Art exhibition „Srdeline“



ZGC – Homeland Gallery Crnobori, 20th August – 4th September 2021


Kristina Tamara Franić Kučiš
Art historian and ethnologist

To commemorate an old fish factory that once provided livelihood  for many families living in the wider  area of Banjole, a sculpture of a fish
can, unusual in its humble existence, is erected in a small cove Paltana  in Banjole, the same cove where the  factory once stood. Now, a hotel stands in its place. Factory employed predominantly women, who manually  packed and welded fish cans, mostly  sardines. Considering the nature of  work, they smelled of fish, so the residents affectionately called them “sr deline”. This exhibition is dedicated to  those women, Srdeline, hardworking  women who provided for their families on top of all the extra housework  they had waiting when they got home. Devoted wives, mothers, heroines, lovers, sinners – a beloved and  somehow never quite unsung motif  that inspired many artists since the  dawn of time.  This exhibition will show the works of two splendid artists who lauded  women in their own unique way. Petar Hranuelli immortalised women in stone sculptures, while Slavko Krunić  gave tribute through original installations, appropriate for the very spot  they are exhibited, paintings framed  in cans.  Krunić’s women are beautiful,  sophisticated observers of the world,  partly hidden in the safe aluminium  cover of half-open fish cans. Silently  questioning the world from a safe distance with their big, wide open eyes.  They appear fragile and delicate, and  yet calm and strong, which makes  them so mysterious and interesting in  their diabolical state. From the stylistic point of view, I  wouldn’t label his installations as baroque nor renaissance, as many art  critics often describe them, although  there are similarities, especially the  renaissance composition of portraits  inside the frame. For me, these portraits remind me of portraits of deceased Egyptians from the Faiyum  period (200 – 400 AD), which formed  the foundation of future iconography.  (Ohrid and Serbia had formidable  schools of iconographic painting.)

It’s interesting to notice that the  main objective of iconography is to  recognize causal relationship between theological (dogmatic) and symbolical meaning of the icon, or to  emphasize that its symbolic concept  and understanding comes from its  theological determination.  We see similar process in Krunić’s  paintings, but in such a way that theological aspect is replaced with idea,  or criticism of the world, that is in turn  transformed into symbolical meaning  of the painting itself through portraits  of women and their roles in society.  Instead of using aura or golden em broidery, Krunić frames his characters  and tentatively frees them through  satirical depiction of half-open can  which he uses as an iconic symbol  of imperfect society in which we live. This heritage of artistic ancestors  instinctively smoulders in the author,  and that is where I see that morpho logical beauty and power of his portraits. His artistic authorship combines eastern and western tradition in  an innovative way.


We can observe similar intellectual  incentive happening in the eye of the  beholder in Petar Hranuelli’s work. Moreover, he combines tradition and impression in a new, post-modernistic way, while his sculptures are overstressed in  a diabolical confrontation of static character of the medium (he mostly works with stone) and unpredictable character of the motif of woman itself. His women  are voluptuous, rounded, plump and  supple as dictated by the medium used.  Sometimes they are bathed in the wind  and their robes dance in the wind like flags of the victors. At times, they are in  a rushed mid-stride or motion which is  happily in harmony with their present  mission. Hranuelli uses organic form,  smooth or robust shapes devoid of all  unnecessary details, abstracted to the  verge of being identifiable to emphasize what he sees as essential in experiencing sculpture – an overstressed combination of quality of the medium, which  is in this case a rough and hard to bend stone. And only as such the stone can  best portray the complex character of a  woman, lover, heroine – a woman as a source of life, a woman that Petar celebrates like Greek dithyramb with every  blow of his chisel until an anthropomorphic symbol of love emerges, a love so  profoundly embedded in his creative  work.
Both Krunić and Hranuelli combine traditional and modern artistic movements in their own original and unique  way, giving woman respect and putting  her on a pedestal she so deserves, because woman is the origin of life energy


Slavko Krunić

I paint portraits that do not have source in reality. The gallery of these faces is powered by visual and literary patterns. These are not the reflections of a person or a personality, but of an idea or a critique embedded in a satire. The effect of ‘’the Strange’’ is emphasized entirely because we live in a time that strives for artificial perfection. Therefore, the tendency to build up the missing characters of the portraits is unusual at the present time.


Born in 1974, in Belgrade.
Graduated at the Faculty of Fine Arts in Belgrade, at the class of Professor Radomir Reljic in 1998.
Completed master’s degree in 2002 at the same faculty, at the class of Professor Andjelka Bojovic.
Member of ULUS – Artists Association of Serbia since 2000, and a member of ULUPUDS – The Association of applied arts artists and designers of Serbia since 2011.
Lives and works in Belgrade and Novi Sad.

Author and co-author of books

Mausoleom of Imperfection (Unicorn publishing group)

Fake fairy tales (Booka)

Small goddesses (Službeni glasnik)

Antilogic of painting (Cultural center Novi Sad)

Insomnia for two (Booka)

Mausoleum (Alta Nova)

Satiricons (Samizdat)


Solo exhibitions

2019. Contemporary gallery, Budva
2017. Space for creative activity – Deli, Nis
2016. Art Gallery, Kragujevac
2015. Cultural Center, Knjazevac
2014. Gallery 212, Belgrade
City Gallery, Uzice Gallery Hexalab, Belgrade Cultural Center, Novi Sad
2013. Contemporary gallery, Valjevo Gallery ULUS, Belgrade Gallery Care Dor, Monaco
2012. Contemporary gallery, Lazarevac Gallery of Serbian Academy of Art and Science, Novi Sad Layer House, Kranj, Slovenia
2011. Contemporary gallery, Valjevo Palace of Apollonia, Piran, Slovenia
2010. French Cultural Center, Belgrade Contemporary Gallery, Zrenjanin
2009. Christianshavns Beboerhus, Copenhagen, Denmark Vanlose Kulturhus, Copenhagen, Denmark
2008. Gallery A, Belgrade
Spa gallery, Igalo, Montenegro
CHO Gallery, Ljubljana, Slovenia
2007 Master Workshop, Belgrade
2006. Gallery of the Vuk Karadzic Foundation, Belgrade
2005. YHD Gallery, Ljubljana, Slovenia Cultural Center, Pivka, Slovenia
2004. Literary Club Ben Akiba, Belgrade
2003. Kolarac Endowment Gallery, Belgrade
2002. Old Theater Depot, Zemun Gallery Pesak, Belgrade
Art & Blues Gallery, Belgrade
2000. Yugoslav Cultural Center, Paris, France
1999. Paleta Gallery, Cultural Center, Belgrade


2021. The First prize Kolo colony, Trebinje
2019. Jury Award Art and Wine, Oplenac
2017. Purchase prize Ex Tempore, Piran, Slovenia
2016. Major purchase prize Ex Tempore, Piran, Slovenia
2015. Purchase prize Ex Tempore, Piran, Slovenia
2014. Merit award, Palm art award, Leipzig, Germany
2014. Award for the best book illustration of the 20th International Book Fair, Novi Sad, Serbia
2013. Grand Prix at the 13th International Biennal Milena Pavlović Barilli Foundation, Serbia


Represented in publications:

– An anthology of Serbian painting of the second half of the 20th century and the beginning of the 21st century (Pariski krug)

-Lexikon der phantastichen Kunstler (I.F.A.A.- International Fantastic Artist Archiv – G.Habarta)

-Dreamscapes V (Imaginary editions)

-Dreamscapes VI (Imaginary editions)

-Imaginaire III (Fantasmus)

-50 masters of realistic imagery (Art domain whois publisher)

-Visionary art yearbook (Otto Rapp)

-Society for art of imagination (Phantasten museum Vien)

-Masters of contemporary fine art (Art galaxie)

-Masters of painting (Art galaxie)

Selected group exhibitions

2021. Surrealism now – Centro de Artes e Spettacoli, Figueira da Foz, Portugal
The art of sports, CentralMilitary Club gallery, Belgrade Kolo art colony, Cultural center, Trebinje
2019. Works from the collection of Contemporary Gallery Valjevo – City Gallery, Užice From the collection – Contemporary Gallery, Valjevo  Surrealism now – Municipal Gallery, Vieira de Leiria, Portugal
2018. Paralele – Juraj Klović Gallery, Rijeka Dust World, Contemporary Gallery, Valjevo
Surrealism now – Casa Municipal da Cultura, Coimbra, Portugal  Fantastic … memory of Ljubo Popovic – Paris Circle Gallery, Belgrade
From the collection Meneghello – Collegium artisticum, Sarajevo
2017. Mediala once and now – RTS Gallery, Belgrade Surrealism now – Condexia A Nova, Coimbra, Portugal
Dreamscapes – Trierenberg Art, Traun, Austria Serbia meets Belgium – gallery Sabine van Paemel, Leke Diksmuide, Belgium Art on paper – National Library of Serbia, Belgrade Extempore – Piran, Slovenia Paris Circle gallery, Belgrade Surrealism now – PO.RO.S Museum, Condeixa, Portugal
2016. Multimedia project – Gallery of the Army House of Serbia, Belgrade Extempore Piran, Slovenia The concept of continuity – Cultural Center, Novi Sad Surrealism now – Espaço Particula, Coimbra, Portugal
2015. Gallery Sabine van Paemel, Leke Diksmuide, Belgium Antilogy of paintings – National Museum, Zrenjanin Antilogy of paintings – Cultural Center, Novi Sad Antilogy of paintings – Gallery Canvas, Belgrade Surrealism now – Museu da Cidade de Aveiro, Portugal
2014. Dreamscapes – Alden Biesen castle, Belgium From the collection – Contemporary Gallery, Valjevo Surrealism now – Palácio da Lousã, Coimbra, Portugal Surrealism now – Galeria Vieira Portuense, Porto, Portugal
2013. 14. Biennale In the light of Milena, Milena Pavlović Barilli Gallery, Požarevac
Act in Contemporary Serbian Painting – Contemporary Gallery, Valjevo Hiver exposition, Swiss art space, Lausanne, Switzerland
2012. Society for art of imagination, Phantasten museum, Wien, Austria
Spring exhibition, Art Pavilion Cvijeta Zuzoric, Belgrade The first Belgrade triennial of drawings, Cvijeta Zuzoric, Belgrade Surrealism now – House of culture, Setubal, Portugal
2011. Santa Maria della Pieta, Cremona, Italy Arte Padova – Padova Art Fair, Italy Gallery Progres, Belgrade Siena Art Institute, Siena, Italy Contemporary Gallery, Valjevo
Liaison, Amsterdam, Netherlands 46th May Exhibition – Museum of Applied Art, Belgrade
Gallery SKC, Timisoara, Romania Artita 10 years – Apollonije palace, Piran, Slovenia
2010. Hilleroed Library, Copenhagen, Denmark Cambridge Art Fair, Cambridge, United Kingdom
Museum of Applied Arts, Belgrade La Galleria Pall Mall, London, United Kingdom Carrousel du Louvre, Paris, France Bissaya Barreto Museum, Coimbra, Portugal Matice srpska gallery, Novi Sad Gallery Nis Art Foundation, Belgrade
DIN Gallery composed of Philip Morris International, Niš  Gallery Krug, Budapest, Hungary



the artist was born in  Supetar on the island of Brac, Croatia (on
December 27 th , 1975), and until 1994. he  lived in Postira on the island of Brac, Croatia.


He has been exhibiting since 1994., on more than 59 individual and 110 group exhibitions in Croatia and other countries. He was
awarded with couple of recognitions and  awards, among which, the most notable  ones include:

  • Redeem award of Venus in honey, City Hall for agriculture and forestry, Zagreb, Croatia (2007., 2020.),
  • 1 st Award from committee for XXVI Exhibition of the Small
    Format, Sabac, Serbia (2017.),
  • 1 st award for Sculpture, IV International Biennale of Figure “Marko Krstov Gregoric, Petrovac, Montenegro” (2018.)


Prominent art critics wrote
about his artistic work, including:

  • Zvonko Maković,
  • Slavko Timotijević,
  • Iva Körbler,
  • Tonko Maroević,
  • Ive Šimat Banov,
  • Draženka Jalšić Ernečić,
  • Nikola Albaneže,
  • Olivera Vukotić,
  • Stanko Špoljarić,
  • Davorin Vujičić,
  • Romana Tekić,
  • Sonja Petrović Jagić,
  • Vesna Bunčić,
  • Kristina Tamara Franić Kučiš..

A lot of his works are part of permanent exhibitions of  many museum, galleries and are part of private collections in Croatia and abroad (Slovenia, Germany, the Netherlands, Italy, Austria, Serbia, Turkey, England, Montenegro,  Spain, USA – California, Chile, Switzerland,  etc.) Hranuelli`s material and vital opus is directly connected to his origin, island of Brac.  Stone sculpture forms abstracted from figuration present mostly women (Venus) and  human figures in general, regularly in dialog  with tradition from prehistory over classical  antique times until the modern times. Vitality and exuberance carved into the stone,  and sometimes in other materials i.e. glass,  either in the small format sculptures or in  public character are features of Hranuelli`s  creativity. He is a member of HDLU (Croatian association of artists) since 2006. He lives  and works in Zagreb.
+385 95 8623 324