Category: Events

Kruno Vrgoč in conversation with NMMU on the Occasion of His Exhibition Rijeka rains at the Josip Račić Gallery

NMMU: Rain evokes nostalgia in some, romance in others, and inspiration in you. Tell us about your painting cycle "Rijeka rains", which you are currently presenting in the exhibition of the same name at the Josip Račić Gallery.
Kruno Vrgoč: I have always felt the need to contribute to the city of Rijeka on an artistic level. This is how the "Rijeka rains" cycle was born, as rain is one of the city's peculiar symbols. After artistic exploration, I found the expressive language that suited me best. The cycle has been in the making for five years, starting with the "zero rain." The works are still not entirely finished and will always remain present in my work. It is difficult for me to talk about emotions, but my current mood influences my work on the canvas. In real-time weather conditions, I feel the atmosphere and try to transfer it onto the canvas.

NMMU: When is Rijeka at its most beautiful?
Kruno Vrgoč: I don't observe Rijeka through the seasons, times of day, or weather conditions. For me, Rijeka is a unique city, regardless of the weather.

NMMU: Your favorite place in the city?
Kruno Vrgoč: The current ArtKvart, but I have been coming there for the past thirty years, so even before ArtKvart, it was ArtKvart. Also, the Gala Caffe, where I designed the interior twenty-five, thirty years ago, and where I still enjoy going today.

NMMU: As a child, did you dream about what you wanted to become when you grew up?
Kruno Vrgoč: As a child, I always thought I would be a chemist. But in high school, I realized that art was the calling I wanted to pursue in life. If I weren’t an artist, I would probably be a chef.

NMMU: Why a chef?
Kruno Vrgoč: I love both cooking and eating. I was even a chef in my own restaurant, which was somewhat of an improvisation because I didn’t fully understand what I was getting into. My mother was a professional cook, so I likely inherited my love of cooking from her. Since she worked two or three shifts, I couldn’t cook with her, but I would call her, and she would explain how to prepare something, and I would cook it. She taught me to make soups and omelets. I think I am the world champion of omelets! If I told you all the ingredients I use, I could open a restaurant just serving them.

NMMU: How did you get the idea to open a restaurant?
Kruno Vrgoč: After finishing the Academy and quitting teaching, I didn’t have a job, so I started working as a waiter. I kind of liked it. That’s when I met Zlaja, my future business partner, and in 1994, we opened the restaurant Morski pas (Sea Dog). He was the "front of house" since he was a professional waiter, and I was the "back of house" as a semi-trained cook. I only prepared blue fish, octopus, squid, shrimp, sardines, and anchovies. That was my culinary range, and I did well with it.

NMMU: How did you choose the name "Morski pas" (Sea Dog)?
Kruno Vrgoč: Have you ever been to England? When you see names like Three-Horned Stag or At the Wild Boar, I thought, why not name my place Morski pas (Sea Dog)? I loved the TV show Only Fools and Horses and Monty Python. It was a serious influence on me, and the restaurant reflected that. During the war, it was a haven for people who thought differently, those who loved blues and jazz—Nat King Cole to Clapton. That was also my music, apart from hardcore, which I still enjoy.

NMMU: Did you follow classic recipes, or were they your interpretations?
Kruno Vrgoč: It was always something new, though the base remained familiar—you can’t skip essential steps. If you make a marinade, you know how it’s done, but I’d add a spice to make it different. I started making vinegar with sage and rosemary, so our kitchen developed a distinct personal touch.

NMMU: What was the most interesting dish on the menu?
Kruno Vrgoč: Anchovy carpaccio and fried sardines. And we had a dish called Sipice—tiny cuttlefish, cleaned and fried. We served them in the Istrian tradition, with boiled chard and potatoes.

NMMU: Why did you close the restaurant?
Kruno Vrgoč: Morski pas was a small house by the sea in Žurkovo Bay, near Rijeka. Since I was only serving seafood, it became financially unsustainable after five years. I could write a book about it, but I’m "illiterate" for that. Instead, I went back to sculpture, and my studio became my new creative hub.

NMMU: What do you enjoy cooking the most for yourself?
Kruno Vrgoč: Everything! I have connections in Istria for top-quality ingredients—meat, vegetables, truffles—and good relations with fishermen, so I always have excellent seafood. I love cooking for friends too.

NMMU: What made you choose art as your profession?
Kruno Vrgoč: Drawing and painting always brought me joy. I realized I would always do it, but for a while, I looked for another career. Then I understood that there was no need to overthink it.

NMMU: Were you worried about making a living from art?
Kruno Vrgoč: I was more aware of that later. My father, a lawyer and a traditionalist, expected me to join his practice. When I failed my first attempt to enroll at the Academy in Zagreb in 1977, I returned to Rijeka and studied law. I completed a few years, but after being accepted into the sculpture program at the Faculty of Education in Rijeka, I left law.

NMMU: How did your father react?
Kruno Vrgoč: He kicked me out of the house! But that was normal for a partisan. Eventually, he accepted it, though he never fully came to terms with it.

NMMU: What do you remember most about your professors Josip Diminić and Žarko Violić, under whom you graduated in sculpture at the Department of Fine Arts at the Faculty of Education in Rijeka?
Kruno Vrgoč: I remember professors Josip Diminić and Žarko Violić for giving me complete freedom and, in their own pedagogical way, influencing my artistic work and shaping me as an artist.

NMMU: Is there a particular theme that has preoccupied you since childhood?
Kruno Vrgoč: There isn’t a specific theme that has preoccupied me since childhood, except that, like any child, I used to draw a lot. It was only in high school that I became aware that art could become my profession.

NMMU: Who bought your first artwork? And who are the buyers of your works today?
Kruno Vrgoč: My first artwork—or rather, several of them—was bought by a friend of mine. Today, my buyers are mostly middle-class individuals who are financially well-off and want to enrich their spaces with my works.

NMMU: How do you determine the price of your works?
Kruno Vrgoč: It depends on how much money I need, the situation, and the buyer’s perception. Art is difficult to measure. I have friends who made fortunes in sports, like Olympic champions. Their achievements are measured in milliseconds. Art has no such measure.

NMMU: Do buyers consult you when selecting your works? Do they invite you to their homes to get a sense of the space where the artwork will be placed?
Kruno Vrgoč: Very often, they do. People come to me, and we work it out together. But basically, when they see my works, if I need to create new ones, we discuss it. I usually make three or four pieces right away because I start from my own perspective—I believe it’s logical for someone to have a choice. In the end, I always sell those works; the only question is whether they stay in the studio for a longer or shorter period.

NMMU: Has it ever happened that a buyer placed your work somewhere or paired it with something that didn’t align with your aesthetic?
Kruno Vrgoč: It’s hard to comment on that because once they become the owners of the works, they have the right to place them wherever they want. You know, some have even come to me asking if they could add a bit of yellow to a painting.

NMMU: To match their sofa?
Kruno Vrgoč: Hahaha, there’s been all sorts of things… It was never boring, that’s for sure! But I completely understand them, because they don’t fully grasp what I do, so I have to understand them instead. Their requests and suggestions can sometimes be quite strange. They come to my studio, choose paintings, and ask for my advice, but when I recommend something, they often say they prefer another piece. That’s why I tell them we should start with what they like. People seek validation for their choices.
When, in September last year, I sold a small piece for €1,000 at an auction at the Drouot auction house in Paris, I received a document—more for the buyers than for myself—because it serves as proof of value. People need confirmation of their decisions. We don’t really have an established art market here, which creates a big challenge.
On a personal level, I try to make things easier for buyers. The real value of something that is intangible… I create paintings and sculptures, but whether I am an artist—I don’t know. Time will be the judge of that. If, one day, someone places me within a broader historical context, perhaps my work will have value, or perhaps it won’t. I don’t know… but we don’t have any other parameter for measuring that. And that’s a bit of a predicament.

NMMU: How are prices formed?
Kruno Vrgoč: It depends on how much money you need, the situation at hand, and the assessment of both the seller and the buyer. There are many factors, all of which are essentially psychological in nature. It’s very difficult to determine the value of something immeasurable. I have friends who have made a lot of money in sports—Olympic champions, gold medalists, and so on. Many of them have bought my work, and we’ve often talked about this. We’re always searching for a standard of measurement. Ana Jelušić’s performance could be measured in hundredths of a second—I cannot be measured in that way, I don’t have that standard. And yet, I would say that art and sports are equally valuable. You see, I don’t know who sets these values.
When pricing my works, I take into account the amount of work, time, and the region in which I live. The same work would likely be priced higher in Zagreb due to greater purchasing power. There is no real, objective parameter.

NMMU: What is your opinion on artificial intelligence and its application in visual arts?
Kruno Vrgoč: I don’t have a strong opinion on artificial intelligence, and it’s difficult for me to comment on its application in visual arts for the simple reason that AI only knows what has been pre-programmed into it. It has no personal experience or emotions.

NMMU: Although sculpture is your primary vocation, you also paint. Is there another medium you would like to explore?
Kruno Vrgoč: I would love to work in other media and realize certain ideas, but I’m very aware that their execution depends on financial resources.

NMMU: How much time do you spend in your studio, which in the 1950s was the first artistic bronze foundry in Rijeka? Over the past twenty years, has it become more than just a workspace for you? Can you share any memorable events, anecdotes, or artists who have visited?
Kruno Vrgoč: I spend entire days in my studio, without strictly defined working hours—including Saturdays, Sundays, and holidays—practically every day of the year. The space has definitely become much more than just a workspace; it is also a place for communication and socializing. It’s difficult to single out a specific moment, anecdote, or artist, as things happen daily, making it nearly impossible to choose just one.

NMMU: You have visited China twice?
Kruno Vrgoč: I first visited China in 2019 at the invitation of my friend Gordan Novak, who is also involved in art in a certain way—he was a printmaker. I met him six or seven years ago through a dear friend of mine who deals in art sales in Paris. He visited me in my studio, saw my work, and said, “You know, this isn’t bad! Would you come to China?” I replied, “Why not, let’s give it a try!”
I have very fond memories of China—its people, culture, and food. That’s why it’s no coincidence that I returned in 2024, and I don’t think that story is over yet. I’m definitely considering an exhibition, but many things have to fall into place. You can’t prepare an exhibition from Croatia—you need to be there for at least three to six months, and that’s not cheap. Right now, things are unfolding in an interesting way, but we’ll see what happens. I don’t think about it as something I must do, but rather as something that will happen naturally.

NMMU: Were you there when the Covid-19 pandemic started?
Kruno Vrgoč: When I was in China in 2019, there was no fear of Covid yet—the virus was unknown, and the pandemic began in December. I used to joke that I was the one who brought the virus to Europe, but in reality, we had no idea what was happening at the time.

NMMU: The mentioned pandemic changed the world. That long period of social isolation transformed people and their relationships. How did that time reflect on your creative work?
Kruno Vrgoč: Covid definitely influenced my creative process by freeing me from certain routines I hadn’t even been aware of before. My studio was always lively, but when we went into lockdown, all those routines suddenly changed.
There was an enormous surplus of time, which led me to new reflections on the theme of Rijeka’s rains—something that inspired this entire period and has shaped my continuous work over the past five years. That extra time allowed me to fully dedicate myself to this cycle, alongside my usual work on sculptures and abstractions.
During Covid and the increased isolation, I worked more, which resulted in a higher production volume. Of course, this process isn’t over yet, but perhaps the intensity will decrease now, as it has led to new ideas. Work defines you by opening new creative fields.

NMMU: You played handball?
Kruno Vrgoč: Yes, I played amateur handball from the age of ten until I was thirty-two, but not anymore. Now, I take great care of myself because I need a bit more strength for the larger sculptures I create. I compensate for that with lifts and other equipment, so it all works out.

NMMU: How do you maintain your vitality now?
Kruno Vrgoč: I exercise regularly! I practiced yoga for a long time, and now I mostly do mobility exercises to stay agile for my work. I train almost every day, but nothing too intense—I don’t go to the gym. Walking and cycling are the best, though I don’t use a bike much because I live in Rijeka. I love mornings and waking up early, so meditation is a key part of my routine. I meditate for an hour to an hour and a half, and it helps me start the day feeling centered and at peace. I believe yoga and meditation are very important—on a mental level, for balance.

Interwieved by Lana Šetka © National Museum of Modern Art, Zagreb
Reproductions:
(1) Kruno Vrgoč and NMMU director Branko Franceschi at the opening of the artist’s exhibition at the Josip Račić Gallery in Zagreb
(2) View of the exhibition Rijeka’s Rains by Kruno Vrgoč at the Josip Račić Gallery / Photo: Goran Vranić © National Museum of Modern Art, Zagreb
(3) Portrait of Kruno Vrgoč (detail) / from the artist’s archive
(4) Kruno Vrgoč’s studio in Rijeka / Photo: Aleš Suk / Courtesy of the artist
(5) Kruno Vrgoč next to a sculpture in progress in his studio (detail) / Photo from the artist’s archive – Courtesy of the artist
(6) Metal works by Kruno Vrgoč in his studio / Photo: Aleš Suk / Courtesy of the artist

Exhibition Contrasts from the Collection of the National Museum of Modern Art Opened at the Art Gallery of the Križevci City Museum

It is a great honor for me to open such an exhibition featuring these valuable works in our Gallery. Last year, when Ms. Marta Radman, also a curator at the National Museum, opened the exhibition Discovered Otherness, it was a major event. The exhibition later traveled across Croatia. At that time, we showcased exceptional works of Croatian modern art, and now, we may be taking it a step further, stated Dr. Art. Tea Hatadi, Director of the Križevci City Museum, at the opening of the exhibition Contrasts, part of the NMMU on Tour cycle, on March 20 at the Fine Arts Gallery of the Križevci City Museum.

The exhibition concept was presented by Željko Marciuš, museum advisor at the NMMU, author of the exhibition and its artistic arrangement, who also wrote the introduction for the accompanying catalog published by the Križevci City Museum. The exhibition was officially opened by Danijel Šaško, Deputy Mayor of Križevci.

A selection of around twenty works from the collection of the National Museum of Modern Art will be on display for the Križevci audience until April 12, 2025.

Artists featured in the exhibition: Vjekoslav Karas, Vlaho Bukovac, Miroslav Kraljević, Ivan Meštrović, Milivoj Uzelac, Vladimir Becić, Robert Frangeš-Mihanović, Marijan Trepše, Milan Steiner, Đuro Tiljak, Edo Murtić, Vilko Gecan, Đuro Seder, Nina Ivančić, Jadranka Fatur, Raul Goldoni, Ivan Picelj, Zlatan Vrkljan, Šime Perić, Mladen Galić.

*"The exhibition Contrasts of Construction and Expression is based on twenty works (ten representing construction and ten representing expression) from the collections of the National Museum of Modern Art, with a focus on painting. Contrasts reflect the fundamental human division between intellect and emotion, which is then expressed in art. Such divisions are well known in art history (Renaissance – Mannerism; Classicism – Romanticism; Cubism – Expressionism…).

The structural segment of the exhibition develops from Vjekoslav Karas, through interpretations of Cubism and historical Realism in Croatia, the Realism of the 1920s, and up to geometric abstraction, photorealism, and postmodern variations. The broadly understood expressive aspect extends from the Impressionism of the 19th century (Vlaho Bukovac) and early 20th century, through expressionism, coloristic expressions, organic and lyrical abstraction, to the postmodern variations of Zlatan Vrkljan.

A new feature of the exhibition is the presentation of specific constructivist-expressive pairs, allowing the viewer to experience the spectrum of artistic reactions in a direct dialogue. Works by (construction) artists such as Vjekoslav Karas, Ivan Meštrović, Miroslav Kraljević, Vilko Gecan, Ivan Picelj, and Raul Goldoni will be displayed, spanning up to postmodernism. Expression, on the other hand, includes paradigm-shifting artists from Miroslav Kraljević and Vilko Gecan to postmodern variations.

The exhibition will be intimate yet striking, accessible to all audiences, offering visitors a unique opportunity to reflect on the fundamental human division between intellect and emotion."
– Željko Marciuš

The exhibition is supported by the Ministry of Culture and Media of the Republic of Croatia, the City of Križevci, and the Koprivnica-Križevci County.

For more information about visiting the exhibition, please visit the website of the Križevci City Museum:
https://www.gradski-muzej-krizevci.hr/

Photo credits:
(1) View of the Contrasts exhibition setup at the Fine Arts Gallery of the Križevci City Museum © Archive of the National Museum of Modern Art, Zagreb
(2, 3, 4) Views of the Contrasts exhibition setup at the Fine Arts Gallery of the Križevci City Museum / Photo: Ozren Blagec © Križevci City Museum

Works by Unknown Artists from the Holdings of the National Museum of Modern Art

In November 2025, the National Museum of Modern Art will present the second in a series of exhibitions from its virtual program. This exhibition showcases works by unknown artists from the Museum's collection, resulting from the collaborative efforts of museum advisor and curator Dr. Ivana Rončević Elezović, Marija Kalmeta (former restorer at the National Museum of Modern Art), restorers Ana Dumbović and Sonja Pavin, under the leadership of the head of the museum's conservation and restoration department, Mr. Art. Petra Kursar. Until her retirement in January 2025, museum advisor Dajana Vlaisavljević also collaborated with this team.

The former Collection of Unknown Artists in the holdings of the National Museum of Modern Art is particularly intriguing from a conservation-restoration perspective, as well as for provenance research of the artworks. The project is supported by the Ministry of Culture and Media of the Republic of Croatia and the City of Zagreb.

One hundred and twenty-four works from the former Collection of Unknown Artists and Undated Works in the holdings of the National Museum of Modern Art in Zagreb represent a fascinating selection, previously unknown to both experts and the wider public. The collection includes portraits, landscapes, cityscapes, interiors, animal depictions, mythological and genre scenes, religious themes, still life, nudes, and exotic examples such as a few woodcuts with Japanese motifs. Most of these works date from the 19th and early 20th centuries. Stylistically, they belong to the Biedermeier, Classicism, Romanticism, and Realism movements, along with some examples that reflect early 20th-century avant-garde tendencies.

A pleasant surprise during the collection review was the solid artistic and technical quality of a significant number of works. The exhibition aims to conduct a thorough professional analysis and presentation of this artistic material through detailed examination and imaging of the paintings, as well as studying archival sources and scholarly literature. Since this collection has never been exhibited before, providing insight into its contents will make a valuable contribution to the understanding of the holdings of the National Museum of Modern Art in Zagreb. Additionally, this is an opportunity for the thorough restoration of these artworks. Throughout this process, we anticipate a series of intriguing discoveries related to the paintings, as conservation and restoration interventions often reveal hidden details.  Ivana Rončević Elezović, Phd,  Museum Advisor, National Museum of Modern Art

Reproductions: (left) Portrait of Countess Oršić Keglević MG-3060, oil on canvas, 73 x 54 cm, visible light, photograph before conservation-restoration work (right) UV fluorescence image
Photo: Jovan Kliska

 

Nacionalni muzej moderne umjetnosti – Noć muzeja 2025

Nacionalni muzej moderne umjetnosti povodom manifestacije Noć muzeja poziva na besplatan razgled izložbi
petak, 31. siječnja 2025.

--- 19,00 - 01,00 sat iza ponoći ---
Oktogon NMMU (Ilica 5, Zagreb)
Dubravka Lošić "Punćela"
https://nmmu.hr/2024/11/19/dubravka-losic-puncela/
📷 Veronica Arevalo © Nacionalni muzej moderne umjetnosti, Zagreb

Galerija Josip Račić (Margaretska 3, Zagreb)
"Jelena Bando i Marija Ujević - Galetović Intersections / Raskrižja"
https://nmmu.hr/.../jelena-bando-i-marija-ujevic.../
📷Goran Vranić © Nacionalni muzej moderne umjetnosti, Zagreb

--- 18,00 - 22,00 ---
Galerija Artmark (Kuća Amruš - Trg Josipa Jurja Strossmayera 5, Zagreb) Artmark Croatia
"Likovni diskurs kolekcionara - Zbirka dr. Rafaela Dolinšeka iz zbirki NMMU-a" https://nmmu.hr/.../likovni-diskurs-kolekcionara-zbirka.../
📷 Goran Vranić © Nacionalni muzej moderne umjetnosti, Zagreb
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Ostale izložbe iz ciklusa "NMMU u gostima" izvan Zagreba
SPLIT
Izložba "Koraci" https://www.mgs.hr/2024/11/21/koraci/ u Staroj gradskoj vijećnici u Splitu (Narodni trg) https://www.mgs.hr/museum/vijecnica-narodni-trg/, u Noći muzeja moći će se razgledati od Od 18,00 sati do ponoći
📷 Zlatko Sunko

DUBROVNIK
Izložba „Umjetnici o umjetnicima – likovni panoptikum“ https://www.ugdubrovnik.hr/?file=naslovna u Umjetnička galerija Dubrovnik / Museum of Modern Art Dubrovnik bit će otvorena od 18 sati do 01,00 sat iza ponoći
📷 Miho Skvrce

The exhibition “Jelena Bando and Marija Ujević Galetović: Intersections” was opened on 9 January at the Josip Račić Gallery

The exhibition “Jelena Bando and Marija Ujević Galetović: Intersections” was opened on 9 January at the Josip Račić Gallery, in the presence of numerous guests. The exhibition is organised by the National Museum of Modern Art in partnership with the Nomad platform – Croatian Office for Contemporary Art.
After the introductory speech by Branko Franceschi, Director of the National Museum of Modern Art, Jelena Tamindžija Donnart, the exhibition curator and author of the accompanying catalogue text, discussed the concept that brought together the works of two Zagreb-based artists from different generations and approaches in a form of dialogue.
The exhibition include medium-sized oil paintings from the recent series (2023–2024) by academic painter Jelena Bando, alongside the acrylic on canvas titled “Supermici” (2004) and the bronze sculpture “You Silly Goat” (2015) by academic sculptor Marija Ujević Galetović. The latter has been specially loaned from a private family collection for this occasion. Art historian and exhibition curator Jelena Tamindžija Donnart describes the work as encapsulating the essence of one of Croatia’s most prominent sculptors, reflecting humour, sculptural precision, and a thoughtful cultural and philosophical message characteristic of her work.
(...) By positioning the two artists in a dialogue across different media, generations, and approaches, the aim is to create a unique experience that brings the legacy of one of Croatia’s most prolific sculptors to the forefront. (…) – notes Jelena Tamindžija Donnart in the bilingual exhibition catalogue.

Having been originally presented at the Frank Gallery in Vienna in November 2024, the exhibition will be on view at the Josip Račić Gallery until 2 February 2025.
Translated by: Robertina Tomić
Photo: Goran Vranić © National Museum of Modern Art, Zagreb

Artist Dubravka Lošić in an interview for NMMU with her The Silkworm’s Cocoon exhibition at the Octagon NMMU

NMMU: What do you remember most about your childhood in Dubrovnik?
Dubravka Lošić: I grew up in Montovjerna, a then sparsely populated hillside dotted with pine and cypress trees. It was a part of the city that braved all winds and, at the time, was filled with birdsong. It was a place where people came to the “basket weaver” and “to see the birds.” Everything felt like an adventure, something hard to imagine today.

NMMU: What were you like as a child?
Dubravka Lošić: Curious and headstrong.

NMMU: Does artistic talent run in your family, who did you inherit it from?
Dubravka Lošić: Creativity was a valued trait on both sides of my family, from both my mother’s and father’s lineages.

NMMU: How much time did you spend with your grandparents, who owned a textile workshop, and did they pass their craft on to you?
Dubravka Lošić: My father’s family operated knitting workshops. My grandfather moved the business from Slavonia to Dubrovnik, where my parents continued the work. Since the workshop was located “right by the house,” it became a natural part of our daily lives, a space where we children would play and learn. They produced a variety of garments, starting with “custom” orders and later transitioning to large-scale production. They followed trends closely, always attuned to which colours were in fashion; navy, sky blue, burgundy, beige... knitted sets in particular patterns... different types and blends of yarn… cotton, wool, acrylic, perlon, bouclé... I could list these terms endlessly. Growing up surrounded by them from such a young age, I assumed everyone knew them.

NMMU: Have you yourself ever made a piece of clothing?
Dubravka Lošić: When I was five, I made a long pink coat on a knitting machine all by myself. It was a bit too “extravagant,” so I wasn’t allowed to wear it for every occasion. I remember it clearly, as well as the passion with which I defended it just the way it was. As I got older, things changed “in my favour,” and I started making and wearing whatever I wanted…

NMMU: Did you have any artistic connections with Jagoda Buić?
Dubravka Lošić: The first time I encountered her work, it made a strong impression on me. I would say that it still has the same effect today.

NMMU: How do you remember the war years in Dubrovnik?
Dubravka Lošić: Regardless of age, war always comes at a “bad time.” The memories, despite our efforts to suppress them, remain sharp... Everything felt humiliating... the killings, the destruction, the lack of water and electricity... I remember a certain naivety and self-deception, believing that once we survived, we would all become grateful and noble...

NMMU: During that time, you exhibited in Paris, initially in a group show at the Grand Palais, which led to an invitation for a solo exhibition. Which works did you show?
Dubravka Lošić: I showcased works from the Rosary, To the Dear Leader, and Portraits series.

NMMU: Where did you store your works during the war, and how did you pack them for transport during air raids and curfews? How did you manage to get them to Paris?
Dubravka Lošić: I managed somehow; I didn’t focus on the obstacles... The key was organising everything so the works could be shipped by sea to Rijeka, via Zelenika (where “special control” was in place), then to Zagreb and on to Paris. I had the help of friends. We came up with a way to protect them, packing them at dawn in the yard before the shelling started... with special permits, they were transported in refrigerated trucks that returned empty from Dubrovnik, and then by lorry from Zagreb to Paris.

NMMU: What impact did the war have on your family?
Dubravka Lošić: Unfortunately, wars have always been, and still are, either within our borders or close by... A large part of my family is currently facing the horrors in Ukraine... I remember how my grandmother, who survived a concentration camp during World War II, would always raise a glass to world peace at our family gatherings.

NMMU: What memories do you have of the painter Ferdinand Kulmer, who was your professor at the Academy of Fine Arts in Zagreb?
Dubravka Lošić: We first met in Venice, after having passed each other several times in the streets, at an exhibition at Palazzo Grassi. When we met again that autumn in the hallway of the Academy, he recognised me, as the memory was still quite fresh. An indescribable encounter, and even more so, the experience of studying in his class.

NMMU: Having lost your studios, how challenging has it been for you to adapt to new spaces?
Dubravka Lošić: It’s stressful living with the constant uncertainty of whether I’ll have to leave a space in a month or a year. But when I’m working, I try not to dwell on it. In every space I’ve worked in – each one completely different, with its own layers of memory – I’ve managed to connect with the energy and continue working effectively. It does take time to adjust to a new space.

NMMU: Travel is one of your great passions: where would you like to go next?
Dubravka Lošić: There’s never enough travel; I love to travel, anywhere…

NMMU: What inspires you the most?
Dubravka Lošić: Inspiration comes from many sources; it’s just a matter of when something truly resonates with us.

NMMU: What themes occupy your mind the most, and how quickly do you create?
Dubravka Lošić: The themes are countless and inexhaustible. Certain ideas linger with me for years, patiently waiting until I’m ready for them, while others – at least that’s how I feel – come together more swiftly. The same applies to my creative process.

NMMU: You are the first artist to exhibit in the new space of the National Museum of Modern Art in the Octagon. How significant is this for you?
Dubravka Lošić: The Octagon space, though still not fully adapted for exhibitions, is challenging in its own right, which I found stimulating. This is why I immediately accepted Branko Franceschi’s offer. Several factors aligned, and for that, I feel both happy and thankful.

NMMU: How do you unwind?
Dubravka Lošić: In various ways, I don’t have a set routine.

NMMU: You don’t give up on swimming in the sea during winter...?
Dubravka Lošić: Well, I don’t give up easily, but I also know my limits. On the first day of this year, being in the sea was a true pleasure.

NMMU: What are your hopes, expectations, and plans for 2025?
Dubravka Lošić: Lately, I’ve been thinking I spend too much time around lorries and trailers. I don’t think that’s my destiny.

Interviewed by: Lana Šetka© National Museum of Modern Art, Zagreb
Translated by: Robertina Tomić
The portrait of Dubravka Lošić in the NMMU’s Octagon – as well as her 2023 work Oblique Flight, which incorporates details from Ukrainian scarves displayed in the Octagon – was photographed by Veronica Arevalo in 2024.

The catalogue for the exhibition “The Silkworm’s Cocoon” by contemporary Croatian artist Dubravka Lošić was presented at the Octagon NMMU

The catalogue for the exhibition “The Silkworm’s Cocoon” by contemporary Croatian artist Dubravka Lošić was presented at the Octagon of the National Museum of Modern Art on 13 January at midday.
On this occasion, in the presence of the artist, Branko Franceschi, Director of the National Museum of Modern Art, exhibition curator, and editor of the publication, spoke about the bilingual catalogue in Croatian and English. Franceschi also wrote the foreword and the essay on the exhibition, which was first presented in 2024 at the Museum of Fine Arts in Split.
The 104-page catalogue includes the artist’s biography, a selection of solo exhibitions, and a list of exhibited works. It is richly illustrated with photographs of the exhibition installation taken by Veronica Arevalo, and is designed by Ana Zubić.

Translated by: Robertina Tomić
Reproductions: From the presentation of the exhibition catalogue “The Silkworm’s Cocoon” by Dubravka Lošić at the Octagon of the NMMU. Photo: © from the archives of the National Museum of Modern Art, Zagreb

The exhibition Parallel Lines / High Modernism in Croatia 1949 – 1998, from the collection of the National Museum of Modern Art, was opened at the National Museum of Contemporary Art (MNAC) in Bucharest

The exhibition Parallel Lines / High Modernism in Croatia 1949 – 1998, from the collection of the National Museum of Modern Art, was officially opened at the National Museum of Contemporary Art (MNAC) in Bucharest on 12 December, in the presence of Ms. Marija Kapitanović, the extraordinary and plenipotentiary Ambassador of the Republic of Croatia to Romania, and the envoy of the President of the Croatian Parliament, Mr. Gordan Jandroković.
This exhibition, which marks the first presentation of Croatian visual art in Romania, is staged in the impressive gallery space of 1,500 square metres on the first floor of the Palace of the Parliament, and is based on the curatorial concept developed by the NMMU Director, Branko Franceschi.

Artists featured in the exhibition: Kosta Angeli Radovani, Vojin Bakić, Petar Barišić, Peruško Bogdanić, Jagoda Buić, Boris Bućan, Ivo Deković, Vlasta Delimar, Boris Demur, Josip Diminić, Braco Dimitrijević, Juraj Dobrović, Slavomir Drinković, Ivo Dulčić, Dušan Džamonja, Joško Eterović, Jadranka Fatur, Eugen Feller, Zvjezdana Fio, Ivo Friščić, Goran Fruk, Mladen Galić, Ivo Gattin, Vladimir Gašparić (Gapa), Oton Gliha, Tomislav Gotovac, Stjepan Gračan, Grupa Šestorice autora, Krsto Hegedušić, Željko Hegedušić, Hrvoje Šercar, Ljubo Ivančić, Sanja Iveković, Vlado Jakelić, Đorđe Jandrić, Stanko Jančić, Božidar Jelinić, Anto Jerković, Željko Jerman, Marijan Jevšovar, Dean Jokanović Toumin, Vasilije Jordan, Ivo Kalina, Ksenija Kantoci, Zlatko Kauzlarić-Atač, Nives Kavurić-Kurtović, Albert Kinert, Željko Kipke, Josip Klarica, Julije Knifer, Eugen Kokot, Slavko Kopač, Zlatko Kopljar, Kuzma Kovačić, Ivan Kožarić, Vladimir Kristl, Vatroslav Kuliš, Ferdinand Kulmer, Rudolf Labaš, Milena Lah, Željko Lapuh, Branko Lepen, Vlado Martek, Dalibor Martinis, Valerije Michieli, Antun Motika, Marijana Muljević, Edo Murtić, Sofija Naletilić Penavuša, Jelena Perić, Ordan Petlevski, Ratko Petrić, Ivan Picelj, Srećko Planinić, Vesna Popržan, Oton Postružnik, Zlatko Prica, Vanja Radauš, Dubravka Rakoci, Božidar Rašica, Ante Rašić, Vjenceslav Richter, Arsen Roje, Igor Rončević, Branko Ružić, Edita Schubert, Đuro Seder, Damir Sokić, Aleksandar Srnec, Miljenko Stančić, Sven Stilinović, Mladen Stilinović, Goran Trbuljak, Matko Trebotić, Jasenka Tućan, Josip Vaništa, Zlatan Vrkljan, Goranka Vrus Murtić, Miro Vuco, Šime Vulas, Fedor Vučemilović, Đurđica Zanoški-Gudlin, Mirko Zrinščak, Ivo Šebalj, Ljerka Šibenik, Šime Perić, Miroslav Šutej, Vlasta Žanić

The exhibition Parallel Lines / High Modernism in Croatia 1949 – 1998, from the collection of the National Museum of Modern Art, which is on view at the National Museum of Contemporary Art in Bucharest until 13 April 2025, has been made possible with the support of the Ministry of Culture and Media of the Republic of Croatia, the Office for Culture and Civil Society of the City of Zagreb, and the Embassy of the Republic of Croatia in Bucharest. It is presented under the high patronage of the Croatian Parliament.
Exhibition sponsor: Orbico Ltd.

Translated by: Robertina Tomić
📷 Mateja Horvat (Croatian Embassy in Romania)
We publish the photos thanks to the Embassy of the Republic of Croatia in Romania
https://www.facebook.com/CROinRO

“In Memory of Munir’s Pastorals or the World of Yesterday” exhibition opened at the Josip Račić Gallery

The opening of the small, intimate exhibition “In Memory of Munir’s Pastorals or the World of Yesterday” at the Josip Račić Gallery on 5 December brought together friends, colleagues, and admirers of Munir Vejzović’s work. This distinguished Croatian sculptor and graphic artist held numerous retrospective, thematic, and monographic exhibitions at this iconic Zagreb gallery, where he was a long-standing member, as well as at the National Museum of Modern Art, with which he collaborated extensively. In this sense, the exhibition serves as a symbolic farewell to the artist, who passed away in September of this year.
On this occasion, Tihana Galić, curator of the National Museum of Modern Art and head of the Josip Račić Gallery, welcomed the guests on behalf of the institution. The exhibition concept was introduced by Iva Körbler, the exhibition’s author, art historian, and critic, who curated the selection of works, designed the visual layout, and authored the text for the accompanying catalogue. The artist’s wife, Mizana Vejzović, thanked everyone involved in the exhibition’s organisation and those who supported its realisation.
The exhibition of Munir Vejzović’s works from the Biškupić Collection, held at the Josip Račić Gallery with support from the Ministry of Culture and Media of the Republic of Croatia and the Orbico Group, will be on view until 5 January 2025.

Translated by: Robertina Tomić
Photo Goran Vranić © National Museum of Modern Art, Zagreb

At this year’s Adris Foundation donation and scholarship award ceremony two projects from the National Museum of Modern Art received valuable donations in the Creativity category, as part of the Creativity, Ecology, Heritage, and Goodness programme

At this year’s Adris Foundation donation and scholarship award ceremony, held on 15 November at the Zonar Hotel in Zagreb (a multiple award-winning architectural restoration project by Lea Pelivan and Toma Plejić / Studio UP), two projects from the National Museum of Modern Art received valuable donations in the Creativity category, as part of the Creativity, Ecology, Heritage, and Goodness programme: the scientific monograph “Ties Between Croatian and Italian Painting from 1872 to 1919” by museum consultant Ivana Rončević Elezović, PhD and the extensive monograph on Jadranka Fatur, co-authored by the artist and art historian and critic Branka Hlevnjak.
A heartfelt thank you!

Translated by: Robertina Tomić

For more details, please visit the following links: https://www.adris.hr/.../zaklada.../natjecaji/natjecaj-2024/
https://youtu.be/HvMY6OSuRlk?si=w1nPGHs8Cx98qmkO
from the archive of the National Museum of Modern Art, Zagreb

🔎 Find out more: https://www.adris.hr/.../zaklada.../natjecaji/natjecaj-2024/
https://youtu.be/HvMY6OSuRlk?si=w1nPGHs8Cx98qmkO
📷 From the archives of the National Museum of Modern Art, Zagreb