Katarina Alamat Kusijanović
“Measure”

The exhibition of contemporary Dubrovnik artist Katarina Alamat Kusijanović, titled “Measure” was opened on 7 April in the NMMA’s Josip Račić Gallery. The exhibition, conceived by art historian and critic Vanja Babić showcases 96 small-format works, 48 of which form twin compositions and 5 are large-format reliefs, created during the Covid pandemic and in which Katarina Alamat Kusijanović examines her own relationship with the world and society. In addition to the monumental reliefs in white chalk, in the Josip Račić Gallery the audience have the opportunity to see the gilded reliefs on wood and acrylics on plexiglass, accompanied by the sounds of swifts, rain and wind… The aforementioned works repeat, to a greater or lesser extent, the Latin elegiac couplet from the arch of the Gothic-Renaissance Sponza Palace in Dubrovnik

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.), which the artist perceives as a kind of principle we should all live by. Measures and measurement for Katarina Alamat Kusijanović represent the foundation of civilization and are the primary tool of our knowledge and understanding of the world at all levels. Katarina Alamat Kusijanović presents to the audience in Zagreb works that have largely been shown at the exhibition Mensura in the Museum of Modern Art in Dubrovnik in 2020. The exhibition is accompanied by a bilingual catalogue in Croatian and English, with a foreword by Vanja Babić and designed by Ana Zubić.

Biography

Katarina Alamat Kusijanović was born in Dubrovnik in 1965. She obtained a degree from the Education College in Belgrade, 1989, majoring in easel painting restoration and conservation, and then in 2004 she graduated from the Arts Academy in Split. Since 1992, she has been a member of the Croatian Association of Visual Artists. From 1993 to 2019 she was employed as a conservation-restoration consultant in the Croatian Conservation Institute and from 2008 to 2013 she worked as the head of the Dubrovnik Restoration Department. As staff member of the Croatian Conservation Institute, she gave a series of lectures in professional and scientific conferences at home and abroad. She has published two scientific and a number of specialised works. She is the author of the exhibition installation Hidden Trecento (in front of the Rector’s Palace in Dubrovnik, 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 been working as a designer for Adriatic Luxury Hotels, and since 2019 she is the head of their interior design department. The exhibition MENSURA / MEASURE 2020, at the Museum of Modern Art in Dubrovnik, interprets the past, present and future of the City through the idea of measure as the antithesis of chaos, proverbially carved into the stone of Dubrovnik for centuries. She has held and participated in many solo and group exhibitions. Katarina Alamat Kusijanović lives and works in Dubrovnik.

Image:  From the Katarina Alamat Kusijanović exhibition set up at the Josip Račić Gallery. Photo: Goran Vranić © National Museum of Modern Art, Zagreb, 2022

Golgotha

The exhibition Golgotha opens at the National Museum of Modern Art on 19 April at 7 pm. This case study exhibition, conceived by art historian Zvonko Maković, PhD and organized by the NMMA’s senior curator Lada Bošnjak Velagić, presents different contemporary receptions of Kraljević’s Golgotha from 1912, in the works of the new art generation of artists who defined our visual arts scene during and immediately after World War I (Ljubo Babić, Marijan Trepše, Sava Šumanović).

The exhibition will present the paintings of Golgotha by Miroslav Kraljević, Ljubo Babić and Marijan Trepše from the collection of the National Museum of Modern Art in Zagreb, and the interpretation of the same theme by Sava Šimanović, which has been loaned for this very occasion by the National Museum in Smederevska Palanka, Serbia. Bilingual exhibition catalogue with a text by art historian Zvonko Maković, PhD is edited by Lada Bošnjak Velagić, NMMA’s senior curator. The catalogue is designed by Ana Zubić. The exhibition will remain open until 29 May 2022.

Photo: Miroslav Kraljević, Golgotha (detail) , 1912. oil on canvas. 72,1 x 115,3 cm. MG-7084. Photo: Goran Vranić © National Museum of Modern Art, Zagreb
Translated by: Robertina Tomić

Transformation of Wood

The National Museum of Modern Art presents the exhibition Transformation of Wood, highlighting the importance of trees and forests for man’s survival as well as his relationship towards nature. The author of the exhibition, Tatijana Gareljić, NMMU museum consultant, has selected about 60 works by Croatian artists from the NMMU collection that reveal astonishing forms of wood as a primordial natural material in myriad of its transformations shaped over the past hundred years.

The interaction between man and trees is conditioned by man’s desire to preserve his own existence, and the history of civilization is also the history of transformation of wooden forms. When men’s need for creation and shaping surpasses utility it transcends into art. With inventive concepts and skills, the immanent properties of wood become artifacts. … (Tatijana Gareljić)

Artists:  Grga Antunac, Petar Barišić, František Bilek, Peruško Bogdanić, Iris Bondora Dvornik, Vojta Braniš, Boris Brzić, Ferdo Ćus, Ljubo de Karina, Josip Diminić, Juraj Dobrović, Dušan Džamonja, Joško Eterović, Vinko Fišter, Kažimir Hraste, Ante Jakić, Ksenija Kantoci, Dora Kovačević, Kuzma Kovačić, Ivan Kožarić, Vasko Lipovac, Dubravka Lošić, Ivan Lovrenčić, Ivan Meštrović, Matko Mijić, Sofija Naletilić Penavuša, Izvor Oreb, Šime Perić, Ivan Picelj, Branko Ružić, Petar Smajić, Damir Sokić, Aleksandar Srnec, Ante Starčević, Dalibor Stošić, Marin Studin, Juraj Škarpa, Miroslav Šutej, Goran Štimac, Šime Vulas, Josip Zeman, Zlatko Zlatić, Mirko Zrinšćak

Image: From the Transformation of Wood exhibition
Photo: Goran Vranić ©National Museum of Modern Art, Zagreb

“The Machine in the Garden”

From 25 January to 24 April, the National Museum of Modern Art presents the first in a series of curatorial interpretations of the NMMU collection in 2022. The exhibition titled “The Machine in the Garden” is conceived by Klaudio Štefančić, Head of the Collection of 19th and 20th century Watercolours, Drawings and Gouaches.

“The Machine in the Garden” exhibition aims to draw attention to the motifs and themes associated with the technological modernization of society, which appear in the works of Croatian artists from the early 20th century to the present day. The exhibition is based on the artworks in the collection of the National Museum of Modern Art, but is organised to emphasise the impact of social events on art and the need to make art of past periods topical in the time in which we, as an audience, live and work today. The motifs of machines and industry are not numerous in Croatian 20th century painting, sculpture and graphic arts, but when they do appear they represent special signs that equally denote artistic innovation and the socio-economic situation.

All forms of combustion, everything that emits smoke, from cigarettes through exhaust pipes to chimneys, is no longer desirable in this day and age. A different reality emerges before our eyes today: electronic screens instead of smokestacks and factories; fight against climate change instead of cars in the landscape; wind turbines instead of locomotives, etc. The clash of art and new forms of production is again dramatic and we tried to highlight it with this exhibition. Whatever it eventually transforms into, we will not be able to imagine future society without the symbols of the garden and the machine.

Artists:  Atelier Tri, Vladimir Becić, Ivo Deković, Marijan Detoni. Jadranka Fatur,Vilko Gecan, Dubravko Gljivan, Griesbach i Knaus (radionica), Karlo Mijić, Georg Hermann, Fréres Huguenin, Nina Ivančić, Hinko Juhn, Leo Junek, Slavko Kopač, Anka Krizmanić, Mihovil Krušlin, Nenad Opačić, Ivan Picelj, Vjenceslav Richter, Josip Seissel, Robert Šimrak, Miroslav Šutej, Frano Šimunović, Ernest Tomašević, Milivoj Uzelac, Vladimir Varlaj, Mladen Veža, Jelka Struppi Wolkensperg

Photo: Goran Vranić ©National Museum of Modern Art, Zagreb

Gloria: Croatian Female Artists Salute Kiki Smith

Gloria: Croatian Female Artists Salute Kiki Smith
25 November 2021 – 28 January 2022

Exhibition concept: Branko Franceschi
Curator: Branko Franceschi

The Croatian public will have the first-ever opportunity to view, in their national museum institutions, twenty-one works by the internationally renowned American artist Kiki Smith. Thanks to inventive and unencumbered technical procedures Smith has promoted through her multidisciplinary practice during the 1980s, she managed to singlehandedly change the canons in which human body and corporeality in general were traditionally presented. This is especially true of the motif of a woman and what has generally been considered the field of female creativity in art, such as motifs related to dreams, dream visions, the magical, conjuring and intuitive relationship towards reality, and nature in particular. Kiki Smith’s works at the NMMU are presented alongside the works of fourteen Croatian female artists from the museum collection, created over a period of one hundred years, which we find resonant and congruous with Kiki Smith’s work. It is an exhibition set-up that connects two art scenes and cultures, USA and Croatia, in time and space. The well-known Croatian female artists will introduce this international art star, practically unknown in Croatia outside the art scene, to the local public and cultural discourse. In addition to the National Museum of Modern Art in Zagreb, the exhibition will also be showcased in the Museum of Fine Arts in Split (11 February 2022 - 27 March 2022), and each museum will present works of Croatian female artists from their respective collections. The exhibition catalogue will accompany both set-ups, the distribution of which will enable foreign audiences, who are drawn to Kiki Smith’s charisma, to get to know the century of prolific work of Croatian female artists. It is a beautiful position of solidarity and sisterhood by vocation that transcends existing global structures of power and fame relations.

Croatian Artist in exhibition set-up at NMMU: Nevenka Arbanas, Biserka Baretić, Jagoda Buić, Vlasta Delimar, Ina Drutter, Marta Ehrlich, Ksenija Kantoci, Nives Kavurić Kurtović, Milena Lah, Sofija Naletilić Penavuša, Vesna Popržan, Slava Raškaj, Nasta Rojc, Edita Schubert

Biography of the artist

Kiki Smith has been known since the 1980s for her multidisciplinary practice relating to the human condition and the natural world. She uses a broad variety of materials to continuously expand and evolve the body of work that includes sculpture, printmaking, photography, drawing and textiles. In the 1980s, Smith literally turned the figurative tradition in sculpture inside out, creating objects and drawings based on organs, cellular forms and the human nervous system as well as by using unusual materials. Her later practice includes animal motifs, domestic objects and narrative tropes from classical mythology and folk tales. Life, death and resurrection are thematic signposts in many of her installations and sculptures, the frequent topos of which are themes of gender with an emphasis on the construction of archetypal female types and situations. Her interpretation of motifs along with cultural references is inspired with the oneiric dimension of reality.

Kiki Smith has been the subject of numerous solo exhibitions worldwide, including over 25 museum exhibitions. Her work has been featured at five Venice Biennales, including the 2017 edition. She is a member of the American Academy of Arts and Letters and the American Academy of Arts and Sciences, and in 2017 was awarded the title of Honorary Royal Academician by the Royal Academy of Arts, London. Previously, Smith was recognized in 2006 by TIME Magazine as one of the “TIME 100: People Who Shape Our World”. Other awards include the Skowhegan Medal for Sculpture in 2000; the 2009 Edward MacDowell Medal; the 2010 Nelson A. Rockefeller Award; the 2013 U.S. Department of State Medal of Arts, conferred by Hillary Clinton; and the 2016 Lifetime Achievement Award from the International Sculpture Center, among others. She is an adjunct professor at NYU and Columbia University.

Translated by Robertina Tomić
Photo: From the Gloria: Croatian Female Artists Salute Kiki Smith exhibition set up at the NMMU. Goran Vranić ©National Museum of Modern Art, Zagreb

EXPLOITATION OF DEATH

From 9 November 2021 to 16 January 2022, the National Museum of Modern Art presents the exhibition Exploitation of Death, conceived by art historian Dajana Vlaisavljević, which brings together around 60 artworks (paintings, sculptures, prints and video performances) created during the period ranging from the 19th to the 20th century. Most are artworks from the NMMU holdings, with several works from other Croatian museums and private collections.

The exhibition Exploitation of Death explores the theme of dying and death in the visual arts taking into consideration works that thematize not only human death, but also those that deal with the disappearance of nature, in the broadest sense, of which man is only an integral part. The process of dying, finality in general, that is, death of all living beings is therefore equated with the destruction of nature. The exhibition examines whether and how an artist experiences finality of all living beings and inanimate nature until the end of the world, that is, cataclysm, and how has the process been presented by Croatian artists in their works. For the purposes of this research, we used artworks from the museum holdings for the most part, which include artworks from the 19th c. to the present day. They are arranged into several thematic groups, Meat is Murder; The End of the World, Cataclysm; The Paradox of Death; Everybody Dies, Don’t They; Final Farewells, Death is Not the End.

The exhibition will showcase works by Lovro Artuković, Ljubo Babić, Vladimir Becić, Bruno Bulić, Nataša Cetinić, Menci Clement Crnčić, Bela Čikoš Sesija, Vladimir Filakovac, Ivo Gattin, Ivan Generalić, Stjepan Gračan, Krsto and Željko Hegedušić, Georg Hainz, Ignjat Job, Gabriel Jurkić, Josip Klarica, Zlatko Kopljar, Branko Kovačević, Iso Kršnjavi, Ivan Lovrenčić, Antun Maračić, Nikola Mašić, Jan Matejko, Antun Mezdjić, Valerije Michielij, Karlo Mijić, Renè Miković, Zoran Mušič, Ratko Petrić, Oton Postružnik, Zlatko Prica, Mirko Rački, Vanja Radauš, Ivo Rein, Dijana Rajković, Branko Ružić, Miljenko Stančić, Mladen Stilinović, Hrvoje Šercar, Robert Šimrak, Frano Šimunović, Đuro Tiljak, Kamilo Tompa and Maksimilijan Vanka.

In addition to the foreword written by Dajana Vlaisavljević, as the exhibition author, the exhibition catalogue includes texts on the topic of dying and death written by cultural anthropologist, Suzana Marjanić, PhD and biologist Mirna Marinić, PhD.

Photo: Goran Vranić ©National Museum of Modern Art, Zagreb

 

 

 

Josip Klarica, Light in Silver and Gold – In memoriam

The exhibition Josip Klarica Light in Silver and Gold - In memoriam at the National Museum of Modern Art has been extended until Sunday, November 14, 2021, so anyone who planned to see the exhibition but had not done by 7, can do so until November 14, with strict adherence to HZJZ epidemiological measures.From 14 September to 7 November 2021, the National Museum of Modern Art presents an exhibition dedicated to Josip Klarica, one of the most important contemporary Croatian photographers, who passed away suddenly in March 2020.
The presentation of the artist’s oeuvre in the six halls on the first floor of the Vranyczany Palace, conceived by art historian Branko Franceschi, will encompass the period from the 1970s to the more recent works created just before the artist’s death. Around a hundred of the photographs on display are part of the family bequest with only a small number from private collections.
The general and professional public will have the distinct pleasure to enjoy the recognizable poetic black-and-white depictions of Prague, the city where Klarica studied and spent a period of his life, frames of surreal still lifes and mystical panoramas of Maksimir, his favourite park in the vicinity of which he lived and visited almost every day to observe and photograph it.
The documentary material such as the photographic equipment and cameras he took photos with, props he used to capture still lifes and recordings of conversations with the artist produced by the Croatian Radiotelevision will accompany the artistic material and acquaint the audience with the context of its creation.
A richly illustrated bilingual catalogue with a foreword by Branko Franceschi, director of the National Museum of Modern Art and an essay by art historian and art critic Želimir Koščević will accompany the exhibition. The program will also include guided tours and workshops for children and adults, conversations with family members, authors and photographers, of course all to the extent that the epidemiological situation will allow.

Photo: Goran Vranić ©National Museum of Modern Art, Zagreb

Fragments of Melancholy

The exhibition Fragments of Melancholy is selected from different collections of the National Museum of Modern Art and composed mostly of works from the museum holdings. These concepts go beyond the stylistic classification of material and follow the psychological characterisation of art in various painting media (painting, drawing, photography, spatial objects) from the 19th to the 21st century. With the theme of melancholy, the metaphysical and surreal, we enter into the world of secret, hidden human existence and look for that something, both haunted and wistful. The medical profession interprets the appearance of melancholy as lethargy, dejection, despondency, a feeling of futility and depression, as a consequence of loss or a fear of loss. It is also an unstable state of human nature that the artist projects into objects, things and dream visions, including dreams, nostalgia and memory, which is reflected in wistful, insignificant, uneasy phenomena and representations. By projecting the inner self onto the object of perception, the artists attribute a cumbersome sense of purpose or loss of centre to the motif. Pictorial signals selected for this exhibition, in the extended meaning of painting, are like shadows that stretch through empty, onerous and silent motifs. We witness an inner point of view, the metaphysical and surreal conception, and thus visualize and imagine beyond things, beyond and above the physical, hoping for an ontological essence, in the unattainable sense of purpose and analysis of the spirit of man and artist. The exhibition will feature works that show the historicity of the theme, ranging from Nikola Mašić, Bela Čikoš Sesija, Marko Rašica through Emanuel Vidović, Milan Steiner, Vilko Gecan, Milivoj Uzelac, Ljubo Babić, Frano Šimunović to Miljenko Stančić, Zlatko Šulentić, Josip Vaništa, Ljubo Ivančić, Željko Lapuh, Goran Trbuljak, Josip Klarica, Ivan Posavec, Mijo Vesović, Ante Rašić, Zlatan Vrkljan, Robert Šimrak, Zoltan Novak, Tomislav Buntak and others.

Translated by Robertina Tomić
Photo: from the exhibition set-up - Goran Vranić ©National Museum of Modern Art, Zagreb

Ties That Bind – Academy of Fine Arts in Zagreb and Slovenian Artists Between the Two Wars

   

Ties That Bind – Academy of Fine Arts in Zagreb and Slovenian Artists Between the Two Wars exhibition is the result of collaboration between the National Museum of Modern Art in Zagreb, the Božidar Jakac Art Museum in Kostanjevica on Krka and the Academy of Fine Arts in Zagreb.
The centuries-old contacts between artists from Croatian and Slovenian territories within the same country intensified with the founding of the Kingdom of Yugoslavia. Zagreb – the region’s cultural and studying hotspot at the time – was also the only city in the newly formed state that had a fine arts academy. Ivan Meštrović, one of the most famous artists of the period, was at the helm of the Academy of Fine Arts in Zagreb, which could easily compete with similar European education institutions thanks to its quality study programmes. In the interwar period, almost one hundred Slovenian artists studied there, many of whom later left their mark on Slovenian art and culture as painters, sculptors, set designers, art teachers, cultural workers, theorists and, ultimately, as professors at the Academy of Fine Arts and Design in Ljubljana which was founded in 1945. Lasting friendships were formed, former professors and students became colleagues, former colleagues became collaborators, they became active in different societies and associations, exhibited, were members of committees, and so collaborated in the shaping of pre-war and post-war cultural and artistic life.
Curated by Asta Vrečko, PhD (Božidar Jakac Art Museum) and Dajana Vlaisavljević (National Museum of Modern Art in Zagreb), the exhibition is presenting approximately one hundred paintings, sculptures and graphic art pieces by the most famous Slovenian artists who studied at the Academy of Fine Arts in Zagreb, such as: Gabrijel Stupica, Zoran Mušič, Zoran Didek, France Pavlovec, Marij Pregelj, Maksim Sedej, Miha Maleš, Nikolaj Pirnat, France Gorše, France Mihelič, Zdenko Kalin. Some works were already exhibited in Zagreb in the interwar period and will now be presented to Zagreb’s public again after eighty years.
The works of Slovenian artists will be exhibited in parallel with the works of their Croatian colleagues, namely Antun Motika, Oton Postružnik, Marijan Detoni, Frano Šimunović, Slavko Kopač and then professors Ljubo Babić, Vladimir Becić, Ivan Meštrović, Krsto Hegedušić, Marino Tartaglia and others. The exhibition attempts to detect the mutual influences, ties and collaborations between Slovenian and Croatian artists, and to point out some of the widely known key issues that were of particular interest to the artists of both milieus at the time, such as the issue of national artistic expression or socially engaged art.
Besides works of art from the collection of the National Museum of Modern Art in Zagreb and the Božidar Jakac Art Museum, the exhibition is also presenting works from fifteen other public collections from Slovenia and Croatia, from several private collections and the archives of the Academy of Fine Arts in Zagreb.
The texts in the accompanying exhibition catalogue are authored by art historians Asta Vrečko, PhD, museum consultant Dajana Vlaisavljević, Head of the Archives of the Academy of Fine Arts in Zagreb Ariana Novina, and retired senior museum consultant at the National Museum of Modern Art in Ljubljana Breda Ilich Klančnik. The exhibition catalogue was designed by Ana Zubić. Due to the public health and safety situation, there is no official opening.

Catalogue cover page design with an image of work by Gabrijel Stupica (Self portrait with a Friend (detail), 1941 ) - Design:  Ana Zubić© National Museum of Modern Art, Zagreb
From the exhibition set-up. Photo: Goran Vranić © National Museum of Modern Art, Zagreb

Sergei Borisov, Body vs. System

Between 1st July and 29th August 2021, the National Museum of Modern Art is premiering works by one of the most famous contemporary Russian photographers – Sergei Borisov. Although it cannot be called a retrospective in the strict sense of the word, The Body against the System exhibition – authored by the director of the National Museum of Modern Art, Branko Franceschi – not only provides an overview of the development of Sergei Borisov’s visual language through both a thematic and chronological presentation of his works, but also portrays the ambiance of the alternative arts scene in St. Petersburg and Moscow, the cultural centres of Russia, as well as that of everyday life covering the period from the time of the Soviet Union to the present day. The photographs of this chronicler of Soviet-Russian history, born in 1947 in Moscow, mirror the distinctive features of the different periods of history. Viewers will, accordingly, be able to absorb the atmosphere of the collapse of the Soviet Union through a series of scenes, and discover the roots of the selfie culture.
Nudes and street photography, through which Sergei Borisov’s unique photographic language intensely conveys a sense of irony and protest that were typical of the Perestroika period, are the backbone of the exhibition. Published in famous magazines, such as Le Monde, The Face, Tempo, Actuel, Interview and Photo, Borisov’s photographs – widely acclaimed and praised for their aesthetic quality – provided the European public with information about the rapid changes taking place in Russia.

The peculiarity of Sergei Borisov’s visual language is his love of Moscow, its architecture and perspectives. A pompous, grand city, its river promenades and monuments – it all serves as an important aspect of meaning in Borisov’s photography. Architectural elements, complex compositional constructions within his photographs, and playing with both perspective and light are in an aesthetic dialogue with the protagonists, which lends his photographs a certain feeling of special sensuality. The next common component in the figurative expression of his photographs is the sphere of the sky which Borisov uses as a metaphor. Behind the splendid backdrops of such photographs as Confession, Masha on the Chimney and Flying, we do not immediately notice the inner state of his subjects who seem to rise above their personal dramas. (…) Catherine Borissoff

This exhibition Body vs. the System presents 62 black-and-white photographs with Sergei’s central motif of the human body in an urban environment or in his studio. Although he is known in Russia as a portrait photographer of pop stars, these often-unconventional images, for the most part, are not the subject of this exhibition because in our Western-oriented popular culture these artists are completely unknown to us. Russian colleagues will point out that in the 1980s, he ran his studio earned by working for Melodiya and named Studio 50A, as an informal gallery and a centre of alternative culture that, in terms of the decadent habits and famous guests, was a counterpart to Studio 54 in New York. My first association related to the social aspect of Borisov’s project was Andy Warhol’s Factory from the 1960s and 1970s since the Studio 50A was not just about entertainment. By including the local social elite, creativity that was promoted in Borisov’s studio treated the narrow-minded social values subversively. In fact, what we know of Soviet society during the 1980s it must have been regarded as scandalous and obscene. From our perspective Borisov has actually demonstrated that the size of the city’s population inevitably has a liberating effect on individuals, so the parade of social eccentricities is a phenomenon that is inescapable in milieus that millions of people gravitate to, regardless of the rigid political context. Thus, the protagonists of his photographs and party-goers are equally transvestites, the most famous of whom is St. Petersburg’s Marylin Monroe, young women and men who will pose for his celebrated nudes, as well as eccentric rock, pop and theatre stars or his visual artist friends. For that matter, the portrait of Andrew Warhola is also present in one of Sergei’s photographs on display. Studio 50A was the space of freedom, and the fundamental manifestation of freedom in rigid systems, which we also know something about, is the naked human body as a starting point and a destination, a physical and spiritual boundary of individuality. (…)  Branko Franceschi, director of the National Muesum of Modern Art and curator of the exhibition, Excerpt from the foreword from the exhibition catalogue

Translated by: Ana Janković
From the exhibition set-up.  Foto Tanja Tevih © Nacionalni muzej moderne umjetnosti, Zagreb

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