Adrijana Šuran

Colors of Istria

Adriana Šuran's painting explores the local ambience striving for the universal. The atmosphere of her strongly structrured compositions is interlinked and unifies the exhibition on the crucial historical agriculture and products of this area. Composition is built using strong color texture, which contributes to the understanding of the unique ambience through artistic interpretation, tones and indicated forms whose connection to the exhibition's theme does not influence the expressiveness of the cycle.

Fiko (Refik Saliji)

No bread without a hack

With his concept of agricultural items and their usability, Refik Saliji alias Fiko offers a possible interpretation of the new ambience that gives the original meaning of agricultural tools a new, artistic meaning. Fiko uses mowers, hacks and other tools to build a unique ambience of the Baredine exhibition.

Renco Kosinožić

Work and people
(permanent exhibitons)

The most frequent attribute connected with Renco's photos is „masterpieces“, which is a good, but incomplete description. Their precision and clarity truly reveals the hand of a master. „Istria has changed, I have changed. So has the way I see it“. These are words he used in a conversation about his „Istrian etnographic opus“, which according to him has surpassed the hotel i.e. touristic part of his rich and pedant photography. Although he was known as a „touristic“ photographer in the beginning, later also as a „ski photographer“, Renco's opus contains a lot of passion for Istria and its people. Foggy sunsets between beautiful hills, mediterranean twilights, grandpas and grandmas, children and workers, Istrian bulls and goats, door handles and mounds of rocks, the habitat and its people are the greatest love of Renco's lens.

Ute Essers

Colors of Istria

Red, white and grey are the natural colors of Istria. The vivid green of vineyards rises from ruby red, lime white or clay gray soil. Together with olive trees, holm-oak and cypress woods, rosemary and lavender bushes characterize Mediterranean wine under the blue sky of the Adriatic sea. For several years now Ute is spending her summer days in Istria. Inspired by the color diversity of Istria she always manages to find new motifs and ideas. Her paintings always include a lot of color leading you into a dreamland where you can forget your daily routine and start fantasizing.

Dušan Džamonja

Graphics

Dušan Džamonja (Strumica 1928 - Zagreb 2009), one of the greatest Croatian and European sculptors, a classic of the modern avant-garde and artist that marked both Croatian and world artistry of the second half of the twentieth century. Džamonja's drawings and graphic represent for this artist equally important means of expression as do his sculptures. In his drawings and graphics Džamonja achieves the same synthesis of light and materials accomplished on his sculptures. Dušan Džamonja is an artist whose opus combines the era of great artistic avant-gardes of the fifties with the third millennium. His sculptures are exposed in the world’s most famous collections such as the Tate Gallery in London, The Museum of Modern Art in New York, Nazionalgalerie in Berlin, Peggy Guggenheim Collection in Venice, Musee d'Arte Moderne de la Ville in Paris and many others, as well as in all Croatian museum institutions. He was a member of the Croatian Academy of Sciences and Arts since 2004. It is hard to select the most important exhibitions he had, whether in Croatia or abroad, but the following must certainly be mentioned: his individual exhibition on the XXX Venice Bienale in 1960, where the importance of Dzamonja's artistic creation was confirmed with the Grand prix nomination, as well as the outstanding reception of international critics; furthermore, the Document III in Kassel, VIII Bienale Sao Paolo, Paris Place Vendome in 1998, Lisabon Praca do Commercio in 1999, and many others.

Dušan Džamonja was an extremely skilled draftsman, and for him, drawing was the most important part of planning and creating, but he did not practice graphic arts in particular. During the fifties and sixties these were simple reproductions from his sketch pad or a facsimile of a drawing. He took the opportunity to create graphics for New Year's greeting cards. Mostly, these were original drawings created purposely for this special occasion. It wasn't until his series of 4 drawings made with a drawing nib that progress occurred, where every colour was drawn directly to foils 1:1, so that the result is exceptionally vivid and close to the sketch. He especially avoided graphics from the nineties on, when his drawing technique changed. He started using prints to achieve the desired textures in the original drawing, so he considered that reproductions of those drawings would be too similar to the original, and would possibly cause confusion on the market. However, on this exhibit we do have some exemplars of serigraphic from that time. Džamonja lived and worked in Bruxelles, Zagreb and Vrsar, where the monumental complex, including his house with atelier and sculptures.