stubble Field, 2026
Charcoal and Damar Resin on Cardboard, Unique
160 x 263 x 4 cm





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12/05/2026

🅡 — Aurélien Potier & Neja Zorzut: Proximity | Bližnjost
25/03 — 16/05/2026
Curated by Olesia Shuvarikova

In the exhibition, the works of Aurélien Potier and Neja Zorzut create an affective environment, where conflict does not erupt but persists as constant tension between opposing forces […] organising attention towards potential outcomes.

Embedded in Zorzut’s installation, a choreography of emotional and bodily control held in a state of anticipation correlates with the pervasive affective and physical tension in Potier’s works, articulated through materials like steel, wax, cables, and organic matter. As his sculptures pierce and protrude from the walls or hang suspended, sharp spikes and exposed wires articulate anger and violence, while red beeswax lends a sense of fragility and potential disintegration — together holding a fundamental paradox at the core of Potier’s practice.

Proximity can be understood as force held in suspension, charged with the risk of transgression. In Zorzut’s work, it is neither intimate nor safe, but becomes a danger activated through touch. In Potier’s practice, touch still carries the possibility of repair — wax, mending open wounds, holds out a tentative hope for the healing of relations.

Aurélien Potier
Focus, 2025
Steel, Unique
240 x 25 x 2 cm





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08/05/2026

🅡 — 16 Ruhr
Big news! Gasper Kunsic has been selected for Manifesta 16 Ruhr, the 2026 edition taking place across the Ruhr region in Germany, known for its site-responsive and socially engaged curatorial framework.

Kunšič’s practice draws on visual fragments from the countryside of his upbringing, alongside folk motifs and pop-cultural imagery from the former Yugoslavia and wider diasporic Balkan context. Through painting, sculpture, works on paper and spatial interventions, he transforms exhibition environments into emotionally charged, immersive settings that disrupt conventional readings of space and instead propose new, speculative folklore worlds and ways of belonging. His inclusion in this year’s programme brings his practice into dialogue with a broad spectrum of contemporary approaches to place, memory and collective imagination.

Read more via ArtReview coverage.

The nomadic biennial is set to open on 21 June

05/05/2026

🅡 — Aurélien Potier & Neja Zorzut: Proximity | Bližnjost
25/03 — 16/05/2026
Curated by Olesia Shuvarikova

In the exhibition, the works of Aurélien Potier and Neja Zorzut create an affective environment, where conflict does not erupt but persists as constant tension between opposing forces […] organising attention towards potential outcomes.

Embedded in Zorzut’s installation, a choreography of emotional and bodily control held in a state of anticipation correlates with the pervasive affective and physical tension in Potier’s works, articulated through materials like steel, wax, cables, and organic matter. As his sculptures pierce and protrude from the walls or hang suspended, sharp spikes and exposed wires articulate anger and violence, while red beeswax lends a sense of fragility and potential disintegration — together holding a fundamental paradox at the core of Potier’s practice.

Proximity can be understood as force held in suspension, charged with the risk of transgression. In Zorzut’s work, it is neither intimate nor safe, but becomes a danger activated through touch. In Potier’s practice, touch still carries the possibility of repair — wax, mending open wounds, holds out a tentative hope for the healing of relations.

Aurélien Potier
Last instant, 2026
Industrial cables, Steel, Wax, Unique
Variable dimensions





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