EXHIBITIONS 2026
Jasminka Končić: Subversive Embroideries: I Should Have – I Could Have – I Didn’t…
March 8th - 24th 2026
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The exhibition Subversive Embroidery: I Should Have – I Could Have – I Didn’t… is an intimate record made in the medium of textiles. Primarily, the exhibition can be read as a feminist-connoted artwork. The work problematizes the questioning of women’s personal freedom of decision-making and action, their independent making of the right decisions, as well as the stereotypical reception of criticism without considering the real weight of the words spoken by the other party. The exhibition speaks of the often silent and silenced answers to questions that invade the sphere of the intimate inner space of the female personality. What is spoken is often subject to patterns of learned male-female behavior and their unconscious acceptance, both by those who say them and by those who receive them. The exhibition is conceived in the form of directed questions and comments and unspoken, inaudible answers to them. Through the form of three aggressively and insolently connoted questions and passively given answers, the goal is to raise awareness of established forms of male-female verbal communication that can develop into unhealthy forms of communication. Likewise, the hand-embroidered answers contain regrets for everything that was not done, and perhaps should have been. Questions and comments are printed in white text on red rough mats, while answers-reactions are embroidered in the form of textile embroidery and tapestry in red and pink. In this way, we get the contrast of two textile media, production techniques (serial-produced doormat and hand-woven textile embroidery) as well as the contrast of colors. The textiles come in three pairs where a mat placed on the floor follows the response in the medium of hand embroidery on the wall. The pairs are as follows: YOU SHOULD - I SHOULD, YOU COULD - I COULD, WHY YOU DIDN'T - I DIDN'T. The colors that run through the exhibits are red, pink and white. While the mats have uniformly red backgrounds and the text is consistently written in white, the colors of the background and letters change on the tapestries. In the color scheme, there is a rule of repeating aggressive red in both the tapestries and the mats, while the “feminine” pink is used exclusively on the tapestries, as is the neutral white that was used exclusively on the mats. The medium of the textiles used in the realization of the works for the exhibition is twofold: industrially made mats with a rough texture with a defined typography that serves to make the text easy to read, while hand embroidery in the form of a tapestry represents an intimate, gentle writing, there is no strict typography, but the design of the text is defined by the limitations of the textile medium and the individual design of the letters, creating an individual writing and personal typography. Jasminka Končić (1973, Zagreb) graduated in graphic design in the class of Professor Miroslav Šutej at the Academy of Fine Arts, University of Zagreb in 1997. She completed her postgraduate studies in 2012 at ALUO (Academy of Fine Arts and Design - University of Ljubljana, Slovenia). She received her master's degree in the class of Assoc. Prof. Alen Ožbolt on the topic Two-dimensional textile materials and processes of translating them into three-dimensional sculptural forms. In the same year, she enrolled in doctoral studies in the field of fashion design at NTF (Faculty of Natural Sciences and Engineering, University of Ljubljana, Slovenia), from which she received her doctorate in 2019 with the topic The use of the language of fashion and clothing in contemporary art under the mentorship of Assoc. Prof. Dr. sc. Nadja Zgonik. She is a full professor at the Faculty of Textile Technology, University of Zagreb, where she teaches courses in the field of fashion and textile design. She is a member of the Croatian Society of Fine Artists (HDLU, Zagreb). She has received several awards for her artistic and pedagogical work. In her artistic works as well as in her theoretical research, she studies the role of the language of fashion and clothing in contemporary visual art. Through the medium of clothing and textiles and her theoretical research, she examines the connotative meaning of clothing, fashion and anti-fashion in the field of 20th century art movements and contemporary artistic practice, placing a special focus on the performative character of clothing fashion. Program curator: Jasmina Šarić / Exhibition setup: Jasmina Šarić, Jasminka Končić / Assistants: Željka Ivančić, Unda Kreišmane / Graphic design: Kristina Tešija The exhibition is organized as part of the annual gallery program of the creative hub Prostor entitled “Unknown: objects, places, time” and is financially supported by the Ministry of Culture and Media.
Drawing With Light
Exhibition of student works created at the scenogram and luminogram workshop led by artist Marta Djourina
March 27th - April 8th 2026
Artists: Marija Baselli, Ana Bonacin, Petra Crnjac, Anamaria Crnoja, Lora Cukrov, Nika Grdan, Nina Grebenar, Viktorija Ivelja, Jelena Jurčević, Júlia Macáková, Augustina Maslov Vidaković, Ana Matas, Josipa Nedeljko, Đina Radulj, Antonela Šaban, Leonora Ugrin In a two-day workshop led by visual artist Marta Djourina, the students explored photography without a camera. On the first day, using a flatbed scanner, the students created scanograms, experimenting with layering, movement and digital distortion. On the second day, they created luminograms, camera-free images created by directly exposing photographic paper to sunlight. Working with found materials and transparent foils, the students drew and painted with light. Marta Djourina (Bulgaria/Germany) explores light as a theme, tool and object of research in her practice. Working with large-format analog photographic paper, she transforms the photo lab into a performative stage, using various natural and artificial light sources — from bioluminescence to flashlights and lasers, and long exposures — to “draw” on the surface of the paper. Merging photographic and painterly gestures, her work balances precision and unpredictability. She redefines photography as a physical act and a trace of movement in time. The workshop was attended by students from the Fine Arts Department of the Split Academy of Arts (Arts and Visual Arts, Painting, Visual Communication Design, Film and Video). Organization: Assoc. Prof. Art. Lana Stojićević, Department of Visual Culture and Fine Arts, Art Academy in Split and Culture Hub Croatia/Creative Hub PROSTOR, Split The activity was co-financed by the European Union through the National Recovery and Resilience Plan (NextGenerationEU) as part of the project Contact: Art in the Community - KUZ, IP-UNIST-56 of the Art Academy in Split, the Creative Europe program (Craftwork 4.0 All Culture Hub Croatia project) and the Culture Moves Europe program. The views and opinions expressed are solely those of the author and do not necessarily reflect the official views of the European Union or the European Commission. Neither the European Union nor the European Commission can be held responsible for them. The exhibition was co-financed by the Ministry of Culture and Media and the City of Split. The work of the Platform "Culture Hub Croatia" is supported by the Kultura nova Foundation and the National Foundation for the Development of Civil Society.
Mila Dobrevska: A Familiar Cosmos
June 6th - 26th 2026
*in cooperation with the DENES award from North Macedonia
Focused on experimenting with ceramics and glass manipulation, Mila Dobrevska’s one month residency in Prostor culminated in an installation that transforms the exhibition space into an immersive nocturnal environment. Utilizing UV illumination and neon-activated pigments, the installation transcends mere representation. Instead, it constructs a heterotopic, nocturnal environment where the celestial body is reconfigured as an artificial constellation suspended between memory, myth, and tangible affect. Inspired by childhood memories of phosphorescent stars placed on bedroom ceilings, Dobrevska reflects on the human tendency to seek refuge, meaning, or perspective in the night sky. The work thus interrogates the human impulse to domesticate the sublime—transforming infinite cosmic space into a protective, localized horizon of care. Dobrevska's practice addresses the dialectic between the monumental and the intimate, framing the cosmos not as a neutral void, but as a site of existential grounding and historical continuity. Across generations, people have looked toward the stars in search of orientation, reassurance, ritual, or contemplation of their own fragility within the universe. Through this tension between the monumental and the intimate, the work considers the continuity of human perception across time. Across historical epochs, the celestial expanse has functioned as a primary semiotic canvas for human orientation, ritual, and existential contemplation. Dobrevska explores how this apparatus of perception shifts; the same stars that once informed navigation, storytelling and systems of belief now collide with contemporary scientific rationalism and the spatial alienation of light pollution, which increasingly severs humanity's visual access to the night sky. The installation’s conceptual architecture synthesizes regional ecology, local historiography, and art-historical lineages. Forms are inspired by Croatian flora and fauna and regional heritage alongside classical iconographies of the cosmos, most notably to the luminous, proto-spatial celestial motifs of the Mausoleum of Galla Placidia. This specific reference bridges the artist’s Macedonian Byzantine roots with her formative training in Ravenna, the historic center of mosaic practice. Through this cross-cultural synthesis, the work dismantles the sky as a natural given, repositioning it both as an image and a cultural construct. Ultimately, through the shifting dynamics of fluorescence and luminescence, the installation destabilizes the distinctions between memory from fiction, archaeology and contemporary material culture. The exhibition space becomes a threshold of destabilized perception, inviting the spectator into an environment where collective historical memory and localized personal recollection continuously fold into one another. Mila Dobrevska (1999) in her artistic practice is often guided by a strong sensitivity and a deep need for expression, exploring identity, existence and human emotionality. The figure, stylized and abstracted, in her work functions as a symbol of the inner state and personal narrative. Combining painting, mosaic, sculpture, installation, textile and fabric, her work combines the traditional with the contemporary, turning everyday moments, folklore and collective memory into spaces for re-examination and escape, sources of resistance and renewal, which encourage her to reconnect with her own inner core and joy in existence.She participated in numerous international exhibitions, including the Biennale of Contemporary Mosaic in Ravenna,Italy (2019–2025), the 57th International Film Festival Mostra del Nuovo Cinema in Pesaro, Italy (2021), IV Festival of Mosaic in Belgrade, Serbia (2024), MuseoDiffuso.exe in Sant'Antioco, Italia (2024), Prieuré de Cayac in Bordeaux, France (2025), Glass Experience in Dolenjski Museum in Novo Mesto, Slovenia (2025), solo exhibitions such as in the National Gallery of R.S. Macedonia - Mala Stanica in Skopje (2024), Pioneri Gallery in Skopje (2025), A Pick Gallery in Turin (2026), Robevci Family House, National Museum of Macedonia in Ohrid (2026) and more.Dobrevska completed her undergraduate and master's studies at the Academy of Fine Arts in Ravenna, Italy, with a focus on contemporary mosaics. She is a member of the Society of Fine Artists of Macedonia and MARTE (Association for Contemporary Mosaic) in Ravenna. She is one of the finalists of DENES award 2025. Mila Dobrevska's residency was organized in cooperation with the DENES award from North Macedonia, part of the international YVAA (Young Visual Artists Awards) network. The exhibition is part of the Prostor gallery's annual program, co-financed by the Ministry of Culture and Media of the Republic of Croatia and the City of Split.
