Untitled (Archive Vranyczany-Dobrinović Palace) comprises two series of works developed for a solo exhibition at the Josip Račić Gallery – National Museum of Modern Art in Zagreb, Croatia (2023). Both series respond to the historical and material context of the Vranyczany-Dobrinović Palace, a 19th-century building that serves as the museum’s headquarters.
The first series is based on archival photographs documenting the palace interiors during the era of the Vranyczany-Dobrinović family, who used the space as their representative residence. These images were screen printed onto paper using pigment made from dust collected on-site during post-earthquake cleaning. The resulting prints appear faint and unstable—ghostlike impressions that evoke both material fragility and the passage of time.
The second series consists of recent photographs of the museum’s interior, temporarily repurposed as a storage space for 12,000 artworks during reconstruction. Displayed in freestanding, double-sided lightboxes, the images are mounted on pedestals borrowed from the museum. These pedestals, typically used to support artworks, are recontextualized within the installation as sculptural elements in their own right, underscoring the shifting roles of institutional infrastructure in times of transition.
The first series is based on archival photographs documenting the palace interiors during the era of the Vranyczany-Dobrinović family, who used the space as their representative residence. These images were screen printed onto paper using pigment made from dust collected on-site during post-earthquake cleaning. The resulting prints appear faint and unstable—ghostlike impressions that evoke both material fragility and the passage of time.
The second series consists of recent photographs of the museum’s interior, temporarily repurposed as a storage space for 12,000 artworks during reconstruction. Displayed in freestanding, double-sided lightboxes, the images are mounted on pedestals borrowed from the museum. These pedestals, typically used to support artworks, are recontextualized within the installation as sculptural elements in their own right, underscoring the shifting roles of institutional infrastructure in times of transition.