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Promise, the title of Mirosław Bałka’s show at the Zagreb branch of Galerija Manuš — reportedly borrowed from Sade’s second album — inevitably evokes, for most of us in the contemporary art scene, another, long-unfulfilled promise: the restoration of his installation Eyes of Purification in Zagreb’s Museum of Contemporary Art. For over a decade, Bałka’s dreamlike 2009 work with its parallel waterfalls has sadly languished in disrepair on the museum’s monumental staircase, reduced to an unsightly, poorly constructed concrete block.
Addressing this issue seems crucial, as does confronting another urgent problem: the lamentable state of Zagreb’s public sculptures, commissioned and funded with public money, yet now largely damaged, dismantled, dented, unlit, defaced, or obscured by parked cars and glowing billboards. With his new group of works for Manuš, Balka in a way compels us to recognize this neglect.
Unlike most public institutions in Croatia, t…
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Press Release
Promise, the title of Mirosław Bałka’s show at the Zagreb branch of Galerija Manuš — reportedly borrowed from Sade’s second album — inevitably evokes, for most of us in the contemporary art scene, another, long-unfulfilled promise: the restoration of his installation Eyes of Purification in Zagreb’s Museum of Contemporary Art. For over a decade, Bałka’s dreamlike 2009 work with its parallel waterfalls has sadly languished in disrepair on the museum’s monumental staircase, reduced to an unsightly, poorly constructed concrete block.
Addressing this issue seems crucial, as does confronting another urgent problem: the lamentable state of Zagreb’s public sculptures, commissioned and funded with public money, yet now largely damaged, dismantled, dented, unlit, defaced, or obscured by parked cars and glowing billboards. With his new group of works for Manuš, Balka in a way compels us to recognize this neglect.
Unlike most public institutions in Croatia, t…
