HR  |  EN

ARCHIVE · 2001

Curated by Jasminka Babić
December 21, 2001 to January 15, 2002

On the basis of the warp of motifs from his own autobiography with frequent depictions of his own figure and the figure of his wife Marijana, Artuković builds up a whole complex of references to the life and art that surrounds in him. Thus in his paintings there are intimate scenes from everyday life shot through with features of the town, the political surrounds, often overlapping with quoted art-fiction. Either Artuković moves into pictures from the history of art, or else they are guests in his world of the contemporary urban individual. Because of this kind of salutary distance achieved from the orthodoxy of the medium, with simultaneous cultivation and self-deprecation, the painting of Lovro Artuković has obtained the stamp of an active, self-reflexive artistic practice.
On this occasion, some thirty of the artist's paintings created during the 1996-2001 period were shown. All the works are characterised by a muffled colourism with a tendency to greys, and the mood that we can read off from them is analogous - a mood of silence, trepidation and anxiety.

GABRO RAJČEVIĆ (1912-1943)
Retrospective: Paintings, Watercolours, Drawings and Sculptures
Curated by Lucija Aleksić
December 21, 2001 to January 15, 2002

The painting of Gabro Rajčević developed on a warp of Post-Impressionism, Expressionism and Fauvism, influences of the Parisian school. Thus in his paintings we can find elements of the kinds of expression of Matisse, Modigliani, Bonnard and Soutine, but his talent, which because of his premature death did not ultimately develop, was to result in a very personal creative contribution in which his affiliation to the particular Mediterranean clime can be seen.
In the last works of Rajčević, with motifs of nudes in individual or group depictions, he suggestively and movingly interfuses eroticism and melancholy.
In this exhibition, in which some fifty of Rajčević's oils, watercolours and drawings, as well as one sculpture were shown, we endeavoured to draw additional attention to the valuable and yet undervalued work of this painter of Dubrovnik.


PM 20, Twenty Years from 1981-2001
Twenty Years of the Gallery of Extended Media (PM) 
Curated by Nevena Tudor and Antun Maračić
November 24 to December 15, 2001

In the late 70s a group of around twenty Zagreb artists felt the need for joint activity, different from that required by traditional institutional presentation of art. The emphasis was placed on the relativization of the material component of the work and the affirmation of its spiritual aspect. In painting, sculpture, photography, film or poetry, the central medium of each author was subjected to dispersion, minimalization, extension or combination with other means of expression, which involved nomadism and a broader concept of art. After exhibitions in Poodrom, space in Mesnička street in Zagreb, the artist were given premises inside the building of the Artists Association (HDLU) and the Gallery of Extended Media was created. This exhibition shows twenty years of Gallery’ work, in which all stylistic forms of contemporary artistic expression have been represented, from various aspects of new art practice, trans-avantgarde, neo-expressionism, neo-informel, to new neo-geometric combinations of pop art, minimal and conceptual art.

Presentation of her work in the context of the project Dubrovnik - Here and Elsewhere / Dubrovnik - ici et ailleurs
Curated by Catherine David
October 31, 2001

The Dubrovnik-Here and Elsewhere project by that well-known French art historian, art critic and curator Catherine David in conjunction with Museum of Modern Art Dubrovnik started in October 2001. It was presented during the holding of the round table entitled Strategy for the 21 Century that was held at the end of an AICA conference in the Museum of Modern Art Dubrovnik. The specific feature of the project is in the fact that it is not limited to a single exhibition, but goes on and develops during a long period of time. The essence of it is in the interactive relationship of contemporary world artists with respect to the exhibition space. The artist who starts the project is Andreja Kulunčić (1968), whose socially engaged works are being realized with help of different aspects of technology, notably internet and co-created with the help of audience, conceptually integrated as essential element of the work. 

Kožarić in the Gallery
Curated by Antun Maračić
October 7 to November 20, 2001

The underlying structure of the Kožarić exhibition in the Gallery is given by author’s works from the holdings of the Dubrovnik Museum of Modern Art and those found in the area of the City. For this occasion, the work Haystack has been reconstructed in the courtyard of the gallery; this was originally put in front of the Rector’s palace in Dubrovnik in 1996 as part of the Island exhibition. In addition, there are works from the cycle of drawings and writings that were shown in the Kovačka 3 Gallery in Dubrovnik in 1994.

Photography in Dubrovnik 1848-2001
Curated by Marija Tonković and Antun Maračić
August 18 to September 16, 2001

The exhibition shows an overview of photography in Dubrovnik starting with photographers who worked in Dubrovnik in the middle and last decades of nineteenth century and first decades of twentieth century (Josip Betondić, Antun Drobac, Silvino Maškarić, Tomaso Burato, Antun Miletić, Cesare Damiani, Ivan Kulišić...) until photographers active in the last decades of twentieth and first years of twenty first century (Božo Đukić, Željko Šoletić, Miro Kerner, Pavo Urban, Ljubo Gamulin, Mara Bratoš, Marko Ercegović...)

From the holdings of the MMAD 
Curated by Antun Maračić
July until August 2001

In the exhibition From Bukovac to Knifer, the Museum of Modern Art in Dubrovnik presents a selection from its lavish collection of modern and contemporary art. It features works by Vlaho Bukovac and Mato Celestin Medović, two artists from the Dubrovnik area at work at the end of the 19th and in the first two decades of the twentieth centuries, founders of Croatian modern painting. Further shown are masterpieces of classics of Croatian modern painting of the first half of the twentieth century: Menci Clement Crnčić, Miroslav Kraljević, Vladimir Becić, Oskar Herman, Emanuel Vidović, Milivoj Uzelac and Ljubo Babić.  The sculpture selection is an organic continuation of the permanent display in the exterior sections of the Museum: it shows the works of Ivan Meštrović, Ivan Lozica, Ivan Kožarić, Frano Kršinić , Branko Ružić, Vojin Bakić..
The Dubrovnik painting of the first half of the twentieth century is presented with landscapes and views of on the whole the Dubrovnik region: in the post-Impressionist tendencies of Marko Murat, Niko Miljan and Marko Rašica, as well as in the colourist expressiveness of Ignjat Job. The fifties and sixties of Dubrovnik painting are presented by Ivo Dulčić, Antun Masle, Đuro Pulitika and Ivo Vojvodić, with works that are characterised by a dense painterly texture imparted to the surface, vivid colouring and the stylisation of motifs. As for Croatian painting of the second half of the 20th century, works at the borders of figuration and abstraction are being shown. The almost total downplaying of figuration is shown by the landscapes of Oton Gliha and Frano Šimunović, the work of Edo Murtić witnesses to the gesture of Expressionism, and Ljubo Ivančić’s work the tendency to Informel.  From the Gorgona group (end of the 1950s, early 1960s),  which championed unconventional forms of visual expression there are works by Julije Knifer and the hyperrealism of the seventies is represented with the work of Jadranka Fatur.

Portraits I, II
Curated by Antun Maračić
July 14 until July 31, 2001

Mara Bratoš’ black and white photographs contain the artist’s own friends, in external or internal spaces. They are always aware of the camera, always posing, but without any exhibitionism, without the characteristic smirk, grimaces, gestures, any endeavor to show anything at all save their own calm being. The view of the photographer the same time cherishes the scene and safeguards the laid back approach, counting in the attributes of the setting as legitimate components linked with the person of the friend. In the second group of photographs there are slides transformed into big colour enlargements, produced for a purpose, with carefully organized lighting, and before them a complex type of communication with successful people from various spheres of public life. In spite of the differences there are bound to be from black and white works, in these portraits the artist does not go very far from her usual programme. Here too she guards against excessive wordiness, keeps a distance, cultivates a cool approach, creating a world of dignified aesthetics, of an enhanced interest in the plastic.

Let light shine round the house
Curated by Berislav Valušek
July 6 to July 27, 2001

In a series of performances with the linking title “Let the light shine around the home”, using methods of decomposition, dislocation, relocation, Jurjević has embodied his own private and internal psychic state, and a broader juxtaposition of the ideas of private and public, home and homeland, open and closed, separated and integrated. Using his own body, some things that he has painted, his slides and videos, in a process using the palimpsest technique, a transparent superimposition of visual material, a kind of sandwich of shuffling and re-imaging, Jurjević is always again treating his own sense of being caught, with either negative (the impossibilities) or positive (the beauty) charges.

Berislav Valušek (from the preface of a catalogue)

Rolls, Little Rolls
Curated by Antun Maračić
May 23 to June 10, 2001

Rolls and little rolls are long narrow, industrially packed, rolled backings of the photographic paper on which the author makes his lightdrawings, in his characteristic technique of working with developer and fixer directly on the emulsion of chemically sensitive material.
In the artefacts of this artist we can find visuality and material of the arte povera type, the conceptual features of his patent-elementary photography, and, above all, the psychological and plastic drama of Informel, in the most sensual possible version of it.

April 20 to May 10 2001

The exhibition of photographs by Vjesnik photojournalist Ranko Marković is a part of the Vjesnik campaign for the renovation of Trsteno Arboretum, the oldest monument of garden architecture in Croatia. The exhibition also shows objects from Arboretum and Gučetić villa artistically contextualized (burnt cypress, tablets used for plants’ names, furniture...) 

Curated by Božo Majstorović
February 25 to March 25, 2001

The exhibition shows 45 works by Emanuel Vidović from the holdings of the Gallery of Fine Arts Split and 4 works from the holdings of Museum of Modern Art Dubrovnik. The art works dating from the end of nineteenth century until 1951 give a complete overview of Vidović’s artistic creation.

Cureted by Igor Zidić
December 19, 2000 to February 3, 2001

Vlaho Bukovac was a painter with a European reputation, teacher and organizer, a founding figure and catalyst, in the art of Croatian modern period. The exhibition is devised by art historian and director of the Modern gallery in Zagreb, Igor Zidić, who at the beginning of this year organized an exhibition in Prague, city in which Bukovac spent the last years of his life. After Prague, the exhibition has seen Zagreb, Split, Široki Brijeg and Šibenik, finally, at the end of the year, having followed a route opposite to that of the painter’s own life, ending here, at the source, in the place of his origin. The exhibition coincides with the 55th anniversary of the founding of the Museum of Modern Art Dubrovnik, which holds a considerable part of Bukovac’s oeuvre.