Ever since its establishment in 2001, the Moria Gallery has a prominent place among Croatian galleries in terms of setting, as well as its activities. Within the gallery space, emphasized by the modernist design and the raised iron floor of the gallery, there are archeological remains: a Roman mosaic from the second century representing a circular labyrinth, and, in the other part of the gallery, stones that used to pave a Greek square in the fourth century BC. The beauty of the gallery space, which equally attracts all town visitors, both artists and tourists, is closely related to the program of the gallery. In the summer months of the past seven years it hosted numerous important Croatian artists. One thing cannot be stressed enough: the gallery hosted the artist and their work. Rather than simply exhibiting their pieces, Viktor Popović, Goran Petercol, Damir Očko, Goran Trbuljak, Vlado Martek, to mention some, created works specifically for the gallery, while three thematic exhibitions last summer presented works resulting from a creative communication of pairs of authors: Kata Mijatović and Zoran Pavelić, Božena Končić Badurina and Željko Badurina, and Vlasta Žanić with Boris Grainer.
From the very start the gallery owner Mejra Mujičić, an artist herself, has been determined in her vision of the gallery as a creative, cooperative artistic process of artists of compatible sensibilities. Her vision resulted in highly aesthetic contemporary works exhibited in the small gallery space, the beauty and exceptionality of which make it truly and globally unique. The archeological remains are normally kept secluded and isolated in museums or similar places the use of which has been questioned for years. The Moira Gallery goes against the grain, bringing the remains in touch with the audience and enabling the artists to start a dialogue with the remains. When creating for the gallery, the artist is always forced to respond to the remains already exhibited. This obviously denotes contact and dialogue with contemporary art and artistic practices.
The gallery is managed by Mejra Mujičić and Jovan Brajović, both acutely aware of its exceptionality and determined in turning it into a summer oasis of art. Although it has been widely acclaimed by art critics, it still awaits the media attention it surely deserves. In 2005 the gallery celebrated its fifth anniversary with a collective exhibition titled ZaZen? which fully articulated its interest in calm, contemplative art, presenting works by Ivan Kožarić, Ivana Franke, Dalibor Martinis, Nebojša Šerić Šoba and Ana KadoićEver since its establishment in 2001, the Moria Gallery has a prominent place among Croatian galleries in terms of setting, as well as its activities. Within the gallery space, emphasized by the modernist design and the raised iron floor of the gallery, there are archeological remains: a Roman mosaic from the second century representing a circular labyrinth, and, in the other part of the gallery, stones that used to pave a Greek square in the fourth century BC. The beauty of the gallery space, which equally attracts all town visitors, both artists and tourists, is closely related to the program of the gallery. In the summer months of the past seven years it hosted numerous important Croatian artists. One thing cannot be stressed enough: the gallery hosted the artist and their work. Rather than simply exhibiting their pieces, Viktor Popović, Goran Petercol, Damir Očko, Goran Trbuljak, Vlado Martek, to mention some, created works specifically for the gallery, while three thematic exhibitions last summer presented works resulting from a creative communication of pairs of authors: Kata Mijatović and Zoran Pavelić, Božena Končić Badurina and Željko Badurina, and Vlasta Žanić with Boris Grainer.
From the very start the gallery owner Mejra Mujičić, an artist herself, has been determined in her vision of the gallery as a creative, cooperative artistic process of artists of compatible sensibilities. Her vision resulted in highly aesthetic contemporary works exhibited in the small gallery space, the beauty and exceptionality of which make it truly and globally unique. The archeological remains are normally kept secluded and isolated in museums or similar places the use of which has been questioned for years. The Moira Gallery goes against the grain, bringing the remains in touch with the audience and enabling the artists to start a dialogue with the remains. When creating for the gallery, the artist is always forced to respond to the remains already exhibited. This obviously denotes contact and dialogue with contemporary art and artistic practices.
The gallery is managed by Mejra Mujičić and Jovan Brajović, both acutely aware of its exceptionality and determined in turning it into a summer oasis of art. Although it has been widely acclaimed by art critics, it still awaits the media attention it surely deserves. In 2005 the gallery celebrated its fifth anniversary with a collective exhibition titled ZaZen? which fully articulated its interest in calm, contemplative art, presenting works by Ivan Kožarić, Ivana Franke, Dalibor Martinis, Nebojša Šerić Šoba and Ana Kadoić.
The following artists exhibited their works in the Moira Gallery:
in 2001, Yumiko Yamazaki and Nobuhiko Ichikawa, both from Japan (the first exhibition in the gallery, which contrasted contemplative art in Japanese Zen tradition by Yamazaki with Ichikawa's small, surprisingly beautiful and minutely overcrowded pictures reminiscent of Hieronymus Bosch and Arcimboldo), Mejra Mujičić and Toni Meštrović, and Lara Badurina; in 2002, Rino Efendić and David Maljković; in 2003, Ivan Kožarić (sculptures, drawings, graphics and his temporary sculptures, all aimed at annihilation of all dogmas and set rules and discourses), Silvio Vujičić and Petar Barišić; in 2004, Igor Andjelič, Mare Milin, Goran Petercol and Viktor Popović; in 2005, Damir Očko, Goran Trbuljak and the aforementioned artists participating in ZaZen?; in 2006, Vlado Martek (one part of his exhibition titled Look out, Content! was a response to The Last Exhibition Was Better, Goran Trabuljak's exhibition from the year before, which was an interesting interaction), Nika Radić and Ines Krasić (presenting a very personal, contemplative account of pain, which included shamanistic tiling of the gallery and stitching up cracks in the Greek floor, both with Band-Aid); in 2007, Kata Mijatović and Zoran Pavelić, Božena Končić Badurina and Željko Badurina, Vlasta Žanić and Boris Greiner.
Finally, it takes courage and effort to bring these important and provocative artists to an island, the very topos of which shapes the worlds of its inhabitants. This defines future gallery activities, always aimed at fighting prejudice and overcoming isolation.

Download big plan of the gallery (1371 x 1779 pixel, 120 KB)