Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
[+]Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
[-]Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
[+]Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
[-]Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
[+]Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
[-]Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
[+]Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
[-]Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
[+]Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
[-]Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
[+]Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
[-]Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
[+]Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
[-]Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
[+]Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
[-]Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
[+]Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
[-]Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
[+]Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
[-]
Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
Sinzo Aanza, The Irregular Line (2025), 36th Ljubljana Biennale of Graphic Arts, The Oracle, 2025, installation view at the Jakopič Promenade, Tivoli Park. Photo: Jaka Babnik. MGLC Archive.
Sinzo Aanza’s series The Irregular Line explores the invention of colonial art in Congo through the notion of the regularity of the line. The line acts as a temporal barrier between, precolonial artistic practices, culturalized, folklorized, and reinvented to become an art of representation for international exhibitions and colonial fairs on the one hand, and on the other a modernism referencing the ordering of all things and all practices, according to the will and control of the colonial project.
The regularity of the line now refers to all illogical, primitive, disordered, uncontrollable, rebellious assignments and orders to be straightened by the new political order. Thus, an absolute border is drawn between what was, what is, and what must be. The regularity of the line goes beyond the framework of ordering the space and its representations, notably through art, to be the racial charter and the hierarchization of cultures and bodies.
The drawings also refer to the history of heads that were brought from the colonies to the capitals to be studied, in order to accelerate the understanding of local populations and their integration into the colonial order. The artist addresses the fragile preciousness of preserved objects as well as the duality of beauty and meaning that draws aesthetic considerations alongside the historical gravity of heritage. The heads draw our attention to the primitive history of museums established through
conquests and submission of enemies who were then put on display through their belongings.
The 36th edition of the Ljubljana Biennale of Graphic Arts is curated by curator, lecturer, and researcher Chus Martínez as Artistic Director.