Category: Events

HDLU – Croatian Association of Fine Artists announces


within the program of Bačva Gallery, Prsten Gallery, PM Gallery, ISPOD Gallery*

Meštrović pavilion, Trg žrtava fašizma 16, Zagreb



The rights to participate in the call have all the artists and experts in the field of fine arts.





exhibition proposals

educational projects

international programs, inter-institutional and regional collaborations


APPLICATIONS SHALL BE SUBMITTED BY COMPLETING THE APPLICATION FORM AND SUBMISSION OF REQUIRED DOCUMENTS. All the fields in the application form which are marked with * are mandatory. Application, which is not fully completed or does not contain the required documents, will not be considered.




  1. required examples of the artworks / exhibition / project


  • images/sketches of the work in JPG format up to 700kb per image
  • digital Video in DVD PAL or mp4 format (if applicable)
  • sound works in mp3 format (if applicable) etc.


provide materials as much as possible for better insight into the project



  1. CV (please download CV-FORM here, fill it out and upload it to the on-line application form)


  • project applicant’s CV
  • artist(s)’ CV (if different from the applicant)


  1. spatial plan


  • on the gallery blue print (if applicable)


  1. for international projects and collaborations


  • list of countries and institutions engaged with the project
  • confirmation letter from the international institutions





How to apply


Applications should be submitted through on-line application form only.



Application deadline


July 10, 2022, 23:59


Applications received after the deadline will not be considered.


Contact for all issues related to the galleries and / or application form (Mon-Fri, 10am – 3.30pm):


  • PM and Prsten Gallery: Martina Miholić,, +385 997326127
  • Bačva and Ispod Gallery: Nika Šimičić,, 0989828989
  • For international and/or educational projects: Miran Jurić,






During the selection process, process of applying for funds and final realization of the program, HDLU will communicate only with the project applicant according to the contacts listed in the application form.




HDLU reserves the right to use the selected applications for promotional material of the yearly program in all types of media, catalogues, invites, web and Facebook pages of HDLU.



Please contact us in case if you don’t receive submission confirmation e-mail from within two working days from the submission.


* The ISPOD Gallery opened its doors for the first time as part of the 5th Biennial of Painting, and then the 36th Youth Salon, and has since intrigued visitors as well as artists. The specific, non-classical and dark space below the ground level expands the possibilities of exhibiting in the Home of HDLU, opening new possibilities for the presentation of the art program.

The space is not adapted to classic exhibition programs. What we are looking for are: unique, short-term / one-day experimental and contemporary art programs, events and concepts.

The area of the gallery is about 100m2





FLOOR PLANS OF THE GALLERY SPACES: Bačva GalleryPM GalleryPrsten Gallery



A screening of the film MACRO Asilo – Museo Roma will take place on May 21, 2022 in the Gorgona Hall, Museum of Contemporary Art in Zagreb. After the screening, senior curator of the Museum of Contemporary Art Leila Topić and independent curator Tihana Puc will talk to Italian anthropologist, artist, independent curator and director of the Museum of the Peripheries of Rome, Giorgio de Finis. Through the conversation, an attempt will be made to analyze and recontextualize the radical de Finnis experiment MACRO Asilo, which was formed at the MACRO Museum. The program takes place in cooperation with the Museum of Contemporary Art, the Discursive Program of the Academy of Fine Arts and the Croatian Association of Fine Artists.



Jurica Pušenjak
Bačva Gallery (Meštrović pavilion)
April 6-April 10, 2022

The opening of the exhibition by JURICA PUŠENJAK, HEROES will be on Wednesday, April 6 at 7pm, in Bačva Gallery, Home of HDLU (Meštrović pavilion).

“It is still very demanding to deal with World War II in our country. The liberation that came after the war was first romanticized and used as a lever of the socialist state system while (rightly) emphasizing the role of the Communist Party of Yugoslavia. Due to this, Oslobođenje became associated with the socialist state system and then relativized with its fall. Anti-fascism was thus also relativized, and I do not have to spell out the further consequences of this for you.

Within such a social context at the beginning of the second decade of the 21st century, the still young painter Jurica Pušenjak began to create his Monument to the Heroes of the National Liberation War, a hybrid work, that is, a painting object. It features 1315 portraits of the holders of the Order of the People’s Hero of Yugoslavia, according to the data from the Anthology of People’s Heroes of Yugoslavia, i.e., its third, complete edition from 1982. The reverse of the Monument is completely black. This colour is associated with the tragic end of numerous people’s heroes during the war, their fate in later society, when they were left to oblivion and their busts were removed from public spaces and their names from institutions. A colour that is, among other things, associated with fascism.

But black is also the colour of the land the partisans trampled and liberated (as the artist himself always points out) and the colour of rebirth. The colour of the fertile soil full of new sprouts and the colour used at the beginning of 2001: A Space Odyssey to mark the origin of the universe. Pusenjak’s Monument pulled the people’s heroes from the soil and oblivion, and I hope this marks a milestone on the path of their revaluation, on the path of the anti-fascist struggle they showed us, a struggle that is, obviously, still going on.

Numerous colourful faces on this work create a pop art-like impression. The People’s Liberation War also had a phase of kitschy, mostly propaganda, interpretations, most often in movies. Such movies, such as The Battle of the Neretva, served as Pušenjak’s inspiration for this work. Someone smart will proudly notice that his concept is just a “simulation of a simulation”. Still, I’m not nearly as smart. The colourful spectacle of the distant war and the darkness into which the war later fell (and from which it was originally born, and from which it will be reborn) are two equal sides of this work. They point to the duality of memory and the split in man and the society that man creates.

There is a reason society chooses to idealize or demonize certain historical figures or events. Collective imagination is what makes a community more stable (provides it with shared values), but also more susceptible to manipulation. Therefore one should constantly undermine the myth of the need for some stability. Put dynamite in the cracks of the concrete construction of the ruling ideology. This meant, at one point, rejecting pathetic and kitschy film spectacles like Kozara, Neretva or Sutjeska and giving precedence to powerful war prose (say, my favourite, Vitomil Zupan). But this also means reaching for their kitsch again, at a time when it can become a weapon of resistance against the system. For nothing, not even society can live in stagnation but only in constant change, and it can overcome its own limitations through change. The vision of the transformation of society offered by this work is cyclical, as emphasized by the double symbolism of black as the colour of death and birth.

Krleža used to say (as evidenced in Matvejević’s Conversations) that no monument should be erected if it is not going to be demolished at least twice. Because truly valid ideas are dangerous for the status quo and the rulers of society. But you do not have to be very smart or brave to demolish monuments – they have been demolished without a problem for millennia. To erect a monument, and especially to erect an old monument anew, takes at least a bit of heroic inspiration. Perhaps Jurica Pušenjak was guided by the spirits of the partisans while painting this work. He was certainly encouraged by David Bowie’s lyrics: “We can be heroes, just for one day.””

Feđa Gavrilović


Jurica Pušenjak was born in 1996 in Zagreb. After graduating from the School of Applied Arts and Design in Zagreb in 2015, he enrolled in the Painting Department at the Academy of Fine Arts in Zagreb. He graduated in 2020 in the class of Prof. Zoltan Novak with the ALU Academic Council Award for Best Graduate in the academic year 2019-2020. During his studies, he was awarded several times for his work. Since 2018, he has been a part of a series of group exhibitions, notably the 16th Erste Fragments in Lauba, 5th Biennial of Painting, and 6th Biennial of Painting at the Home of HDLU, „Tartaglia Shelves“ in the Forum Gallery (exhibition and co-authorship), and „They Are Leaving“ in the Glyptotheque of the Croatian Academy of Sciences and Arts. As part of the 6th Biennial of Painting, he won the Vladimir Dodig Trokut, Iva Vraneković – artists to artists Award. He is a member of HDLU.



Wednesday – Friday: 11am – 7pm
Saturday and Sunday 10am – 6pm
Mondays, Tuesdays and holidays closed.

Exhibition will be opened until April 10, 2022.


NOTICE ON THE RESULTS OF THE international, public, visual arts competition THE VICTIM OF VUKOVAR 1991


INVESTOR AND TENDERER of the competition is:

Ministry of Croatian Veterans’ Affairs, 1 Trg Nevenke Topalušić, 10 000 Zagreb,

OIB (PIN): 95131524528, Phone: 01/2308-833, 01/2308-524, Fax: 01/2308-894


Person responsible: Tomo Medved, Deputy Prime Minister and Veterans’ Affairs Minister


Institution in charge of ORGANISING and IMPLEMENTING the competition:

Croatian Association of Artists – HDLU (hereinafter: the Implementing Body), 16 Trg žrtava fašizma, 10 000 Zagreb,

OIB (PIN): 89246742324, Tel: 01/ 4611- 818


Person responsible je: Tomislav Buntak, President


TYPE OF COMPETITION: international, public, in the field of visual arts



The aim of the international visual arts competition The Victim of Vukovar 1991 is to establish a dialogue with contemporary art practices based on the culture of memory and symbolism of war suffering of the city of Vukovar and generate artworks that will be inscribed in collective memory. The competition was looking for four new works of art that had never been presented to the public.



In addition to the compliance of the works with the conditions of the competition (in terms of the content, deadlines and mandatory attachments), when evaluating the works, the Jury considered the following:

  • artistic excellence of the work;
  • research approach in the context of the culture of remembrance and symbolic value in commemorating historical trauma;
  • recognizability and clarity of the artistic expression and media poetics;
  • artist’s references.



  1. Branko Franceschi, art historian
  2. Kristijan Milić, film director
  3. Božica Dea Matasić, full professor of arts
  4. Tomislav Buntak, associate professor of arts
  5. Ana Holjevac Tuković, PhD in History
  6. Alen Novoselec, associate professor of arts
  7. Ivanka Bušić, mag.soc.



  1. Ruža Marić, Director of the Vukovar Municipal Museum



  1. A-létheia, sound spatial installation

Artists: Ida Blažičko and Alex Brajković


  1. Vukovar in Situ, photograph

Artist: Vjeran Hrpka


  1. Slušatelj (Listener), spatial installation

Artist: Vladimir Novak


  1. Fragmenti (Fragments), painting

Artist: Stjepan Šandrk



The competition works will be exhibited in the National and University Library,  4 Ul. Hrvatske Bratske Zajednice in Zagreb. The exhibition opening will be held on 17 November 2021.

Women’s Matters
Maja Bosnar, Jelena Bračun i Ida Loher
Program of Prsten Gallery in Karas Galeriji 

September 7 – 19, 2021

Exhibition opening: Tuesday, September 7 at 7PM

Being an artist today is challenging. Being a female artist even more so. Daily responsibilities and constant care for the organisation of all aspects of life are difficult to reconcile with the active pursuit of art. It is no wonder that the artists of the past, mainly men, needed peace, freedom – and someone to take care of cooking, cleaning and everyday chores, while they created their greatest works.

In the 19th century, when women started striving towards a professional pursuit of art, they mostly chose motifs from their environment, meaning mostly the household, but they also painted self-portraits and portraits of their families. In his book Looking at the Overlooked, Norman Bryson introduces the notion of rhopography, the depiction of trivial everyday objects irrelevant to historical events and opposes it to megalography. i.e. mythological and historical painting. It is pretty obvious which topics were closer to women and which to men at the beginning of artistic emancipation.

Rhopography, however, has kept its bad reputation. We still want art to be engaged on big topics and depict something extraordinary. But it is in rhopography’s nature to question the measure of human importance. Objects exist in their slow rhythm, and they slowly undermine the achievements of the people around them. Rhopography mostly depicts “female“ and family space, but even more so it depicts a space that no one, be it a man, a woman or a child, can avoid. We exist in these spaces, this is where the majority of our lives take place. Why run from the everyday if we can embrace it and use it to create art.


Astists Biographies

Artist statements







Suported by:











Visita Interiora Terrae: Myth and Alchemy as an Art Practice



The science conference within the project Visita Interiora Terrae: Myth and Alchemy as an Art Practice will be held in the large lecture hall of the Academy of Fine Arts, University of Zagreb on Thursday, September 2, 2021, starting at 17.00.

Hrvoje Čargonja, Rodrigo Fernández de Gortari, Maja Flajsig and Josip Zanki, Ana Ortiz Sánchez Renero and Miguel Vassallo will exhibit their works.

The conference will be held in English.







Wednesday - Friday: 11am - 7pm h
Saturday and Sunday 10am - 6pm h
Mondays, Tuesdays and holidays closed


Wednesday - Friday: 3pm - 8pm h Saturday and Sunday: 10am - 1pm h Mondays, Tuesdays and holidays closed

Home of HDLU
Trg žrtava fašizma 16, Zagreb, Map...

T + 385 (0) 1 46 11 818, 46 11 819 F + 385 (0) 1 45 76 831 E-mail:

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