The burdens born by the Generation Z today, that is, long-term experiences of alienation, depression and fear have resulted in the artist’s self-imposed isolation and his escape into the sphere of digital media, while the accompanying feelings can be summed up by the generic term of ennui. Translated into English, the French title noun, ennui, describes a feeling of boredom, listlessness and dissatisfaction arising from a lack of excitement. The said descriptions become a thematic inspiration for Frančić’s new series.

Mihael Frančić creates a series of eight psychological self-portraits that convey his inner state, which is reflected in depression, lethargy, anxiety and trauma. The experienced trauma suffered through verbal and physical violence has translated into a desire to avoid unnecessary public exposure. This time, however, the artist consciously exposes himself on canvas.

The exhibition From the Certain to the Possible: FACES, LANDSCAPES, HYPOCRISIES presents works from the collection of the Museum of Fine Arts in Split created over an extended time period, the themes and visual properties of which group them around the terms highlighted in the title. The intention is to understand, through the landscapes – both natural and urban, as well as their fragments and associative diagrams – the inner moods and mental states conveyed by the artists, and to draw attention, through observations of their own and other people’s faces, to the multifaceted nature of human existence, but also to open that intimate world to the potential neurosis activated by the imposed adaptations and oppressions of collective conventions.

The Museum of Fine Arts’ collaboration with the Split artist Hrvoje Cokarić begins its participation in the multi-year project GARDENING OF SOUL that is conceived around an artistic interpretation of the garden and the gardening phenomenon understood in a broader social, economic, ecological and cultural context.

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.