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EXHIBITIONS · The Museum of Modern Art Dubrovnik



Curator: Rozana Vojvoda
Duration: 02.10. – 28.11. 2021.

The exhibition by contemporary Croatian artist Denis Kraškovič “Man Animal Plant” covers, in terms of theme, almost all the pieces presented, from the earliest of the mid-nineties to recent works done last years. It is suggestive of the broad vision, the aspiration to cover the whole, the artist’s interest in the intertwining of the manifestations of life on the planet that is their common home.


denis kraškovič

Denis Kraškovič, Man Animal Plant, 2001, acrylic on canvas, 120 x 400 cm


Denis Kraškovič, an academy-trained sculptor, through a speciously simple expression, captures complex themes, and equally intensely and passionately uses a whole range of media of artistic expression. Apart from sculptures and sculptural groups, the exhibition also shows paintings, drawings and video works.


denis kraškovič

Denis Kraškovič, A Blue Envelope, 2018., acrylic on canvas, 80 x 120 cm


Kraškovič’s emblematic motif, the trademark of his work in sculpture, consists of animals, in the depictions of which he very seldom departs from the mimetic principle; he insists they be identifiable, with the addition of vigorous and always solid colour.


Denis Kraškovič, Close to the End, 2018, coloured epoxy resin, height: 80 cm, photo: Miho Skvrce




 Denis Kraškovič, St. Francis talking to animals, 2010., coloured polyester, height: 140 cm, photo: Miho Skvrce


Another important feature of this artist’s creative work, apart from his continuous fascination with animals and the environment is self-referentiality, particularly visible in the paintings, dominated by strong, solid colours, flatness in the composition and comic-strip aesthetics.




Denis Kraškovič, Oh My Robot, if Only You and Me Could Be This Free, acrylic on canvas, 120 x 80 cm


The oeuvre of drawings of Denis Kraškovič has in it something of the diary entry, of meditational reading, it is multifarious and diverse in charge, technique and manner, the only thing running through the drawings in common is an impassioned and continuous celebration
of life.




La Dolce Vita, 2014., felt pen on paper, 30 x 21 cm


Man and the Forces of Nature, 1993, felt pen on paper, 30 x 21 cm


Denis Kraškovič genuinely, more than all other artists who came to maturity in the Croatian art scene in the mid-nineties, through a simple idiom combines very various areas – including in a specific manner both a religious and a spiritual component, plays with references to comic strips, SF films, music, delves deeply into questions of identity and at the same time takes up burning issues like concern for the environment and the extinction of plant and animal species.


Save the Threatened Mushroom, 2006., painted polyester, 600 x 600 x 50 cm 


Denis Krašković was born in 1972 in Zagreb, where he graduated from the secondary School for Applied Art and Design. In 1994 he took his degree at the sculptural section of the Academy of Fine Arts in Zagreb, class of Stanko Jančić. In 2011 he completed a master’s degree in sculpture at the Academy of Fine Arts in Ljubljana, supervised by Jože Barši. He started his work in education at the School of Applied Art and Design in Zagreb teaching in the sculpture department from 1996 to 2007. From 2007 to 2017 he was teaching at the Academy of Fine Arts in Osijek (assistant professor and since 2013 an associate professor).

In 2015 and 2016 he was a visiting professor at the sculpture department of the Academy for Music and Visual Art in Pecs. He has exhibited in many solo and collective shows in Croatia and abroad. He is the author of sixteen public sculptures, the best known of which are Whale at Jarun Lake, Zagreb; Walrus and Lamb in front of Arena Zagreb; two monumental sculptures, Neanderthal in Krapina and Mediterranean Monk Seal and Pup in Šibenik. He lives and works as a freelance artist in Zagreb.


AN INSIGHT INTO THE MOVEMENTS - artworks from the MOMAD collection
Duration: March 3, 2021 - May 2021
Curators: Rozana Vojvoda & Petra Golušić & Jelena Tamindžija

Exhibition from the collection of the Museum of Modern Art Dubrovnik presents a selection from the gallery’s collection that today counts over 2,700 works of art, covering the period from the late 19th century to the present. The three floors of the Villa Banac, one of the most beautiful buildings of Croatian modern architecture, are packed with works of art that include reflections of Impressionism, Expressionistic and Coloristic tendencies, abstract expression of the organic and geometric type of the fifties and sixties, postmodern painting tendencies of the eighties and art of expanded media that includes photography, video, and performing arts.


1st floor:
Robert Farber, Jan Fabre, Steve McCurry, Slaven Tolj, Božidar Jurjević, Pasko Burđelez, Dubravka Lošić, Katarina Ivanišin Kardum, Ivana Pegan Baće, Ana Opalić, Marko Ercegović, Mara Bratoš, Ivona Vlašić, Ivana Dražić Selmani, Tina Gverović, Ivan Skvrce, Ivona Šimunović
2nd floor:
Oton Gliha, Frano Šimunović, Albert Kinert, Ivo Šebalj, Zlatko Prica, Edo Murtić, Vatroslav Kuliš, Vojin Bakić, Dušan Džamonja, Lukša Peko, Marojica Mitrović, Josip Škerlj, Milovan Stanić, Krsto Hegedušić, Ferdinand Kulmer, Jadranka Fatur, Vlado Jakelić
3rd floor:
Ignjat Job, Ivan Ettore, Gabro Rajčević, Ivo Dulčić, Antun Masle, Đuro Pulitika, Ivo Vojvodić, Josip Trostmann, Viktor Šerbu, Tomislav Gusić, Niko Miljan, Marko Rašica, Marko Murat, Emanuel Vidovića, Marino Tartaglia, Menci Klement Crnčić, Miroslav Kraljević, Vladimir Becić, Vilko Gecan, Milivoj Uzelac, Vladimir Babić, Vlaho Bukovac, Mato Celestin Medović, Josip Colonna


Duration: December 17, 2020 - February 28th, 2021
Curator: Petra Golušić

In an arch in the Sponza Palace, there is a Latin elegiac couplet:
Fallere nostra vetant et falli pondera meqve
Pondero cvm merces, ponderat ipse Devs
Our weights will not permit us to deceive or be deceived,
While I weigh the goods, God himself is weighing me.

Katarina Alamat Kusijanović uses these lines in a series of works and writes them out, cut up, i.e., fragmented, in works done in chalk on panel and in acrylic on Perspex. She reveals it in full only in two places, in the exhibition entitled Mensura, that is, measure.
Conditions for a perceptual failure to recognise the textual message are created, and this message becomes the starting point for and central motif of the works in which various universal problem areas of humanity, contemporary society, cities and places of the world, morality, freedom, truth are considered.
The modules are regularly and simply set up as frames of a polysemic saying interpreted disjointedly. It is at once endorsed and the reality is indicated in which the cancellation of its meaning, essence and existence unfolds.
Dubrovnik is the point of departure from which the motif is borrowed, so as to be able to use it to label and understand the condition of darkness and corruption of the spirit to which it has been brought, as have other cities in the world.
There is no noise and no strained emotion in the work of Alamat Kusijanović. It is simply and clearly critical without being condemnatory. What is presented is the ethical and cosmological vision that has come down from the inherited cultural heritage of the surroundings. The commercial policy of the Dubrovnik Republic had its own inscription that warned the measurers to be careful not to make mistakes, which is today particularly needful in all spheres of human work and activity. Commerce is today a mainly sullied space where horrors take place and the victim is human. Naturally there are scales that do not cheat and that in their calling are guided by the cause and point of everything that exists. Dubrovnik is made the subject, as a common place of the world, which suffers contemporary errors and which should be directed to correctness in order to justify all the qualities that were created in the past and that are suppressed in the present.
The universality of the work of the human being rests and is founded upon a renunciation of the self in the sense of surrender to the eternal which alone is truthful. Internal presence is demanding and is the basic task of every person; it is the possibility of being in truth, freedom, peace, purity… The measures are distorted at every level, it is concluded quietly and acutely and with great refinement in the works of Alamat Kusijanović.
The exhibition tells us of the collapse of the world and optimistically encodes the territory of the immortal.

MENSURA # 1, 2016
kreda, zlato, drvo, pleksiglas / chalk, gold, wood, plexiglass
53 x 53 x 11 cm

Katarina Alamat Kusijanović was born in Dubrovnik in 1965. She took a degree at the Education College in Belgrade, 1989, in the easel painting restoration and conservation section, and then in the Art Academy in Split in 2004. She has been a member of HDLU, the Croatian Artists Association, since 1992. From 1993 to 2019 she was employed as conservation/restoration adviser in the Croatian Conservation Institute and from 2008 to 2014 she was manager of the Dubrovnik Restoration Department. As staff member of the Croatian Conservation Institute she gave a series of lectures in professional and scholarly conferences at home and abroad. She has published two scholarly and a number of specialised works. She was the author of the exhibition installation Hidden Trecento (in front of the Rector’s Palace in Dubrovnik in 2018) and of the exhibition The Altar Painting of Jacopo Tintoretto from the Cathedral in Korčula (Rector’s Palace, Dubrovnik, 2008). Since 2008 she has worked as designer in the Adriatic Luxury Hotels group. She has exhibited at many solo and collective exhibitions. Katarina Alamat Kusijanović lives and works in Dubrovnik.

akrilik, pleksiglas / acrylic, plexiglass
30 x 30 x 4 cm (48 x)


Duration: December 10, 2020 – February 28th, 2021 
Organizers: The Art Pavilion in Zagreb and Museum of Modern Art Dubrovnik
In association with the Modern Gallery, Zagreb
Expert conception, selection of works, catalogue essay: Leonida Kovač
Curator in Dubrovnik: Jelena Tamindžija

Biće iz bajke-kubističko, 2018., foto Gunter Lepkowski

The Art Pavilion in Zagreb and Museum of Modern Art Dubrovnik are the joint organizers of the exhibition Deceleration in which, after many years, Lovro Artuković is presenting himself in Zagreb.

The exhibition should have been held in Zagreb in the Art Pavilion from mid-July to mid-September 2020, in the general framework of the cycle Ambiental Exhibitions of Contemporary Croatian Artists for the Art Pavilion. In the meantime, Zagreb was hit by the earthquake, which inflicted great damage on the Art Pavilion, because of which the gallery is closed until further notice. Therefore the exhibition is now on display in Zagreb at the Modern Gallery, for which we are most grateful to its director, Branko Franceschi.

Lovro Artuković has lived for years in Berlin, and had his last show in Zagreb in 2014 in Lauba. Since then in Zagreb, his native town, we have not had the chance to see works by this artist.

Artuković’s primary medium is figurative painting. In the creation of his works he uses the traditional technique of oil paint on large format canvases. This exhibition, too, includes large-sized paintings, but there are some new elements as well, related to the artist’s explorations in visual art. This has resulted in the great richness of detail in his recent works. The exhibition in Zagreb, and subsequently in Dubrovnik, is presenting 43 works created in the period from 2015 to 2020, and is divided into four sections: Golden Foils and Reflections; The Melancholy of Night Lights; Visit to the Studio; Excursion.

From the list of Artuković’s solo shows it can be seen that the painter exhibits but seldom and that his creative process is very lengthy, the works ultimately coming into being over a rather long period of time. Certainly, this artist cannot be accused of hyper-production, and he says of himself, quite to the contrary: “Big production is something that is completely unknown to me, I cannot create in that way”.

Haljina na cvjetove, 2019., foto Gunter Lepkowski

Lovro Artuković says about the title of the exhibition Slowing Down and also about his recent work:

“In the last few years I’ve been living in an incessant internal struggle. The fact is that my paintings, or the things I want to achieve with them, are taking up more and more time. I think one doesn’t need to find the reason in my getting older and generally slowing down, rather in the multiplication of details in the paintings, while the manner in which I paint – the countless applications of transparent paint in a single place so that I can obtain the presence and the density of what is painted that I want – takes hours and hours that just slip by imperceptibly. Seated for days in front of the same painting, enslaved to just a single detail, I often think that I ought to speed my painting procedure up, be more productive, work in key with the age in which everything unfolds at a frenzied speed, an age in which, I’m afraid, nobody anyway is going to have the patience or the concentration to engage in looking at my pictures with a slow, old-fashioned kind of pleasure.

Actually, I have got myself into this trap, as it sometimes seems to me. I have permitted the circumstances of life, and not some plan or system, to guide me in the choice of subjects, But when I look at what I have painted, I see that it had to be painted in just that way. For the sake of energy, of the atmosphere, for the sake of everything that I wanted, consciously or unconsciously, to achieve with each of these paintings. Since I haven’t (yet) invented a patent to permit me to paint simply and rapidly, while also being content with what is painted, at the end I always humbly acknowledge this slow and painful manner, even if it sometimes frustrates me, as my personal and identifiable manner. And so I decided to exhibit the paintings done in the last few years under the title Slowing Down.”


Lovro Artuković was born in 1959 in Zagreb, Croatia, and took his art degree at the Academy of Fine Arts in the same city. He has developed his painterly idiom, which is based on figuration and intimism, primarily on the iconography of urban civilisation. For some years he worked as a teacher at the Applied Art and Design School in Zagreb, subsequently, for nine years, being employed as assistant professor at the Academy of Fine Arts in Zagreb. In 2003, he moved to Berlin, where he makes his living as a freelance artist. He has had numerous one-man shows. He had his first solo exhibition in 1985 in the Vladimir Nazor Gallery. In 2008 he had a retrospective in Klovićevi dvori Gallery, entitled Best Paintings, which encompassed works done between 1984 and 2008. This exhibition was accompanied by an extensive catalogue of his works also entitled Best Paintings authored by Blaženka Perica (Klovićevi dvori Gallery, Zagreb, 2008). In 2001 he received the Annual Prize of the Croatian Artists Association, and in 2013 the Prize of the Public at the exhibition Macht Kunst, in the Deutsche Bank KunstHalle.

Several distinguished art historians and critics have written of Artuković’s oeuvre, including Krešimir Purgar, Feđa Vukić, Leonida Kovač and Blaženka Perica . Two films have been made about it: the experimental film Theft directed by Lukas Nola of 2004, and the documentary L.A. Unfinished by Igor Mirković of 2008. His works are to be found in numerous public and private collections at home and abroad.

Ukazanje u Neukollnu (crveno, žuto, zeleno), 2020., foto Gunter Lepkowski