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EXHIBITIONS · Gallery Dulčić Masle Pulitika

Exhibition marking the centenary of artist’s death
/from the MOMAD collection

Duration: 22.10.2020.-31.1.2020.
Curator: Rozana Vojvoda

South-westerly, around 1906., 
oil on cardboard

The Collection of Dubrovnik Museum of Modern Art holds thirty-four works1 by Mato Celestin Medović – on the whole portraits, some works with religious subjects, and landscapes, as well as various sketches and studies. Some of the works from the collection are reckoned to be among the finest that Medović created. The generic diversity that characterises Medović’s works in the Museum of Modern Art in Dubrovnik reflects, in fact, something that has never been sufficiently accentuated – that Medović was an artist who produced works of great quality in various fields of activity – in history painting, and in the religious, portrait and landscape genres.

Rozana Vojvoda

Motif from Pelješac, 1906. – 1908., oil on cardboard


Mato Celestin Medović was born on November 17, 1857 in Kuna, a village on the peninsula of Pelješac. After a year of education at the Franciscan Monastery of Our Lady of Loreto (Delorita) on Pelješac, in 1868 he left for the monastery of the Minorites in Dubrovnik, where he entered the novitiate. There, he started doing drawings and painting in oil, and in 1880 went off to study painting in Italy. He had private lessons in Rome from 1880 to 1882 (Ludwig Seitz, Francesco Grandi), and then from 1883 to 1884 in Florence (Antonio Ciseri). In 1886 he returned to Dubrovnik, but aware of the shortcomings of his incomplete training in 1888 he went to the Academy of Fine Arts in Munich (his teachers were Gabriel Hackl, Ludwig Löfftz and Aleksandar Wagner). The three last years spent in the class of Wagner left the deepest trace from this period, in the spirit of the decorative historical compositions of Karl Piloty. He spent 1893 to 1894 in Dubrovnik and Kuna, and left the order. After Munich, his conception for the making of religious paintings underwent fundamental modifications. Details of setting were rejected, and the paintings were dominated by the monumental figures of the saints. He spent 1895 to 1907 in Zagreb, where under the influence of the plein air thinking and rich colourism of Vlaho Bukovac he changed his brushstroke and invigorated his colours. He is the first of the modern Croatian painters to have emancipated still life as a freestanding subject, which also goes for landscape, which he mainly painted on Pelješac, in plein air, with a bright scale of pure colours. This new visual expression was transferred also to the historical compositions, to paintings with religious subjects and portraits. In 1908 when he returned to his native Kuna, a new period in the painting of Celestin Medović started, forming what is called the Pelješac phase, interrupted by a brief period in 1912 to 1914 when he lived in Vienna. In this period he painted almost entirely landscapes, abounding in the bright southern light and in vigorous colours, with which he made his greatest contribution to Croatian painting. Mato Celestin Medović died on January 20, 1920, in Sarajevo.

Holy Trinity (sketch for a fresco), 1899., oil on canvas


Duration: 13.8.2020.-18.10.2020.
Curator: Jelena Tamindžija

Stars above, 2020, acrylic on canvas, 230 x 130 cm

A fear of the split of reality and the observation of outside space through the opening of Plato’s cave paralyses the individual and stops him accepting the polyvalent nature of man and his own clefts as part of the narrative. Suppressing thoughts, speech and feelings results in the recreation of an uncontrolled chaos and a tendency to connect up the fragments. Šimunović consciously accepts this apparent chaos as inherent to human nature and as driver of the stream of thoughts that will embody this thinking process with large canvases. The works that defy the acceptance of a single determinant are placed at the entrance to the cave showing several worlds and the way they are read. Abstract forms that like Rorschach blots actually examine the status quo of reality take over the role of translation, ripping it rebelliously and unpredictably like the gusts of the north easterly creating rifts within which we find ourselves, never ultimately defined and never ultimately understood.

Tearing up clouds, triptych, 2018, acrylic on canvas, 390 x 140 cm

Ivona Šimunović was born in Dubrovnik in 1979. Here she had her secondary education at the Luka Sorkočević Art School, painterdesigner major. She also took a degree at the Academy of Fine Arts in Zagreb, class of Zlatko Kauzlarić Atač. She is not only a painter, but also an educator. She has worked as a teacher of visual culture in elementary school, has led numerous art workshops for children and adults, and is currently museum educator in the Dubrovnik Museum of Modern Art. She has been a member of the Croatian Artists Association since 2006. She has exhibited in solo and collective shows in Dubrovnik, Pag, Lopud, at the Vizura Aperta Project on Pelješac in 2019. She lives and works in Dubrovnik and her works can be found in private collections in Croatia and abroad.

Geometry of the Impossible, 2020 acrylic on canvas 200 x 120 cm



Duration: 2.7.2020. - 9.8.2020.
Curator: Rozana Vojvoda

                                                                                        Luko, Ana, Jakov, Konavle, Spring, 1998.

Ana, Luko, Jakov, Andrija, Konavle, Summer, 2016.

Portraits is a photographic series that Ana Opalić shot over a long period of time (at this exhibition, the interval from 1997 to the present day) that has to be taken as work in progress or even as a lifetime project. There is the continued process of the artist positioning herself and communicating with the world and the people that surround her, of the “capture” of man in the time that shapes, models and changes us. Since the artist photographs people close to her, family members and friends, this is an intimate act, a recapitulation of relations, communication that she establishes with her other gaze, with the revealing lens of the camera.

Slaven, The City Café, Dubrovnik, 
Spring, 1998

                                                                                                                Slaven, Rijeka, Summer, 2016


Ana Opalić was born in 1972 in Dubrovnik. In 1997 she took a degree in TV and film cinematography at the Academy of Dramatic Arts in Zagreb. Her work takes in photography, video and documentary film. She has exhibited solo since 1991. In 2003 she represented Croatia at the Venice Biennale (with Boris Cvjetanović). She won the 2nd prize in the 2009 competition exhibition. In 2016, with co-author artist Vesna Mackovic, she took the 3rd prize at the T-HTnagrada@msu. hr competition exhibition. She is the founder of the Web portal She was director and cinematographer of two documentary films: Once More (Ana Opalić and Noah Pintarić, 2014) and Medicine, 2018, first screened at the Zagreb Dox and the Dok Leipzig film festivals. She has published two books of photographs: Brsalje, 2017, and Dom [Home], 2018, and, in a joint project with the architect David Kabalin, the book The Dubrovnik Caravan Route, 2019. She lives and works in Zagreb.



Football in Croatian Painting
13. 6. – 8. 7. 2018.
Curator: Milan Bešlić

In the period of one month, from June 13th to July 8th, in the Dulcic Masle Pulitika Gallery all interested will be able to see 25 works of 17 Croatian painters: from classics of Ivo Dulcic, Ljubo Babic and Omer Mujadzic to contemporary authors such as Tomislav Buntak, Boris Svaljek, Boris Bucan, Josko Eterovic and Grgur Akrap.


Miljenko Stančić: A Boy With a Football Ball, 1974, oil on canvas, Owner: Goran Pavletić, Zagreb

It is widely accepted that football is the most popular sport worldwide, or – as the media calls it – “planetary sport”. It is therefore not surprising that competitions are held on all meridians and parallels, at different intervals, in various forms and consisting of different groups and principles, ranging from European to world championships. Likewise, it should be recalled that football is a sport that has been recorded throughout history in different cultures.

Omer Mujadžić: The Football Match, around 1929, oil on plywood, Owner: Museum of Fine Art, Osijek

Marin Ivanović has recognized the values expressed in the artistic language of Croatian painters that we would like to represent by exhibiting their works in the premises of the Museum of Modern Art Dubrovnik and presenting them to the Croatian cultural audience as well as to numerous visitors from all over the world that will be visiting the City beneath Srđ mountain during the summer. Of course, the exhibition is thematically linked to the 2018 FIFA World Cup in Moscow, so it is also putting wind in the football’s sails – not the football in Moscow, but the football taking place in Dubrovnik in the works of Croatian artists.

Grgur Akrap: Big and Small Players, 2014, oil on canvas

Antun Boris Švaljek: Young Little Player, 2018, acrylic on canvas


Artworks from the Donation by Anton Cetín to the Museum of Modern Art Dubrovnik
10. 5. – 27. 5. 2018.
Curator: Milan Bešlić


The productive and versatile visual arts opus of Anton Cetín is well known on the Croatian visual art scene. Likewise, the reception of his work is exceptional outside the national context as well. In emphasizing this trait of the said painter, we are trying to point to the facts on which this statement is grounded.

Milan Bešlić

Anton Cetín: THINKING ABOUT OTHER - WORLDLY PLACE I, 1996, acrylic on canvas

Anton Cetín was born in the village of Bojana near Čazma, Croatia. He attended the School of Applied Arts in Zagreb. From 1959 to 1964 he studied printmaking at the Academy of Fine Arts in Zagreb, where he graduated in the class of professor Marijan Detoni. During his time in Zagreb he worked as an illustrator for a number of publishing firms before moving to Paris where he lived from 1966 to 1968, working for well-known illustrator J. M. Rabec and publisher Larousse. He then moved to Canada, now his permanent home, where he works as a professional painter and printmaker. He has received several awards and honours for his work. Canadian Croatian Artist Society chose him Artist of the Year for 1986. In 1995 he received from the Government of Croatia two honours: The Order of Croatian Danica (Morning Star) with the image of Marko Marulić and The Order of the The Croatian Interlace for special merits in art.


Anton Cetín: THINKING ABOUT OTHER - WORLDLY PLACE III, 2000, acrylic on canvas

Anton Cetín is an artist with an idiosyncratic approach to painting and refined aesthetics. In the surrealist connotations of his painting we find the fragile figures of women, birds, houses, interstellar constructs and others. The female image, later assuming the name of Eve, often accompanied by a bird, constitutes an iconographic motif and metaphorical image that we find as a thread drawn through his entire oeuvre and as his inexhaustible thematic inspiration of the female aspect, fertility and love.



16.03. - 01.04.2018.

Curators: Ana Bedenko, Borjana Katić, Maroje Mrduljaš, Andrija Rusan

Tadao Ando, born in 1941 is one of the most renowned contemporary Japanese architects. Characteristics of his work include large expanses of unadorned architectural concrete walls combined with wooden or stone floors and large windows. Active natural elements, like sun, rain, and wind are a distinctive inclusion to his style. He has designed many notable buildings, including Row House in Sumiyoshi, Osaka, 1976, which gave him the Annual Prize of Architectural Institute of Japan in 1979, Church of the Light, Osaka, 1989, Pulitzer Foundation for the Arts, St. Louis, 2001, Armani Teatro, Milan, 2001, Modern Art Museum of Fort Worth, 2002 and 21_21 DESIGN SIGHT in Tokyo, 2007. Among many awards he has received are; Gold Medal of Architecture, Academie d'Architecture (French Academy of Architecture) in 1989, The Pritzker Architecture Prize in 1995, Gold Medal of the American Institute of Architects in 2002, and Gold Medal of Union Internationale des Architectes in 2005. Ando is an honorary member of the American Institute of Architects, the American Academy of Arts and Letters, as well as the Royal Academy of Arts in London. He was also a visiting professor at Yale, Columbia, UC Barkley, and Harvard Universities. (

Tadao Ando: Punta della Dogana

The exhibition Tadao Ando – Punta della Dogana and the monograph Transcending Oppositions / Tadao Ando's Recent Works are the culmination of the cooperation between architect Tadao Ando and Oris, publishing house from Croatia. About ten years ago, we went to Osaka and did our first interview with Ando. We thus started our communication which, we dare say, grew into friendship that is based on mutual respect. (...) The exhibition Tadao Ando – Punta della Dogana, organized in cooperation with Museum of Modern Art Dubrovnik, illustrates some of the main topics of Ando's oeuvre – transcultural dialogues and a committed interpretation of the inheritance of the project site. 

Editorial Board of Oris Magazine



24.01. - 04.03.2018. 

Curator: Lea Vene (Miroslav Kraljević Gallery, Photo Gallery KIC in Zagreb)

The exebition A Proper Space by Jelena Bando is the third and final exhibition of the cycle started in 2004. The tripartite cycle was opened with the exhibition The Other in 2015 at the Gallery Galežnica in Velika Gorica. The next exhibition was Matches in the Disappearance at VN Gallery in Zagreb, and the last one is the series A Proper Space (earlier exhibited at the Croatian Association of Artist in Zagreb in 2016 and the Lošinj Museum in 2017). All three series thematically reflect the process of constructing the look at the Other, openly playing with subjective interpretations of accepted visual, both cultural and every day, symbols of the Other. (Lea Vene)

Jelena Bando is an academic painter who graduated from the Academy of Fine Arts in Zagreb in 2012. She has attended study visits and residencies in Germany (Wurzburg, Berlin) and France (Paris). She has exhibited in thirteen solo exhibitions in Croatia, Germany, Sweden and France, and about thirty exhibitions in the country and abroad. She has won two awards for drawing and graphic arts (SKC Gallery, Belgrade; 15th Biennial of Drawing, Belgrade). In 2013 she started the project 36 Mountains that has grown into a renowned festival of illustration. She lives and works in Zagreb, Croatia.

Jelena Bando, Photography


Painting is a medium that provides an artist with numerous possibilities, among which is creating a unique system of signs, that is, a visual language shaped by the artist. Such a unique system of symbols, signs and forms, which we can also call Jelena Bando’s visual world, is, both in terms of research and visual vocabulary, focused on the Other. This relationship with the Other, that the contemporary theory defines as a concept that problematizes the interaction of one person with another, but also as the issue of temporally and spatially remote communication between cultures, became the main topic of her work. (…) However, with the series of works A Proper Space the artist makes a semantic shift. This time she elaborates her own view of the Other by replacing the imaginary landscape with her real living space. In this subtle balance on the verge of real and imaginary she creates a new visual language, again full of uncanny and realistic reference points, such as human figures, plants and animals. This time, the so often mentioned Other has found his safe place in the artist’s pleasant every day, in the interior of her apartment, surrounded by real motives from her life.

Morana Matković

Jelena Bando: watercolor on paper

The proper space is the space of home in which the motifs from the author's every day are intertwined in a palimpsest way with motifs she previously used to characterize the Other. The author ends the cycle on the known terrain where she places only the references to the Other space. 

Lea Vene

Jelena Bando: To the White Tiger, 2016., oil on canvas


Jelena Bando: The Holder of Leaves, 2016., oil on canvas

Jelena Bando: The Garden, 2016., mixed media on paper



07.12.2017. - 14.01.2018.

Curator: Vesna Delić Gozze

with taproots with basket roots, sulphur yellow with brick red
with salt grey with coal black

Peter Handke: Don Juan (His own version)

Ivo Mladošić, Photography (Miho Skvrce, Photographer)

With the intensity with which he enters into the motif and the subtle approach to his theme, the painter Ivo Mladošić has woven light into the chromaticism of his canvases, dissolving the spectral luminous nexus into individual and often complementary colours. Through sunlight as a mixture of colours, he tests out the physical manifestation of this chromatic co-existence.

Vesna Delić Goze

Ivo Mladošić: Night chair, 2015., acrylic on paper

Ivo Mladošić: After the Performance, 2016., acrylic on paper 



DAVOR SANVINCENTI: Con una cierta calma

6.10. - 26.11.2017.

Curator: Rozana Vojvoda

Davor Sanvincenti is an artist, who, in his own unobtrusive way, through various aspects of his activities, whether sound experiments, spatial installations, video works or photographs, takes as his subject the natural surroundings and makes us aware of processes of perception that most often we take completely for granted. 

His work has been exhibited and presented internationally, including festivals 28th Music Biennale -Zagreb, Rencontres Internationales - Paris/Berlin/Madrid, Device_Art Triennale - MontrealLOOP - Barcelona, World Film Festival - Bangkok, 25FPS - Zagreb, VideoEX - Zurich, CineMed - Montpellier and venues including Centre Georges Pompidou, Paris; HfG/ZKM, Karlsruhe; UniversalMuseum Joanneum, Graz; Lincoln Center, New York; Museo de Arte Contemporaneo, Oaxaca; FRAC Pays de la Loire, Carquefou; Camera Austria, Graz; MoCA, Zagreb; La Triennale, Milano; NIU, Barcelona; MoCA Vojvodina, Novi Sad; Filmoteca Española, Madrid; Art Pavilion, Zagreb; Glassbox, Paris; Haus der Kulturen der Welt, Berlin. (


Davor Sanvincenti: El bano de la Reina (2013)_ed1

The little black and white photos of the "Before the First Light" series are excerpts, mostly, of the natural environment, without any clear hints as to the specific place, sometimes they sketch out the physical interaction of artist and setting (shots under the foliage of a tree), sometimes a view onto a setting from a distance or from an elevated angle of view, often, too, close-ups of trees. In combination with these series of Polaroids, Sanvincenti is exhibitig a 16mm film "Le lever du jour sur l'ocean" (The day's rising on the ocean). In a static take shot on the shores of the Atlantic, it captures the transition between night and day. 

Rozana Vojvoda


Davor Sanvincenti: Con una cierta calma, 2012., Oaxaca



MATKO TREBOTIĆ: Light and Darkness of the Mediterranean
07.09. – 01.10.2017.
Curator: Marin Ivanović

Matko Trebotić - an artist who exhibited all around the world has always been inspired by the small area on the Croatian coast, between the city of Split and the island of Brač. He also does spatial installations, as well as theatre and television scenography. As a painter, he has found a pictorial formula, with which he has, in a creative and painterly exquisite way, managed to connect to local with the global, to translate the heritability into the universal language, and to modernize the Croatian traditional expression.

In the paintings from this exhibition, all the motifs from Trebotić’s previous series have been sublimated so that on the splashes of white one can recognize tiny drawings of early Cristian church plans, minute Glagolitic letters and crosses, geometrical shapes, numbers and outlined grids.


STANKO HERCEG: The Strategies of a Photographer

08.08. – 03.09.2017.

Curator: Vesna Delić Gozze

Stanko Herceg is renowned Croatian photographer and cinematographer.

The diversity of the Stanko Herceg exhibition recalls model examples of a textual, sign-related semiotic review in the medium of photography. Photography, according to some semioticians, is an indexical sign, and only in part an iconic sign.  In his black and white analogue photographs of the series View from the Window, he has a range of slight interventions, without any visible coercion of the motif.

The photographic oeuvre of Stanko tells of a state of complementary relation between motif and photograph, when the photographic trace retains the possibility of storing the documentary part of the thing depicted, but not as homogeneous, analogue object from the real life surroundings, rather because of the two-dimensionality of the pertaining technology.

ZENAIDA BANDUR (1885. - 1946.)

16.6. - 30.7.2017.

Curators: Rozana Vojvoda, Sanja Žaja Vrbica

Among the forgotten, marginalised and lesser known oeuvres of Dubrovnik artists, the works of Zenaida Bandur are certainly worthy of attention. She painted in oils on canvas, did watercolours, pastels and drawings in pencil and charcoal; her subjects covered portraits, still lifes, figural compositions of mainly ethnographic subjects, landscapes and religious topics. Zenaida Bandur is a painter whose works today can be found in the holdings of Croatian national museums and galleries, such as the Modern Gallery in Zagreb, the Museum of Modern Art Dubrovnik, the Ethnographic and Archaeological museums in Split.

Zenida Bandur: Pappers, cca 1930., oil on canvas

Zenaida Bandur: Girl from Ston, 1906., oil on canvas on posteboard

Zenaida Bandur: Child and Parrot, cca 1941., oil on canvas


Zenaida Bandur: Minčeta, cca 1920., oil on canvas on pasteboard



04.05. – 11.06.2017.

Curator: Marin Ivanović

In her exhibition Iris has depicted ten evangelical encounters of Jesus Christ with his mother in large gallery formats. In the sense of the aforementioned notions, she has troughtfully virtualized the surface of a painting making it no longer closed, square, circular, triangular: it is simpy polygonal. An unusual approach to the creation of the established iconographic patterns has enabled the realization of the author's metalayer that cannot be overlooked.

This exabition with all its references confirms that it represents an important contribution to the Croatian religious and overall art.

Iris Lobaš Kukavičić: Lamentation, acrylic on wood

Iris Lobaš Kukavičić: The Flight to Egypt, acrylic on wood


The world is filled with man more than ever, but one could say that, in spite of that, it is more desolate that ever because it has lost or abandoned the center of man’s existence: Heaven. Nevertheless, it is being maintained and can be found in individual, personal existences – oases. We can see it very clearly in the Flight into Egypt, where Josip’s character is perforated and levitating while seeking for an oasis in which he can feel the presence of Him who is the only one worth following and listening to.

Anto Kajnić


           Annunciation                                                                             Mary holds the Baby Jesus


ELIAS AYOUB: Love in Damascus

01.02. – 05.03.2017.

Curator: Vesna Delić Gozze

Elias Ayoub is a painter of the Hope who cames from the city of Damascus, a town with which over many centuries Dubrovnik had extremely vigorous commercial relations. In his recent work, Ayoub uses the cubism tradition to depict his figures, highlighting the value of colours, and rearranging face and body features.

Love in Damascusis a group of paintings about one city - Damascus. Damascus is a place of wonders, complex and precious as is the cloth of the same name with its imaginative patterns, an ancient and holy place of the revelation of religious scenes, a warm nest for collected and honourable living. Energetic brushstrokes, the symbolism of the depiction and the volcanic strength of the palette tell of an outstanding gift. Certainly this is an artist of a postmodern figural expressionism in which there is a powerful anti-war note, with a clear Christian message of hope.

Elias Ayoub: Damascus in the eyes of a stranger, 2015., diptych, mixed media on canvas

After my graduation in 2009, I got great support from the Gallery of Samer Kozah, who likes to work with young artists. The beginning was through a solo exhibition for me in 2009. (...) In every stage, inspirations and suggestions change, which is why I tried many thing, from impressionism to extreme reductionism. Nowadays, I am plunging into different abstract areas/spaces.

Elias Ayoub


Elias Ayoub: Love in Damascus (2), 2015., oil on canvas

Love in Damascus, of which there are two versions, in the backbone of this cycle of paintings. Timeless love, which has autobiographical importance, for the young artist a few months before sealed his love with marriage in an Armenian apostolic church in Damascus, is a confirmation of the victory of life over death.

Vinicije B. Lupis

Elias Ayoub: The black rain, 2015., mixed media on canvas 


EUGEN KRSTULOVIĆ (1912. - 1976.), Watercolors, Oils

From the Treasure House of a Forgotten Master

14.10. - 6.11.2016.

Curator: Nikola Albaneže

Although individuals by the very nature of their work, artists are also members of groups and are involved in movements, trends and tendencies. With the distance of space, and of time, in particular, this will become increasingly evident. In the case of Eugen Krstulović, it is no problem to spot his kinship with the Dubrovnik painting circle to whcih by the mere fact of life and work in the City he belongs. Apart from the need for an art historical and art critical re-evaluation of the oeuvre that at this current exhibition we are submitting to the public, we should also, directly, without excessive analysis and a hidden key, simply enjoy Krstulović's joyous impulse liberated from precogitations, in his landscape visions that have faces, like beings. It is not just about recognising in the hills and valleys, buildings (churches and houses), trees and waves of the sea, but about the experience because of which art exists - the sublimation of lived experience.



24.8. - 9.10.2016.

Curator: Vesna Delić Gozze

Stefan Braco Bravačić was in all his work a constant quester after harmony, but this in no way means he was a mere backward-looking aesthete. Harmony here refers to his activity as a connoisseur in determining and moderating the distinctive features of the beautiful and the category of the artist in various fields of expression. In all that he created, and he used various techniques to express himself, Bravačić aimed at consonance and a unity of perceptions, whether we are thinking of a musical theme or a composition in painting.

Vesna Delić Gozze

This creative artist’s visual procedure is the fruit of dedicated studies of objective reality, which were favoured by the engineer’s spirit of a trained architect and building. The geometry and reduction of surfaces indicate the need to see the essential structural determinations of life, their brio and buoyancy and their multifariousness point to the complexity of life and its situations, while the cross sections obtained by the juxtaposition of surfaces are resolved through a clearly executed geometrical panorama. Projected into the observer’s spirit, a visual panorama deployed in this way offers point and reason for existence to every individual detail in the field of the larger, decorative unit.

Milica Bravačić


If anyone can be called a Universal Man, it was Braco Bravačić. Independently of his possession all the knowledge, the curiosity, many-sidedness, culture, talents and habits of industry of Renaissance man who soared aloft and could do everything – he also created his own world, to which he remained loyal to the end.

Jagoda Buić

Stefan Braco Bravačić, 1926-2013

After primary and secondary schools in Dubrovnik, he studied drawing and watercolours with the teachers Samojlov and Strala, and in 1954 took his degree at the Architecture Faculty of the Engineering Polytechnic in Belgrade, taught by Nikola Dobrović. After successful engagement with urban design approaches with a group of young colleagues from the faculty, with whom he won competition prizes, he went to Sarajevo, where he worked as architect, furniture designer, book designer, exhibition and commercial premises designer. In 1959 he returned to Dubrovnik with his family, and worked as a designer in the firm Arhitekt, and then as a freelance artist and member of ULUPUH, the applied arts association, on the designing of catalogues, prospectuses and posters, all the while also engaged on painting, architecture, shipbuilding and musical composition. He dedicated his creative and innovative spirit in those years to printmaking, constructing his own presses for his works in linocut and then in serigraphy. He had his first solo show in 1964, and then took part in group exhibitions. He became a member of HDLU, the fine art association, in 1971. But he was still vigorously engaged in urban design, architecture and painting. In 1981 to 1985 he did a Stanford, USA, correspondence course in yacht design, and on graduation acquired the qualification of yacht architect His second solo exhibition in 2001 in the Stradun Gallery in Dubrovnik showed works in tempera, after which came one-man-shows in the same exhibition venue in 2006, when he showed paintings in bright acrylics, and in 2009, when he exhibited new works in collage. Prints, oil paintings and other pictures created during the long and fruitful career of this artist are to be found in private ownership in Europe and America. In 2010 he took part as composer and performer in the Croatian selection for the Eurovision Song Contest, getting into the finale with his composition Tulip Trio.




Artist: Pietro Boban

3.8. - 21.8.2016.

Author: Andrija Seifried

This exhibition in the Dulčić-Masle-Pulitika Gallery reveals a totally new Pietro, but one who has remained true to his creative élan, developed and built up during his years at the Academy of Fine Arts in Zagreb to a point of some perfection.

Andrija Seifried



Pietro Boban was born on April 7, 1991, in Dubrovnik. From very tender years he showed an interest in art, and subsequently enrolled in the Luka Sorkočević Art School in Dubrovnik, painter designer major. He had his first lessons from the painters Lukša Peko and Josip Trostmann. He exhibited at a number of collective shows during his secondary school education. He took part in the collective exhibition Orlando’s European Routes in the project of the same name of Dubrovnik’s Europe House. He represented his school at the 11th state competition – the exhibition of secondary school children being educated in fine and applied arts and design.

His first one-man show, Nudes, which was organised by the well-known Dubrovnik collector and art figure Andrija Seifried came in Dubrovnik in 2010. Since then Boban has remained loyal to the task of exploring the human body through the nude. In 2010 he enrolled in the Academy of Fine Arts of Zagreb University, painting major.
During his academy years, he was vigorously engaged in set design and set painting, mentored by Zlatko Kauzlarić-Atač. His set design continued under the mentorship of Tanja Lacko. During his student years he worked on many projects and exhibited in group shows; he was one of the organisers of the student art initiative ArtiParti. He has produced and assisted in the production of many set designs and projects.
As a young artist, Pietro Boban continues his vision of the world in his unique experience of reality, devoting particular attention to details in the creation of every work. In 2014 he won the Rector’s Special Prize as coordinator of the set design and set painting in the joint project of art academies for Gluck’s opera Orpheus and Eurydice, and a Rector’s Special Prize in 2015 for the artwork of the project 147 Seconds for Kenya. As set designer, he was part of the FRKA project team that was awarded the Rector’s Prize in 2015.



24.6. - 31.7.2016.

Curator: Vesna Delić Gozze

Authors of the texts in the exhibition catalog: Mikica Maštrović, Vesna Delić Gozze 

In cooperation with National and University Library in Zagreb


Vlado Martek

Poet, conceptual artist, painter and essay writer, Vlado Martek was born in 1951 in Zagreb. In 1976 he took a degree in literature and philosophy from the Faculty of Humanities and Social Sciences of Zagreb University. At the beginning he was engaged with visual and concrete poetry, given the name pre-poetry, and from the middle of the seventies, with conceptualism, actionism with the Group of Six Authors, artist books and out prints (22 samizdats, leaflets, posters, picture postcards). From the beginning of the eighties he was into painting, sculpture, printmaking and land art. He wrote texts about poetry and texts and critiques about artistic practices. In recent time he has returned to projects in the spirit of conceptualism. He has published fifteen books, including collections of poetry and collections of texts and staged photographs, books of essays about contemporary art, six print portfolios and two co-authored editions of print portfolios. In 2002 a monograph by Miško Šuvaković was published, entitled Martek – the Fatal Figures of the Artist. In 2008 he had a retrospective exhibition in the Modern Gallery in Zagreb and he has had solo shows in Prague, Berlin, Paris and elsewhere. He is a member of the Association of Croatian Writers and also of the Croatian Association of Fine Artists. He lives and works in Zagreb and Rovinj.

His works are to be found in museums, for example, the Viennese Museum of Modern Art of MUMOK (Museum moderner Kunst Stiftung Ludwig Wien), the Museum of Modern Art in New York or MoMA, the Museum of Contemporary Art in Krakow (Muzeum Sztuki Współczesnej w Krakowie – MOCAK), in the National Museum of Contemporary Art in Athens or EMST, the Museum of Contemporary Art in Nîmes (Carré d´art – Musée d´art contemporain), the Parisian National Museum of Modern Art (Centre Pompidou – Musée national d'art moderne), the Museum of Contemporary Art in Zagreb, and elsewhere.



Boris Demur

The painter, conceptual and multimedia artist Boris Demur (Zagreb, 1951 – 2014), when he had finished high school, enrolled in 1970 in the Academy of Fine Arts in Zagreb, where he took his BFA in painting in 1975 in the class of Raoul Goldoni. In the same year he enrolled in a further, fourth, year in printmaking in the class of Albert Kinert, and took his degree in 1977. As painter, conceptual and multimedia artist, performer and theorist, he exhibited at ninety one-man shows and took part in more than two hundred collective shows and curatorial concepts. From 2001 to 2007 he was mainly engaged in the founding and work of Group 3/6 (Demur, Jerman and Martek). Many remember him from the last great exhibition in the Art Pavilion in Zagreb, from December 15 2013 to January 5, 2014, entitled Boris Demur: A Spiral Journey.

Spiral painting is a spiral natural event, simple and truthful. The spiral motif is in effect a natural process, but this process became the method of my painting...

Through my art, I endeavour to set free the banked-up cosmic being in myself. I see in this the reason for art, feeling and experiencing painting as prayer.




May 5th – June 19th, 2016

Curated by: Rozana Vojvoda, PhD


Museum Library

The exhibition «Tales of space» by Tanja Deman, organized by the Museum of Modern Art Dubrovnik has been open on Thursday, May 5th at the Gallery Dulčić Masle Pulitika and Studio Pulitika. Tanja Deman, whose work incorporates research into collective psychology and the perception of space, will present photo collage series Temples of Culture (2014), Collective Narratives (2013) and the video Abode of Vacancy (2011) which explore the structures and the areas of artificial and constructed vs. natural.



The Series Collective Narratives (2013) explores different types of spectatorship that include the ritual moment (sport and scenic spectacles) and their architectural settings transformed by the inclusion of natural element. The Series Temples of Culture (2014) examines different public institutions such as museums, libraries and galleries as they are decontextualized and given new version of their identity with a slightly ironic element. By inserting the natural element into spaces reserved for and dedicated to some human activity, Tanja Deman creates off-centre, hybrid worlds in which two differing contexts merge. One is the space of the collective act of looking, which presupposes an urban heritage, and the other is the contemplation of nature, which suggests being alone.


Garden of Delight

Tanja Deman's works, incorporating photography, collage, video and public art. She was born in Split, Croatia. She obtained an BFA and MFA at the Academy of Fine Arts in Zagreb. In recent years, her work has been exhibited in a large number of exhibitions including, Museum of Contemporary Art Zagreb; Kunstmuseum Bonn; Museo Revoltella, Trieste; Museum of African Design, Johannesburg; Danubiana Meulensteen Art Museum, Bratislava; The Central House of Artists, Moscow (CHA); MUNTREF Centro de Arte Contemporáneo, Buenos Aires; Museum of Modern and Contemporary Art, Rijeka; Pavillon Carré de Baudouin, Paris; Collegio Armeno - Palazzo Zenobio, Venice; TENT, Rotterdam; Unseen, Amsterdam; International Film Festival Rotterdam. She has also screened her work at a number of video and film festivals, including Videonale 14, Bonn; Kassel Documentary Film and Video Festival; Vidoex Zurich; Video Dumbo at Eybeam, New York City. She was artist in residence in Nirox Fondation in Johannesburgu, KulturKontakt Austria in Vienna, Atelierhaus Salzamt u Linz in Austria, Kunstlerhaus Saarbrucken and Oberfalzer Kunstlerhaus Schwandorf in Germany, and at the study trip at Indiana University of Pennsylvania, USA. In 2015 Tanja was invited to realise a large photographic public art project titled 'Sommerfreuden' which presented a wrapping of the Ringturm tower on Danube bank in the city centre of Vienna.




16th March - 1st May 2016

Ivan Picelj, ATELJE MEŠTROVIĆ, 1963.

Ivan Picelj, IVAN MEŠTROVIĆ, 1983.

Author of the exhibition: Lana Majdančić

Libor Fára, IVAN MEŠTROVIČ - 1863 – 1962 (1970.)

Mitja Koman, MEŠTROVIĆ, (1974.)

Artists at the exhibition:

Jure Amižić
Libor Fára
Mitja Koman
Slavoljub Lacković
Viktor Popović
Gorki Žuvela



2.2. - 13.3.2016.

Organisator: Austrian Cultural Forum in Zagreb

Curator: Sonja Leboš

Bogdan Bogdanović (20 August 1922 − 18 June 2010) was a Serbian architect, urbanist and essayist. He taught architecture at the University of Belgrade Faculty of Architecture, where he also served as dean. Bogdanović wrote numerous articles about urbanism, especially about its mythic and symbolic aspects, some of which appeared in international journals such as El País, Svenska Dagbladet, Die Zeit and others.His main works are monuments built in the Socialist Federal Republic of Yugoslavia. In particular, the monumental concrete sculpture in Jasenovac gained international attention.



The Dulčić Masle Pulitika Gallery

Located opposite Dubrovnik Cathedral and alongside the Rector’s Palace, at the address Držićeva poljana 1, opened in 1997 as a memorial space to American diplomat Ronald Brown who perished in an aircraft crash on just before he was due to visit Dubrovnik in 1996, the Dulčić/Masle/Pulitika Gallery is devoted on the second and third floors of the building to an exhibition venue of the institution the Dubrovnik Museum of Modern and Contemporary Art. The works of the painters Dulčić, Masle and Pulitika that are the trademark of these premises are exhibited between exhibitions of other artists. Hence on the first floor, the year 2013 saw the establishment of a permanent display of the works of the three distinguished Dubrovnik painters: Ivo Dulčić (1916-1975), Antun Masle (1919-1967) and Đuro Pulitika (1922-2006). Although there are no formal links among them, what joins these painters together, apart from a dominant feeling for picturality is their powerful creative expression. Dulčić’s personality is exceptional in the rapid brushstrokes and refinement of texture; in Masle’s manner of painting the thick applications of paint are similar to the child’s drawing; Pulitika’s saturated colour triumphs in its flat monumentality. On the second floor of this exhibition space there are constantly changing temporary exhibitions, showing artists and themes of various origins, attention always being paid, however, to the high quality of the exhibits and the accompanying materials (exhibition catalogues).

The second floor of the Dulčić/Masle/Pulitika Gallery allows access to the not very distant third exhibition space of the Dubrovnik Museum of Modern and Contemporary Art, the Pulitika Studio. In the in situ space in which that painter distinguished by the vigour of his colour Đuro Pulitika for many years had his working space and in which he exhibited his works to a stream of visitors, in 2013 a faithfully recreated studio was opened, complete with paintings; in the larger, front part of this space within the Dubrovnik defensive walls is an exhibition space for temporary exhibitions.