M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E - Mauthausen: Redeeming/Erasing/Memory

11.01.2022. - 06.02.2022. / MSU galerija


In a multi-year research project entitled M 48° 15′ 24.13″ N, 14° 30′ 6.31″ E (Mauthausen's geographical coordinates), Austrian artist Marko Zink explores the trivialization of Nazi history, commemorative culture and the practice of erasing collective memory through expanded photography. It is a project that was originally realized in April 2019 for the Mauthausen Memorial where the artist exhibited photographic cycles aimed at making visible a double disappearance: the extermination of people and the eradication of memories. Selected works were exhibited at Michaela Stock Gallery in Vienna. Zink’s oeuvre there showed the seriousness of the approach to the topic and the complexity of artistic execution. These photographic cycles are premiered in Croatia at the MSU Gallery. The exhibition opens Jan. 11 at 6 p.m. Immediately after the opening of the exhibition, there will be a discussion on the experiences of commemorative practices with the participation of the director of the Mauthausen Memorial Barbara Glück, historian Ivo Goldstein,  the director of Jasenovac memorial Ivo Pejaković, head of the Documentation Center for Dealing with the Past Vesna Teršelič, artist Marko Zink and curator Leila Topić.


Barricading the Ice Sheets - A research endeavor by Oliver Ressler

30.11.2021. - 30.01.2022. / MSU, 3. kat


Barricading the Ice Sheets at Museum of Contemporary Art Zagreb is the first solo exhibition to encompass all of Oliver Ressler’s artistic production focused on climate breakdown. The 59 works exhibited span from 1994 to 2021, including films, video installations, photographic works, a three-channel slide installation, sculptures, banners, drawings and one painting.



Ana Hušman: A person without a house is homeless, what is a house without a person?

25.11.2021. - 30.01.2022. / Zbirka Richter


A house is a house. A home. A measure. An island. An experience. An inheritance. A loan. A property. A community. A life goal. An image that never existed, or one that suddenly disappears without a trace. But what is a house without a person? Still a house, it would seem. What is it that gets labelled, archived, conserved when someone’s private space becomes a museum? What connects the protocols of protection, touch and care in the case of a private house and a public institution?