- »Possible Worlds« Stockholm, 2023
- »On Coexistence, Rivers and Stories« Berlin, 2023
- »Of Domes and Toilets - Architecture and Social Architecture are One« Berlin, 2019
- »Indigenous Knowledge« Stockholm, 2016
- Group Exhibition »DRAWN« Berlin, 2014
- »In a New Land« Berlin, 2011
- »Burning Man« Stockholm, 2010
- Group Exhibition »SUMMER SHOW« Berlin, 2009
- »Rural Studio: The Lucy House Tornado Shelter« Berlin, 2007
- »Caracas: Dry Toilet« Stockholm, 2004
- »Caracas: House with Extended Territory« Berlin, 2003
- Group Exhibition »Through a Sequence of Space« Berlin, 2002
- cv-mp-2023.pdf
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Marjetica Potrč: The Soweto Project, Jurisdictions, MIT Press, 2017
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Andres Lepik and Marjetica Potrč: Cities in Transition, 2014
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Twylene Moyer: Marjetica Potrč – The Art of Sustainable Self-Sufficiency, 2011
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Marjetica Potrč: New Territories in Acre and Why They Matter, e-flux Magazine, 2009
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Jennifer Higgie: Marjetica Potrč. Form Follows Function, Frieze Magazine, June 2006
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Jan Verwoert: Marjetica Potrč. Confessions of a Global Urbanist, Afterall Magazine, Spring/Summer 2004
Drop City Giant, 2012 - 2019, building materials, communications infrastructure, overall dimensions: H 330 x Ø 340 cm
Marjetica Potrč
Marjetica Potrč is an artist and architect based in Ljubljana, Slovenia, where she was born 1953. Her work will be featured in the Diriyah Contemporary Art Biennial, Diriyah, Saudi Arabia in 2024 and has been shown in exhibitions worldwide, including the 23rd Biennale of Sydney (2022), 27th Biennial of Design, MCA Museum of Architecture and Design, Ljubljana (both 2022); 17th Venice Architecture Biennale (2021); Yinchuan Biennial (2018); Hamburger Bahnhof – Nationalgalerie der Gegenwart (2018); Venice Biennial (2009, 2006 and 2003); São Paulo Biennial (2006, 1996); Gwangju Biennale (2004) and Skulptur Projekte Münster (1997). She has had solo shows at Civic Gallery, Piran, Slovenia (2022); Visual Carlow, Carlow, Ireland (2018); Kunsthall Trontheim (2017); Flora ars+natura, Bogota (2017); PAMM Pérez Art Museum, Miami (2015); Eli and Edythe Broad Art Museum, East Lansing, Michigan (2012); Barbican Art Gallery, London (2007); PBICA, Lake Worth, Florida (2003); MIT List Visual Arts Center, Cambridge, MA (2004), Kunsthalle Fridericianum, Kassel (2004) and Guggenheim Museum New York (2001), among others. Her many on-site installations include her long-term public art project Future Island (developed with Ooze), Albano University Campus, Stockholm (2023), Of Soil and Water: King's Cross Pond Club, London (2015), The Commons Project, Gemeentemuseum Den Haag (2013), Théàtre Évolutif, Bordeaux (2011), Between the Waters: The Emscher Community Garden, Emscherkunst, Oberhausen (2010), The Cook, the Farmer, His Wife and Their Neighbour, Stedelijk Goes West, Amsterdam (2009) and Dry Toilet, Caracas (2003). From 2011 to 2018 she was a professor at the University of Fine Arts (HFBK) in Hamburg, where she taught "Design for the Living World", a class on participatory practices. Furthermore, she has taught at MIT, Cambridge, MA (2005) and IUAV University in Venice (2010, 2008). Potrč is recipient of numerous grants and awards, including the Vera List Center for Arts and Politics Fellowship at The New School in New York (2007), Caracas Case Project Fellowship from the Federal Cultural Foundation, Germany and the Caracas Urban Think Tank, Venezuela (2002) and the Hugo Boss Prize, administered by the Guggenheim Museum (2000). On December 21, 2023 she will receive the Medal for Merit, a prestigious award from the Republic of Slovenia, by the Slovene president Nataša Pirc Musar in Ljubljana.
Kuku Town Core Unit, 2023, building materials and water-supply infrastructure. Installation view, "Possible Worlds", Galerie Nordenhake Stockholm, 2023. Photo: Carl Henrik Tillberg.
Installation view, "Possible Worlds", Galerie Nordenhake Stockholm, 2023. Photo: Carl Henrik Tillberg.
The World in the Age of Stories (Part 1: The Birth of the World Before the Age of Stories), 2020. Acrylic paint on wall. Walldrawing from original drawing 'The World in the Age of Stories (Part 1: The Birth of the World Before the Age of Stories)' (2020).
Installation view, "Possible Worlds", Galerie Nordenhake Stockholm, 2023. Photo: Carl Henrik Tillberg.
Installation view, "Possible Worlds", Galerie Nordenhake Stockholm, 2023. Photo: Carl Henrik Tillberg.
Future Island, 2023. Marjetica Potrč, OOZE (Eva Pfannes and Sylvain Hartenberg). Campus Albano, Stockholm University. Photo: Ricard Estay/Statens konstråd.
Future Island, 2023. Marjetica Potrč, OOZE (Eva Pfannes and Sylvain Hartenberg). Campus Albano, Stockholm University. Photo: Ricard Estay/Statens konstråd.
Marjetica Potrč in conversation with Gilly Karjevsky on the occasion of Potrc's solo exhibition "On Coexistence, Rivers and Stories" at Galerie Nordenhake Berlin, March 17, 2023.
The World in the Age of Stories (Part 1: The Birth Of The World Before The Age Of Stories), 2020, ink on paper, 76 x 112 cm, 29 7/8 x 44 1/8 in, framed 85 x 119 cm, 33 1/2 x 46 7/8 in
The World in the Age of Stories (Part 2: Humans in a Borromean Knot), 2020, ink on paper, 76 x 112 cm, 29 7/8 x 44 1/8 in, framed 85 x 119 cm, 33 1/2 x 46 7/8 in
The World in the Age of Stories (Part 3: The World after the Borromean Knot Is Untangled), 2020, ink on paper, 76 x 112 cm, 29 7/8 x 44 1/8 in, framed 85 x 119 cm, 33 1/2 x 46 7/8 in
Installation view, "On Coexistence, Rivers and Stories", Galerie Nordenhake Berlin, 2023
Installation view, "On Coexistence, Rivers and Stories", Galerie Nordenhake Berlin, 2023
Installation view, "On Coexistence, Rivers and Stories", Galerie Nordenhake Berlin, 2023
Marjetica Potrč, The Rights of a River, 2021, ink on paper group of 11 drawings, each 21 x 29.7 cm, 8 1/4 x 11 3/4 in framed 36.7 x 28 cm, 14 1/2 x 11 in (detail). Installation view, "On Coexistence, Rivers and Stories", Galerie Nordenhake Berlin, 2023
The Basin Case Study: On Coexistence, 2023, ink on paper, group of 11 drawings, each 21 x 29.7 cm, framed 36.7 x 28 cm
The Basin Case Study: On Coexistence, 2023, detail
Marjetica Potrč, The House of Agreement between Humans and Earth, 2022; The Time of Humans on the Soča River, 2022; The Time on the Lachlan River, 2022; The Rights of a River, 2022; and the Life of the Lachlan River, 2022. Installation View, 23rd Biennale of Sydney, rīvus, 2022, Museum of Contemporary Art Australia.
Marjetica Potrč, The Time of Humans on the Soča River, 2022 and The Rights of a River, 2022; Installation View, 23rd Biennale of Sydney, rīvus, 2022, Museum of Contemporary Art Australia.
Marjetica Potrč, The House of Agreement between Humans and Earth, 2022 (Detail), Installation View, 23rd Biennale of Sydney, rīvus, 2022, Museum of Contemporary Art Australia.
Marjetica Potrč in conversation with Dr. Gabriele Knapstein (Curator and Head of Hamburger Bahnhof - Museum für Gegenwart Berlin) on the occasion of Potrc's solo exhibition "Of Domes and Toilets - Architecture and Social Architecture are One" at Galerie Nordenhake Berlin, September 6, 2019.
Marjetica Potrč on her case study "Caracas: Growing Houses" in the exhibition "Hello World. Revising a Collection"at Hamburger Bahnhof - Museum für Gegenwart, Collection Staatliche Museen zu Berlin, Nationalgalerie, April 28 - August 26, 2018.
Shelter: Closed and Open, 2018, building materials, energy and water-supply infrastructure, Installation view VISUAL Carlow, Ireland
Shelter: Closed and Open, 2018, building materials, energy and water-supply infrastructure, Installation view VISUAL Carlow, Ireland
Animal Sightings, Urban Bear, 2001, inkjet print,
90 x 78.5 cm
Ramot Polin Unit with Sukkah, 2011, building material and water-supply infrastructure, installation view "In a New Land" Gallery Nordenhake Berlin 2011
Site specific installation," Marjetica Potrč and Ooze (Eva Pfannes & Sylvain Hartenberg) – Of Soil and Water: King's Cross Pond Club", King's Cross, London 2015, building materials, soil, water, plants, natural filtration
'Of Soil and Water: The King's Cross Pond Club', located on the construction site for the King's Cross Central development project in London, is a micro-ecological environment with a natural swimming pond at its center. The temporary available land is transformed into a place where visitors can take a swim next to the aquatic plants that clean the water. The swimming pond is free of chemicals. The water is purified through a natural, closed-loop process using wetland and submerged water plants. The daily number of bathers is restricted by the amount of water the plants are able to clean. The pond is surrounded by wildflowers and grasses that change with the season. The project is based on idea of living in balance with nature and underscores the importance of soil and water, two natural resources we vitally depend on but often take for granted. This is a living laboratory that reveals nature's ability to restore itself while giving visitors a first-hand experience of humanity's relationships and responsibilities toward nature.
All Architecture Comes from Weaving I, 2007, ink on paper, 56 x 76 cm
Caracas: Growing Houses, 2012, building materials, engery-, communications- and and water-supply- infrastructure, approx. dimensions: 480 x 745 x 315 cm, installation view at Hamburger Bahnhof, Museum für Gegenwart, Berlin
Installation view "Marjetica Potrč – Indigenous Knowledge", Galerie Nordenhake Stockholm 2016, utilitarian objects on shelf
The Basket Weaver Weaves Difference, 2016, ink on paper 56 x 76 cm, framed 63 x 83 cm, fiber basket 19 x 25 cm
Rural Studio: The Lucy House Tornado Shelter", Galerie Nordenhake Berlin 2007, building materials and communications infrastructure, 340 x 410 x 445 cm
Installation view "Marjetica Potrč – Rural Studio: The Lucy House Tornado Shelter", Galerie Nordenhake Berlin 2007 (right), Reference Images (left)
Power Tools for Urban Explorers, 2005, experimental prototypes and utilitarian objects on shelf, printed drawing
Soweto House with Prepaid Water Meter, 2012, building materials and water-supply infrastructure, Installation view at The Eli and Edythe Broad Art Museum, MSU Michigan State University, East Lansing, MI
Installation view Venice Biennale 2009
Site specific installation "Marjetica Potrč and Ooze (Eva Pfannes and Sylvain Hartenberg) – Between the Waters: The Emscher Community Garden", building materials, energy and water-supply infrastructure, vegetable garden, Emscherkunst, Essen 2010
Site specific installation "Marjetica Potrč and Ooze (Eva Pfannes and Sylvain Hartenberg) – Between the Waters: The Emscher Community Garden", building materials, energy and water-supply infrastructure, vegetable garden, Emscherkunst, Essen 2010, details
A Hippo Roller for Our Rural Times, 2005, utilitarian object with inkjet print, object: 120 x 70 x 50.2 cm, print: 155 x 85.1 cm (framed)
Xapuri: Rural School, building materials, energy and communication infrastructure, 2006, installation view at How to Live Together, 27th São Paulo Biennial 2006 (source image left)
Florestania, 2006-2010, Ink on paper, Series of 12 drawings each 27,9 x 21,6 cm, framed 35 x 29 cm
Florestania, 2006-2010, detail
The Cook, the Farmer, His Wife and Their Neighbour, 2009
In collaboration with Wilde Westen and supported by the Stedelijk Museum Amsterdam
The Cook, the Farmer, His Wife and Their Neighbour, 2009
In collaboration with Wilde Westen and supported by the Stedelijk Museum Amsterdam
The project is a community garden and community kitchen in the Nieuw West district of Amsterdam. A previously unused site at Lodewijk van Deysselstraat 61 becomes a community kitchen. The vegetable garden is located behind the kitchen in a former fenced-off 'look-only garden' (kijkgroen). The garden and the kitchen create bonds within the neighbourhood and become a catalyst for transforming not only the public space but also the community itself. The project is an example of 'redirective practice', with people from various disciplines and backgrounds working together to find new ways to build a shared community. The project is a case study for redesigning the modernist neighbourhood from below and redefining rural and urban coexistence.
Hope after Modernity: The Story of the Residents of Amsterdam's New West, 2009, Detail
Hope after Modernity: The Story of the Residents of Amsterdam's New West, 2009, detail
Hope after Modernity: The Story of the Residents of Amsterdam's New West, 2009, detail
Hope after Modernity: The Story of the Residents of Amsterdam's New West, 2009, detail
Hope after Modernity: The Story of the Residents of Amsterdam's New West, 2009, detail
Installation view "Marjetica Potrč – New Citizenships", Lingen Kunsthalle, Lingen 2009, Tirana House, building materials and communications infrastructure (source image left)
Installation view "Marjetica Potrč – Burning Man: Tensegrity Structure and Waterman", Galerie Nordenhake Stockholm 2008; Reference images (left), building materials and energy infrastructure
The tensegrity structure is based on a design first developed by Buckminster Fuller and Kenneth Snelson in which its stability is result of the principal of the balance of push and pull. Here the shelter is upgraded with self-sustainable technologies such as a solar canopy and a wind turbine, which power the water pump that serves the Waterman, a cooling bath respite in the desert heat.
Installation view "Marjetica Potrč – Revisiting Home", nGbK, Berlin 2006, Permanently Unfinished House, building materials and communications infrastructure
Installation view "Marjetica Potrč – Tirana Designs", Lingen Kunsthalle, Lingen 2009
Core Unit, 1996, building materials, installation view at Skulptur Projekte Münster, 1996 (source image left)