Marija Skočir

Marija Skočir

  • University of Ljubljana: Faculty of Arts / Faculty of Social Sciences
  • Department of History of Art / Department of Communication
Participant in 2016
Work history 2009–Present:
Art gallery director, curator
Jakopič and Vžigalica Gallery; Museum and Galleries of Ljubljana
Curated more than 12 exhibitions and managed more than 60 exhibition projects (of which more than 30 international); in 2010 and 2013: deputy commissioner of Slovenian Pavilion at Venice Biennial; managing the programs of two galleries (min. 12 projects a year).
Main tasks:
- Curating exhibitions (selecting artists and works; cooperating with artists if living or their representatives; writing catalogues- and exhibition texts; providing information due to the standards of accessibility and inclusiveness; handling art pieces; supervising setting-up of the exhibitions, managing the procedures of borrowing exhibitions; supervising the design and preparation of museum exhibits and displays, editing exhibition catalogues; overseeing the development and coordination of guided tours for adults and schools and educational programs, lectures and workshops, etc.)
- Developing and implementing international cooperation with institutions, curators and artists.
- Prepare budgets, written reports and forms related to gallery operations.
- Demonstrate continuous effort to improve operations, decrease turnaround times streamline work processes, and work cooperatively and jointly to provide quality seamless visitors' service.
- Develop and implement publicity and marketing strategies for the museum.
• Managing the budgets for exhibitions, accompanying events and daily operations.
• Managing the maintenance of exhibitions and venues.
• Personnel management.

PR and marketing Consultant; cultural project manager, junior assistant curator
City Museum of Ljubljana

Coordinator of cultural events
EventPlus, event management
Duties included organization activities, coordination and communication with performers, PR communication and design, working with children, presenting evening events

Summer 2000, 2001:
Museum database registrar
Regional Museum of Koroška, Slovenj Gradec
Study history October 2014 - ongoing
PhD in Art History,
Department of Art History, Faculty of Arts, University of Ljubljana (the theme of doctoral dissertation: Magnum photographers of Central Europe)

BA Art History & Comparative Literature and Literary Theory
Department of Art History & Department of Comparative Literature and Literary Theory; Faculty of Arts, University of Ljubljana
BA final thesis (Art History): »Slovene Social Documentary Photography in the Period of Late Sixties«
BA final thesis (Comparative Literature): »Translating Walt Whitman’s Poetry into Slovene«
Publications Publications and chapters in publications:
• Marija SKOČIR, Antoni Clavé in Jakopič Gallery in Ljubljana, in: Antoni Clavé, Svet umetnosti / A world of art: 1934-2002, (Ljubljana, Muzej in galerije mesta Ljubljane, ed. Marija Skočir, 15. 1.–28. 2. 2010), Ljubljana 2010, pp. 11–13.
• Marija SKOČIR, Visualised Poetry of the Body, Tone Stojko, Telo v igri / The body in play / Il corpo ludico, (Ljubljana, Muzej in galerije mesta Ljubljane, 21. 4. 2011–3. 7. 2011, ed. Marija Skočir), Ljubljana 2011, pp. 5-14.
• Marija SKOČIR, Black on Black, in: Jože Suhadolnik, Album: Neue Slowenische Kunst, (Ljubljana, Muzej in galerije mesta Ljubljane, 17. 1. 2012–18. 3. 2012, ed. Marija Skočir), Ljubljana 2012, pp. 8–11.
• Marija SKOČIR, Bine Krese. Slike / Paintings 2009-2012, Ljubljana 2012, pp. 4–7.
• Marija SKOČIR, What is, and what is possible; in: Tim Etchells, Kaj je in kaj je mogoče / What is, and what is possible, (Ljubljana, Muzej in galerije mesta Ljubljane, 28. 2. 2013–28. 4. 2013, ed. Marija Skočir), Ljubljana 2013, pp. 4–14.
• Marija SKOČIR, Skozi labirint časa vodi pot iskanja pranavdiha, in: Jože Ciuha, Labirint časa - retrospektivna razstava / The Labyrinth of Time – retrospective exhibition, (Ljubljana, Muzej in galerije mesta Ljubljane, 17. 12. 2013–13. 4. 2014, ed. Marija Skočir, Barbara Savenc, Nika Perne), Ljubljana 2013, pp. 57–81.
• Marija SKOČIR, Ustvarjanje – kvintesenca obstoja, in: Marko Modic, Peti element, (Ljubljana, Muzej in galerije mesta Ljubljane, 24. 2.–26. 4. 2015, ed. Nika Perne, Petra Radoja, Marija Skočir), Ljubljana 2015, pp. 6–21.
• Marija SKOČIR, Osebne mitologije Stojana Batiča / Personal Mythologiesof Stojan Batič, in: Stojan Batič, Človek in mit – retrospektivna razstava / The Man and the Myth – retrospective exhibition, (Ljubljana, Muzej in galerije mesta Ljubljane, 12. 5.–16. 8. 2015, ed. Marija Skočir, Barbara Savenc, Nika Perne), Ljubljana 2015, pp. 9–15.
• Marija SKOČIR, Aquæ lasæ. Čudežna moč vode. Mladinski vodnik po razstavi: Najnovejše rimske najdbe na območju Varaždinskih Toplic = Recent Discoveries of Roman Remains in the Region of Varaždinske Toplice, (Ljubljana, Galerija Cankarjevega doma, 21. 5.–26. 10. 2014), Ljubljana 2014.
• Marija SKOČIR, Nagrada Hinka Smrekarja za življenjsko delo: Jože Ciuha: Prva je bila beseda, 11. slovenski bienale ilustracije = 11th Slovenian Biennial of Illustration, (Ljubljana, Cankarjev dom, Ljubljana, ed. Nina Pirnat Spahič), Ljubljana 2015, str. 15–17.

Articles in magazines:
• Marija SKOČIR, Poezija Walta Whitmana v luči slovenskih prevodov, Hieronymus: revija o prevajalstvu, III/1-2, 2009, pp. 59-86.
• Marija SKOČIR, Umetnica, muza, mati. Fotografinja Lee Miller (1907–1977), Fotografija: revija o fotografiji, XV/43-44, 2010, pp. 36–41.
• Marija SKOČIR, Tone Stojko. Fotografije so moje pesmi, Mentor: mesečnik za vprašanja literature in mentorstva, XXXII/4, 2011, pp. 33–38.
• Marija SKOČIR, Povsod tujec, nikjer neznanec. Josef Koudelka, Fotografija: revija o fotografiji, XIV/59-60, 2014, pp. 14–22.

Phd Projects


The Significance of Magnum Photo Agency for Central European Photography: The Images of Central Europe in Oeuvres of Magnum Photographers, the Presentations of Their Work in Central Europe and Their Significance for Central European Photography

My PhD project is a cross-sectional study integrating media studies and art history. It focuses on the Magnum Photos agency, a milestone in the history of photojournalism, which can be claimed to have marked the post-WWII photography. By founding Magnum in 1947, already established photographers organised as a community for the very first time to preserve their autonomy, sustain their authority in publications of their photos and protection of their rights. Magnum represented a break with the previously established position of photojournalist as a visual recorder of events, or “illustrator” of written stories, rather establishing them as authors whose contributions opened up a new communication channel, a new visual code. After nearly 70 years of existence, the agency still preserves its unchanged model, despite radical technological, economic and cultural transformations in photography, publishing and media.
Magnum Photos Agency has been spreading its activities and presentations globally, yet in Central Europe its production was presented and received exceptionally well from early on – particularly in media where illustrated magazines were seeking to be restored to their high level after World War II, and in museums and galleries, as its founders were well aware of the importance of exhibitions. Several currently most prominent members of Magnum originated in Central Europe, and several others were working there.
This is the basis for my hypothesis that great presence of Magnum photographers in this area influenced further Central-European photography production in terms of form, style and contents, and not only within photojournalism, but also auteur photography.
My research issue arising from this hypothesis is: What are the factors in oeuvre of Magnum photographers that have influenced the Central European photography and how, or what aspects could be used to prove this influence in works of Central European photographers. In my thesis I will be searching examples to confirm the hypothesis on the existence of formal, stylistic and thematic influences, and seeking to objectify parallels that can be drawn while comparing Magnum and other Central European photographers. I will seek to explain a wider ethical and social contribution of Magnum Photos, such as establishing the photojournalist as an author, and the photography mission as a messenger of humanistic values.
With my thesis I wish to contribute to the understanding of photography as a medium that can promote integration of art history and other sciences, such as visual studies, media studies, communication studies, sociology and other humanities.


Dissertation title The Significance of Magnum Photo Agency for Central European Photography
Year of defence 2018

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