HR  |  EN



Creating the core of the holdings of the Museum of Modern Art Dubrovnik is art from the end of the 19th century, that is, the beginning of the Croatian Modern period. But it is also very much interested in everything that has happened after that, and, of course, in the contemporary moment of Croatian and world art.

Hence all these things need to be adjusted and harmonised with each other, an interaction between the present and the past, and local, national and international geographical locations. It is then also necessary to revive less well-known oeuvres of the past, to work on insufficiently known aspects of modern classics and their works, and to introduce and catalyse the work of talented young artists who live in or come from Dubrovnik and the Dubrovnik region. And, most importantly, it is also essential to facilitate creative encounters between this area of Croatia and the work of artists of world importance.

Bearing in mind the collection as it exists, this kind of conception seems completely natural. It is our aim, whatever is involved, whatever age, style, or medium, to maintain a high level of quality in our art’s curation. The Museum of Modern Art Dubrovnik, as a museum of modern and contemporary art, is a model for the presentation and value of art.

Such aspirations led to the idea of working together with curators with major world reputations who through their knowledge, influence and commitment are capable of bringing the world to Dubrovnik, and sending Dubrovnik out to the world. Of course, Dubrovnik has never been a simple tabula rasa in the visual arts world, but now it is necessary to put the whole thing on a very firm conceptual base, in order to achieve a clearly profiled, lasting and fruitful activity tending towards growth, strengthening and development.

Thus during 2002 and 2003 we established good working relations with Ms Catherine David, highly respected, world-reputed art historian, earlier a curator of the Pompidou Centre in Paris and at the Jeu de Paume, director of Kassel Documenta X, and the current director of the Rotterdam Witte de With Museum. Together we worked out a plan for an ultimate exhibition called Dubrovnik – Here and Elsewhere / Dubrovnik – ici et allieurs.

Similarly, during summer 2002, the exhibition Perception was put on, created jointly with the French gallery manager Jean de Breyne.

In 2003 the Gallery mounted a major exhibition of works from the Thyssen Bornemisza contemporary art collection, which was given the title Brightness. This show presented works by some of the most important artists of the present day.

In the same series of shows, summer 2004 saw a retrospective by an artist with a major international reputation, Braco Dimitrijević and in 2006 a solo exhibtion by international artist Jan Fabre.


Braco Dimitrijević
Triptyhos Posthistoricus (Story of Adam and Eve)

In cooperation with Kunstmuseum Mülheim an der Ruhr in der Alten Post and Swiss private collectors, in the Summer of 2008 an exhibition of Pablo Picasso's prints was put on in the Museum.

In 2009 there were two international exhibitions: Jan Fabre-Le temps emprunté / Borrowed time, and, in collaboration with ETH Collection of prints and drawings from Zürich, American printmaking since 1960. In association with the Alberto Giacometti Foundation, Kunsthaus of Zurich, in the Summer of 2010 an exhibition of Alberto Giacometti's sculptures, paintings, prints and drawings took place in the Museum entitled Alberto Giacometti-Sculptor of the 20th century soul.

Inherent in all these events is a sketch plan for the future work of the Museum of Modern Art Dubrovnik, an important point of reference in making the city of Dubrovnik once again a metropolis, in promoting it as an art centre that goes far beyond the local context. Thanks to its history, its capacities, its one-of-a-kind structure and beauty, as well as its status as a world destination, and not just for holidaymakers, this is achievable for Dubrovnik.