After the well-received exhibition of works by Tony Cragg in 2019, the audience in Split and Croatia will now, for the first time, have an opportunity to get acquainted with the work of another extremely important and internationally renowned British sculptor, Richard Deacon. The exhibition staged in the Kula Gallery and the atrium of the Museum of Fine Arts will present, through a selection of 22 works created in the last twenty years, different aspects of Deacon’s exceptionally interesting oeuvre.

Three years after the exhibition “Life after Tourism” in which Ivica Mitrović and Oleg Šuran dealt with the dystopian future of the city and life after a disaster, the authors return to the Museum of Fine Arts with a new project that they view as a continuation, a reflection on their personal practice and the condition of the speculative design practice, which has predominantly been focused, in the two decades of its existence, on dystopian futures. Today, the authors are interested in acting “here and now” – acting before the potential near catastrophic futures (climate, economic, political, technological, health, communal, etc.).

With his diverse, specific, and in some segments unique opus, the painter, graphic artist, and cartoonist Antun Zupa (Zuppa) occupies a prominent place in the art history of Split, where he was born in 1897 and died in 1969, after half a century of public activity. If we try to succinctly assess his painting achievements, valuing above all his dedication to work, we could say that in the period between the two world wars, Zupa was the most significant painter in the Split area after Emanuel Vidović. What distinguishes Zupa as an artist in the local environment, and which at the same time positions him in a broader artistic context, is his social awareness and engagement.

Installation A possible landscape (Split version) is a part of the project Exhibition continues which focused on Aballi's work of the past fifteen years and presented journey through his aesthetic preferences in contemplating the conventional systems of production of the work of art.