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ARCHIVE · 2017

"THE PAINTING IN A PAINTING" in Croatian 20th century

9.11. - 10.12.2017

The “Painting in a Painting” exhibition in Croatian 20th century Painting explores works of Croatian painters in which depictions of paintings appear, whether portraits, still lifes or interiors in the most restricted sense. Its main focus is on works of painters from Dubrovnik. Presented is work of Vlaho Bukovac, Ljubo Babić, Ivo Dulčić, Branko Kovačević, Tomislav Krizman, Antun Masle, Juraj Plančić, Zlatko Prica, Đuro Pulitika, Milivoj Uzelac, Emanuel Vidović and Ivo Vojvodić.


Milivoj Uzelac, Self-portrait, 1913., oil on canvas

In one of his very early self-portraits of 1913, Milivoj Uzelac (1897-1977), puts in the background, in order to bolster up the dandified charge of the self-portrait, a "painting in a painting".

Rozana Vojvoda


Juraj Plančić: Nude, 1929., oil on canvas

Juraj Plančić (1899-1930) with his "painting in a painting" depicting a couple of lovers in the Nude of 1929 heightens the sensuality and carnality of the scene with the depiction of a robust female nude of Rubenesque descent.

Rozana Vojvoda

 


 

EMPTINESS: A Selection of 21st century Croatian Photography

12.10. - 5.11.2017.

The exhibition displays the photography that presents just a hint on the Croatian visual scene of the 21st century. The exhibits / works were born with a shift from a physical presence of man and are extracted from the series of with some. Presented is work of Jelena Blagović, Boris Cvjetanović, Petar Dabac, Sandro Đukić, Marko Ercegović, Davor Konjikušić, Igor Kuduz, Antun Maračić, Ana Opalić, Marina Paulenka, Jasenko Rasol, Davor Sanvincenti, SofijaSilvia, Sandra Vitaljić and Borko Vukosav. Their starting points are different, readable in multi forms and dangereously / serious.


Boris Cvjetanović: From the series CITY II, 2004-2015, digital color photography, Inkjet print

 

Emptiness is looking at us from things, because emptiness is what we have instilled in them in our best intention to annihilate our own stances. It is our effort to shake off the human and his plural cogitations from us. One element missing in the process is the recognition of missing as innocence, in singular form, as a farewell to everything.


Antun Nodilo,
from a letter sent by e-mail to MOMA Dubrovnik

Jelena Blagović: From the series ABOUT HER, 2013-2014, digital color photography, ink jet


Marko Ercegović frames (Pie in the Sky, 2011), for example, a facade of a building as a flat, closed surface on a day with clouds of a similar hue, interacted with lines of antennas through its center; the other part of the frame shows fragments of tops of deciduous trees. 

Anonymous author

Marko Ercegović: ZAGREB, 2009., From the series PIE IN THE SKY, 2011, digital color photography, ink jet

 

 


 SRĐAN VUKČEVIĆ: Les Grandes Plages

3.8. - 1.10.2017

Author of the exhibition: Marin Ivanović

Srđan Vukčević deals primarily with figurative motifs - portraits of historical figures, flirtatious women and overly serious men, vases with flowers, angels and putti, cups, tea kettles, perfume bottles and little boxes, all represnted in the rococo and empire style; fin de siècle fruit baskets, trays, jewelry and ribbons, hats, parasols and dresses; 1920s bathing suits, wicker chairs and beach awnings; dogs, cats and irds, marottes and toys, tables, chairs and sofas, masks and other unusual items. All of these motifs incorporate two basic components we can discern from Srđan's creativity, his environment and his personality, namely the intellectualism and nostalgia.


Srđan Vukčević: Portrait with Birds and a Cat, 2017., oil on canvas


(...) the imagination of Srđan Vukčević is marked by the proliferation of themes and motifs, and by the consistency of his style that has been developing in a refined and authentic manner over the last thirty years. He deals primarily with figurative motifs - portraits of historical figures, flirtatious woman and overly serious men, vases with flowers, angels and putti, cups, tea kettles, perfume bottles and little boxes, all represented in the rococo and empire style; fin de siècle fruit baskets, trays, jewelery and ribbons, hats, parasols and dresses (...).

Marin Ivanović

Srđan Vukčević: Portrait with Pearls (Boba), 1986., oil on canvas


 



LJUBO IVANČIĆ: In Praise of Painting

9.6. - 30.7.2017

Author of the exhibition: Zvonko Maković

It is easy to see in the painting of Ljubo Ivančić that certain motifs, or perhaps they should be called genres, inform the whole of his artistic life. The most represented are nudes and self-portraits. Indeed, these two themes tend very often to come together, and we can find in the paintings depictions of the nude and the painter himself. If we go further on ito explanations and attempt to locate the human figures shown, to determine the place of their being, we will discover that they are located in the painter's studio. But we are more interested in what the painter is representing, and why, what he wants to tell us with such a selection of figures, what exactly they mean.


Ljubo Ivančić: Self-portrait with brush and palette, 1992.


Ljubo Ivančić: Red Studio, 1990.

 

Ljubo Ivančić: Elongated figure in black, 1966.


Ljubo Ivanović: Painter with female figure, 1977.



 

TOMISLAV BUNTAK: A Human Garden of Grace

11.5. - 4.6.2017

Author of the exhibition: Vesna Delić Gozze

The painting of Tomislav Buntak, in its iconography and the manner of working, has since its beginnings in the 1990s, a soothing effect, has a kind of therapeutic impact on the viewer. This is a figuration that is focused on oases of peace, a restful levitation in a zero-g state, a kind of visual verison of Hegel's phenomenology of the spiritual as space inhabited by free and self-aware beings, pure in themselves, bearers of inner mortality, capable of encompassing a wise simplicity.

Tomislav Buntak: Sea Scene, bitmap drawing on paper


Buntak knows the difference between good and evil, between good and bad art, sincere and fake, as he knows that God gave him the power of perception: the emotion and the mind to make the decisions himself and to live the faith. (...) As wečč as stylised skill, here respect is given to the artist's first love strip with enigmatic speech bubbles. Actually, flicking quickly through them, we pass through the autor's outstanding art of framing, his pictorial narrative feeling for adventure, and the attitude to other, exotic, cultures, religions and civilisations.

Željko Marciuš

Tomislav Buntak: Japanese diary, gold and silver pencil on paper


 



DUBROVNIK MOMENT IN THE FINE ARTS 3: PAINTING AND SCULPTURE

9.3. - 9.4.2017

Author of the exhibition: Marin Ivanović

Dubrovnik Art Moment 3 originated primarily from the need of Dubrovnik people to gain insight into the actuality of artistic creativity, and only then from the desire of certain visual artists to exhibit their works at the Museum of Modern Art Dubrovnik. The permeability of the "critical sieve" of this exhibition reflects the desire for establishing the Dubrovnik artistic reality, contrary to the insistence on quality, as is the case with other thematic and solo exhibitions.

 

Looking at the works included in the current exhibition I can say with great pleasure that the panel did a good job. Over eighty artists, or more precisely 88 visual artists of different profiles and different stylistic features, responded to the call for submissions. Among them there are a few well-known renowned artists, as well as a large number of those who have just stepped into the artistic scene. Some of them are trained artist, and some are self-taught-amateurs / Sunday painters. Most of them are inclined to traditional, artisanal techniques and forms of work, but there are those who prefer the process-based, expanded-media-assisted artistic practice.

Antun Karaman

 

Tonko Smokvina: In the Quiet I, 2016., diptych, acrylic, canvas

 

Tonko Smokvina was born in Dubrovnik in 1980. In 1998 he graduated from the Luka Sorkočević Art School in Dubrovnik, painting designer major. He then took a degree in painting at the Academy of Fine Arts of Zagreb University, class of Eugen Kokot, in 2003. Apart from painting, he also teaches. He is a member of the Croatian Artists' Association Dubrovnik and has exhibited at many individual and collective exhibitions at home and abroad.  

Ivan Perak was born in 1983 in Dubrovnik. He took a degree in painting in 2007 in the class of Antun Boris Švaljek at the Široki Brijeg Academy of Fine Arts of Mostar University. He then attented and completed the post – graduate Ars Sacra course at Široki Brijeg Academy of Fine Arts in 2009, supervised by Anto Kajnić. He has taken part in many art colonies and a lot of charity work, and is a member of the Croatian Artists' Association Dubrovnik.

Ivan Perak, Ships-Ship I, 2016., combined technique, canvas

 


 

FRANCIS BACON: The Boundaries of the Mind

22.12.2016 - 26.2.2017

Author of the exhibition: Vesna Delić Gozze

The independent painterly topology of metaphysics arising out of Bacon's idea of the brutality of fact and the phantom presence close to the photographic technique that this painter often used as an original in his work, turning it into the main support in the creation of a provocative word of paintings and drawings is far from the steretype of the moribund traditional code of aestheticisation. Bacon's image is dystopian, and when there in it is not specific ontology of violence, it is still terrifying from the loss of illusion about the identity of the figures. Still, from the example of a series of Bacon's drawings, the input of irony is along the lines of surrealist automatism of creation and shows solacing figures of the human wish for change and the possibility of the victory of Good through the painter's fragile equilibrium of a diffuse world of incessant change.


Francis Bacon: Pope, pastel on paper

It is true, of course; the Pope is unique. He's put in a unique position by being the Pope, and therefore, like in certain great tragedies, he's as though raised on to a dais on which the grandeur of this image can be displayed to the world.

Francis Bacon


Francis Bacon: Self-portrait. pastel and collage on paper

The deformed physiognomies, the unnatural positions of the limbs seen at once from various perspectives that are it were testing out the borders of connection with the body, the emphasised facial expressions the shrieks from which continue in the nearby brush or pencil strokes and explode in the graphism of the forces, showing the completely personal expression and vibration of just vented aggression.

Vesna Delić Gozze