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ARCHIVE · 2016



29.7. - 2.10.2016.

Author of the exhibition: Vesna Delić Gozze
Authors of the texts in the exhibition catalog: Tonko Maroević, Vesna Delić Gozze, Irina Subotić, Ivana Udovičić


Edo Murtić

The presence of a canon, of a standard in the culture that has been handed down to us, amply explains the wonder that the inheritance of Dubrovnik has so generously provided.  Measure and scale, the canons of this city, are a parameter according to which, as far as circumstances have admitted of it, the authors of this exhibition have endeavoured to move, in their selection of authors of the exhibits and the degree to which their works are represented. The City as mythic place of meaning, a corpus set aside for living and contemplation, for getting in touch with one’s own thoughts and feelings, is that produces a particular kind of comportment by fellow citizens, by constant and occasional visitors, a point that as the ability to attract old and new travellers, above all because of the layers of urban traces in consonance with their surroundings, adjusted to each other to such an extent that the synergy is as it should be.  The city, with streets like pores cut into the stone cubes of houses and with squares that are teh stage settings for the gathering of one’s own thoughts, offers signs of differing times, tells of the cultural landscape that has graced this city for centuries.  

Vesna Delić Gozze

Đuro Pulitika

Staging Dundo Maroje, a comedy located in a foreign setting, Marin Držić addressed his fellow citizens the rhetorical question: Does it seem a miracle to you to look at Rome from Dubrovnik? It seemed a good idea on this occasion to paraphrase, or actually, to invert this celebrated query and to apply it to the exhibition that will bring together paintings created very close to the exhibition venue itself, paintings that have the wish and ambition to present their view of the very setting in which they are shown. Does it seem to you a miracle to look at Dubrovnik from Dubrovnik?, then, suggests the undisputable making-strange of the effect of the same or similar motifs and views being seen in such different, frequently even disparate, manners. Our wonder at the richness of the creative seeing of Dubrovnik’s streets and squares, facades and roofs, greenery and gardens is a kind of affirmation of the accumulated beauty and complexity of the City, a confirmation of the felt harmony of outstanding cultural attainments and natural conditions.

Tonko Maroević

Atanasije Popović

If, using the example of just two painters, Petar Dobrović and Predrag Peđa Milosavljević, we cast a glance at their vision of Dubrovnik, we will sense the huge richness, as well as the differences in approach. This also tells of the enormous and extraordinary strength of Dubrovnik as visual and spiritual spur to creativity in all the disciplines, most of all, probably, in painting. 

Irina Subotić

Petar Dobrović 

Artists began to show the greatest interest in Dubrovnik in the first decades of the twentieth century, at the same time as the development of Modernism in these areas. It became a kind of informal artists’ colony, which occupied an important place in the biographies of a number of painters, but at the same time created a fertile ground for the origin of a home-grown art scene.


Ivana Udovičić


2.6. – 24.7.2016.

AuthorIvanka Reberski

The exhibition OD KRKA DO GALAKSIJA MILA KUMBATOVIĆ retrospective has been open on June 2nd at Museum of Modern and Contemporary Art Dubrovnik.

ŠKOLJ SV. MARKA U NEVERI – REKVIJEM ZA ŠKOLJ, 1965. -1976., ulje, kolaž na platnu, 116 x 181 cm, privatno vlasništvo 

VRŠIDBA NA KRKU, do 1948., ulje na platnu, 100 x 73 cm, Umjetnička galerija Dubrovnik


1915 June 17, Mila Kumbatović was born in Omišalj, island of Krk, to a seafaring family. 1927 She moved with her family to Zagreb, and after that lived and worked in this city. 1934 Enrolled in the Law Faculty of Zagreb University, soon dropping out however. 1945-1940 Studied painting at the Academy of Fine Arts in Zagreb (taught by Babić, Mujadžić, Kljaković, Krizman, Hegedušić and Tartaglia). 1940-52 After her degree, she taught art in secondary schools in Glina, Sisak and Zagreb. 1952  She left teaching, and became a freelance artist. 1945 Marriage with the painter Oton Gliha, whom she had met at the Academy. 1946 Exhibited for the first time at the ULUH Exhibition. 1953/1954 Spent time studying in Paris and London; started the geometrical stylisation of the Krk urban agglomerations of Omišalj, Malinska, Jurandvor, Vrbnik and Bakar. 1956 A son was born, Milen. 1960/1961 Creation of the cycle World of Stone. 1975 In Sisak Steelworks, the first works of industrial sculpture were created. 1980-1985 In Samobor’s Kristal factory, created sculptures in glass.

1990/1991 A new cycle of Krk landscapes was created. 1993 Her son Milen was killed in an accident. 1996   A number of retrospectives in Zagreb, Rijeka and Split.1997. A new cycle of "Space Landscapes" was started.  1999 The death of her spouse, the painter Oton Gliha. 2002 On Vis island, a cycle of Vis landscapes was created; she put on an exhibition of glass in Zagreb. 2003 A big retrospective was held in the Klovićevi dvori Gallery in Zagreb, and a monograph was published. 2004 Mila Kumbatović died; she was buried in the cemetery in Omišalj, side by side with son Milen and husband Oton.

Sculptures in public by Mila Kumbatović are displayed: in front of and in the grounds of the Zagreb Fair; at the entrance to JANAF in Omišalj; in the Peščenica Culture Centre, Zagreb, where there is also a big mosaic; in front of the Haludovo Hotel in Malinska; in the Gredel rolling stock factory, and the Textile Machine Factory in Zagreb; in the sculpture park of the Croatian Academy Glyptotheque in Zagreb.

MRTVA PRIRODA S PJETLIĆIMA, 1953., ulje na platnu, 68 x 56 cm, Umjetnička galerija Dubrovnik

KRUŽENJE, RASPADANJE I SPAJANJE SATELITA I, 1997., ulje na platnu, 73 x 100 cm, privatno vlasništvo

KOZMIČKA FIGURA, 1978., čelik, željezo, 30 x 16 x 16 cm, Muzej moderne i suvremene umjetnosti u Rijeci



22.4. – 29.5.2016

Author: Petra Golušić

The works shown in the exhibition Uncovering the Body – Works from the Museum’s Collection tell of the human need for the representation of the naked body. They belong to the end of the 19th century, extend across the dramas of the 20th century and find their way into the most recent expressions. Included in the selection are 155 exhibits, some of them productions of foreign but mostly of local or Croatian artists, all of them taken from the collection of the Dubrovnik Museum of Modern and Contemporary Art. The selection includes works of painting, drawing, printmaking, sculpture and photography. Not included is the motif of the naked body that is applied within Christian iconography. All told, 45 artists are represented. The exhibition also features some of the works that are anyway part of the permanent display of the Museum – on the ground floor, the first floor and the terrace. 

Gabro Rajčević, Under the shower, 1940-1943

Andrija Maurović, Studies of dancers, 1923

Vlaho Bukovac, Study of satyr

Ivan Kožarić, Sitting boy, 1955

The exhibition enables an insight into works whose individual styles record the sensitive character of the spirit that interprets itself through forms that are quite often deployed as central or totemic. A theme that mankind has found compelling since the beginning of visual creativity is being narrated. The uncovered body, or the just adumbrated body, is represented as that area of human perception that is basic, for it is the fundamental element of existence. The nakedness of the body is a metaphor that according to Heidegger exists only within metaphysics. Accordingly covert and codified meanings are represented, irrespective of whether we are concerned with some picture from Modernism or some contemporary idiom. /…/ Always concerned is some continuity of the interpretation of fragments of universal thinking, notions, visions and markers of the body being thereby created that belong to various creative practices. /…/ Artists who have had the courage create in their uncoverings of the body a special power of open expanses. Various depictions based on semantics, ideology and value judgement occur; the process of the liberation of the body creates an intriguing area of polysemous perusal./…/ A territory is created in which there is a clear statement of the continuity of the notation, signification, interpretation and paring down of -  presence.

Petra Golušić

Krsto Hegedušić, Finale 1945, 1975

Milo Milunović, Female nude, 1950-1955

Roman Petrović, Female nude, 1929-1932

Robert Farber, No Model Release, Milan, Italy, 1989

Pavo Urban, Challenge, 1990




11.2. - 17.4.2016.

Organisators: Museum of Modern and Contemporary Art Dubrovnik & Art pavilion in Zagreb

Autor: Tonko Maroević

Curator: Vesna Delić Gozze

The exhibition Ivo Dulčić´s Mediterranean, a retrospective exhibition by one the greatest Croatian painters, Ivo Dulčić has been open in Museum of Modern an Contemporary Art Dubrovnik on 11th February. The exhibition will be on view until 17th April.

Self-portrait, 1944, charcoal

Dubrovnik Summer, 1956, oil on canvas

Stradun, 1950, oil on canvas

Fire on the Island, 1970, oil on canvas

From the first works, from the first lines, so to say, the first strokes recorded, it is possible to see Dulčić’s exceptional ability to see in terms of synthesis, to react vitally, never to adopt motifs apathetically, to translate them, in other words, into visual seismographs of high emotional voltage. In parallel with the acuity with which he fixed subjects in drawing, there also appeared very rapidly a highly emphasised sensitivity to colour, a marked openness to idiosyncratic chromatic solutions and specific tones from the edges of a broad palette. With both of these characteristics of his creative sensibility, the painter elevated every motif he presented to a new level of existence, augmented the intensity of its presentation and thus also ensured a rare coherence of a very personal approach.

Tonko Maroević

Church by the sea, about 1970, gvaš / gouache

Sea urchins, about 1965, tempera

The conflictive tension was evident from the start – it was his fountain of enthusiasm, of rapture and power, his feed of arts and his subjective truth. If expressionism requires and reconfirms that fatal identification, lyrical rapture, a permanent excitement of the psyche, the power of the earthly and the tragic and the steaming nervousness that kindles the vision, Dulčić then was the best medium for it. His passions, beliefs, answers, are written in the colour…

Antun Karaman

On the river, about 1955, gouache


From the intimism of the introverted observer, after his return to Dubrovnik in 1946, Ivo Dulčić first of all produced the shadiness of the atmospheres of stilled spaces. The painter’s journey, arising out of the intensive fever of the quest for accordance with motif, moved in the direction of the anthropomorphic treatment of ground as against figure, while the vibrant brushstroke created out of the painting compositions zones of conductivity and the orchestrated shimmering of the theme being interpreted.

Vesna Delić Gozze


A painter whose vigorous colours and directness were helping him to be both personal and lyrical, in the way to be able to reflect the dilemma of meditation and expression – subtly the former, more primordially the later.

Igor Zidić

Portrait of Antun Masle, 1965, oil on canvas


Ivo Dulčić was born on August 14, 1916, in Dubrovnik, the ninth child (and first boy) in a family that had three years previously moved from Brusje, Hvar Island. In 1934 he graduated from the Dubrovnik Classics High School. During his school years he had gone in for poetry and visual art (he had published caricatures in occasional publications). After his graduation from school, in 1935 he enrolled in the Belgrade Law Faculty; while in Belgrade he boarded with his uncle, Sibe Miličić, poet and painter, but actually spent most of his time at home in Dubrovnik. In this period he was part of the circle around art critic Kosta Strajnić, in which he was able to get to know paintings of modern artists and books about art, as well as the painters themselves. In 1937 he transferred to Zagreb University, where he was ‘all but degree’ in law; in 1941, after a previous failed attempt, he managed to enrol in the Academy of Fine Arts in Zagreb. His teachers, Babić, Mujadžić, Hegedušić and Kljaković noted his talent and appreciated him highly. In 1943 he was mobilised, into what was called the culture battalion, in which he also painted and also socialised with colleagues and friends, particularly Kožarić, Jevšovar, Švertasek and Kinert. Immediately before taking his BFA in 1946 he got into a quarrel with Đuro Tiljak, a professor, and clashed with the champions of socialist realism. He quit the Academy and returned to Dubrovnik. For a time he ran a little painting school, in which many future painters (Stanić, Gusić, Grbić) had their first lessons. He spent a lot of time with friends from the “Dubrovnik circle”, the painters Antun Masle and Đuro Pulitika. In 1948 he exhibited for the first time at the collective exhibition of ULUH, Dalmatian branch (in Split and Zadar). His first solo show in Zagreb in 1950 was a hit. In 1951 he went abroad for the first time, visiting Venice, Florence and Rome in the company of artists. A considerable fillip to his reputation was given by the invitation from Ljubo Babić to exhibit his work in a group of selected pupils (along with Bulić, Mušić, Stupica, Tomašević and Nevenka Đorđević). In 1955 he bought a little flat in Zagreb, where he spent most of the year, never leaving Dubrovnik for good however. He regularly spent his summers in Lozna Bay, on the family holding on Hvar. After a second independent exhibition in 1956 in Zagreb, it was increasingly clear that Dulčić had an important place in modern Croatian art; for the first time he was included in selections of national painting meant to be shown mainly abroad. An important step in the making of his reputation was the publication of a small monograph by the publisher Naprijed (1958), written by Radoslav Putar, who had followed his work with particular empathy. In 1959 he ventured to produce the monumental fresco Christ the King in the Split Church of Our Lady of Health, thus starting an exceptionally valuable part of the religious part of his oeuvre. A new achievement in this context came in the stained glass windows for the Franciscan church on Zagreb’s Kaptol (1960-1964), a real masterpiece in this technique, completely exceptional in the contemporary setting. Having made his reputation as a colourist of a mainly Informel facture, with associative motifs on the very verge of abstraction, he made a turn towards the New Figuration in his eleventh solo show in 1965, exhibiting a number of inspired portraits. The same year he earned the City of Zagreb Prize; in 1968 he self-published a new small monograph, with a foreword by Matko Peić. In the last decade of his life he was extremely busily engaged on numerous tasks of a mural-environmental nature (in frescos, mosaics and stained class), mostly in churches, but also in various social premises, both at home and abroad. A retrospective exhibition was held in the Modern Gallery at the end of 1969 and early 1970. Ivo Dulčić suffered a short and grave illness and died on March 2, 1975, in Zagreb.

Interior, 1953, oil on canvas



15.01. – 07.02.2016.

Curated by: Rozana Vojvoda, PhD


Tina Gverović works with installation, drawing, painting, sound, text and video. Her work – often in the form of immersive, disorientating installations – engages with space, territory and identity and how these concepts are bound to imagination. She finished BA in Fine Arts at the Academy of Fine Arts in Zagreb in 1997, MA at Jan van Eyck Academy in Maastricht in the Netherlands in 2000 and holds a doctorate from Middlesex University in London in 2013. She recently showed work in Raum mit Licht Gallery (Vienna, 2015), Tate Modern (London, 2014), MSUB (Beograd, 2014), SE8 Gallery (London, 2013), and The Garden of Learning – Busan Biennial (Busan, 2012). She took part in residency programms in Sweden (Baltic Art Centre, Visby, 2012), Austria (Kultur Kontakt, Vienna, 2011), United States of America (ISCP, New York, 2006).

Inventory, 2016, installation with indigo dyed clothing and fabric

On Friday January 15th at 7 p.m. in the Museum of Modern Art Dubrovnik, Tina Gverović, Dubrovnik artist recognized nationally and internationally, opened solo exhibition entitled “Sea of people”. It includes the works that in a specific manner in an active relationship with the space of the Museum question the Mediterranean ambient. The idea of the Mediterranean that stems from her works is interwoven with the complex ideas of coastline, movements and migrations, interfusions that she problematises in different media – in the print, the painting, the installation,
video and audio works as well as in the form of the short story. The actual reading of some of the works is dependent on a complex relationship with the exhibition as a whole, which in its flow represents a journeying, a discovery process, the creation of a series of associations.

From the series of paintings Choose Your Time, 2007, acrylic on canvas

series of paintings At First Sight I-III, 2006, acrylic on canvas

Testing the Waves I-II, 2016, video, HD loop



A Retrospective Exhibition Commemorating the 40th Anniversary of the Death and the 110th Anniversary of the Birth of the Artist

November 20th , 2015 – January 10th, 2016

Author of the exhibition: Davorin Vujčić, MA, Gallery of Antun Augustinčić, Klanjec
Curator: Rozana Vojvoda, PhD

An artist of both temperament and skill, Vanja Radauš was a creator of inexhaustible interests, he was learned and a fierce opponent in an argument, one of our most prolific 20th century artists. In this retrospective exhibition, the Dubrovnik Museum of Modern and Contemporary Art brings together a cross section of Radauš’s work; its opening in 2015 will commemorate the fourth decade since his death, and its close in 2016 the 110th anniversary of his birth.

Fish (from the series Prisons and Camps), 1969, bronze


Convict, 1940, terracotta

This exhibition numbers around 150 works (sculptures, medals, drawings) borrowed from a wide range of public cultural institutions (Municipal Museum Vinkovci, Gliptoteka HAZU, Archaeological Museum in Zagreb, Croatian Historical Museum, Croatian Conservation Institute, Modern gallery in Zagreb, Gallery Klovićevi dvori) as well as from the private owners. One of the curiosities of the exhibition is that some sculptures are represented to the audience for the first time.

Woman Striding with Fish, 1966 (cast 1995), bronze

The sculptures belong to all the phases of his oeuvre and include the works done in thirties and forties, post-war series Typhus Sufferers (1958), Panopticum croaticum (1959-1961), Man and Karst (1961-1964), Bloody Carnival (1965-1966), the abstract forms that appeared in Radauš’s oeuvre in the mid-60s, series Prisons and Camps that grew out of organic and abstract forms and the works from his last years when he revived his memories of childhood and Slavonia.

Slavonian Woman, 1953, stone

Vanja Radauš left a powerful mark on sculpture, in a range of genres and techniques including medals, small-scale sculptures in terracotta, plaster and stone, wax and bronze, as well as monumental sculptures. In his series of sculptures, he opened up vistas previously unknown and is with good justice considered one of the most significant figures in Croatian sculpture of the 20th century.

Prospecutor (from the series Panopticum coaticum), 1959-1961, synthetics


Ivan (Vanja) Radauš was born on April 29 in Vinkovci, where he spent his childhood. He studied sculpture at the Academy of Fine Arts in Zagreb from 1924 to 1930 (for the first four years he was taught by Rudolf Valdec and Robert Frangeš-Mihanović, from 1928 to 1930 by Ivan Meštrović). In June 1930 Radauš took his degree in sculpting and in the autumn travelled to Paris. Socially sensitive and committed, in 1932 Radauš took an active part in the Zemlja Artists Association, which was to have far reaching implications for his artistic development. 
From 1940 – 1943, Radauš worked as a job as teacher at the Trades and Crafts School in Zagreb. When the World War II in which he was actively involved was over, Radauš became a part of the nomenclature [socialist Establishment], with appropriate roles and duties. In 1945 he was appointed professor at Zagreb’s Academy of Fine Arts (from 1954 to 1956 and from 1960 to 1962 he was the president of the institution, in 1963 its dean). In 1947 he became a regular member of the Yugoslav Academy of Arts and Sciences and was given the title master sculptor, and put at the head of the newly built master workshop for sculpture at Zmajevac in Zagreb. On April l27, 1975, he committed suicide in his office at Zmajevac, shooting himself with a pistol in the heart. The circumstances surrounding the act were not completely explained, which excited various interpretations and suspicions that are still alive today.