Valentina Supanz Marinić, a younger generation painter from Zagreb presents herself for the first time in Split with a series of paintings titled Toxicity. She expresses the position of constant vigilance and sensitivity to reality with her style and problems that enter the scope of her work, and asserts herself as an increasingly important member of the generation of artists who decided to face their personal, but also broader social issues, fears and hopes, with a realistic and figurative artistic expression. The series of paintings was created during 2019 – 2020, on the eve of the Coronavirus pandemic and the global crisis that ensued as a consequence, and in a way, it prophetically predicted a sudden change in the living situation that we found ourselves in, unpredictably and overnight.

Segments of the multimedia, ambient installation Absent, symbolize steps in the process of creating a work of art. The vessel of clay represents preparation that precedes artistic production. Throwing clay objects against the wall signifies artistic production itself. Wet, earthen objects on the wall are the product of creation, while imprints and broken pieces of clay on paper, placed on the floor under the wall against which clay has previously been thrown, are a kind of documentation of the process. The ejection, recorded on video, is accompanied only by hints of the artist’s presence: a collateral sigh and the appearance of a hand that witnesses the artist’s dislocation to the background. The continuous loop recording of the process of creation leads to an absurdity of Beckett’s proportions, particularly highlighted by the fact that the “image” disappears with the drying of clay. Production thus becomes futile. The audio segment of the work creates a dull and penetrating sound of damp clay smashing against the wall. The whole production is quick and restrained, and is completed with the symbolic return of clay to the “earth”, from where it was taken.

In the year of celebrating its 90th anniversary, The Museum of Fine Arts in Split is starting its exhibition programme with the critical retrospective of Jerolim Miše, one of the greatest artists Croatian painting has ever produced. The exhibition is organized in collaboration with the National Museum of Modern Art in Zagreb, where it was shown during December and January, and on the occasion of 130th anniversary of the birth and 50th anniversary of the death of this prominent Croatian painter.

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.