Split, February 28th – April 11th

Tin Dožić / 28. 2. – 5. 3.
Ledia Kostandini / 7. 3. – 13. 3.
Driton Selmani / 14. 3. – 20. 3.
Verica Kovacevska / 21. 3. – 27. 3.
Lana Stojićević / 5. 4. – 11. 4.



April 5h – 11th 

Hotel Marjan (main entrance), Obala kneza Branimira 8

“Neoornament evokes the stratification of the location of the former cement factory on the West coast of the Split port, which began with its work in the 1860s, while the last operation of related production ceased in 1978. Under the name Gilardi and Bettiza, it also produced concrete decorative products, preserved in many locations in Split and Dalmatia, often in poor condition. A modernist hotel Marjan was built on the site of the factory in 1963, designed by Lovro Perković. In the meantime, the hotel has been privatized, devastated, closed and stuck in a state of incompleteness. The demolition of the old and the construction of a new hotel will soon begin.

The starting points of the site-specific pattern are representations of scenographic nature that can be found on scaffolding and fences, as well as the fact that the scenography of the opera Chimneys along the Adriatic by Ivo Tijardović was inspired by the Gilardi and Bettiza factory. The contemporary attitude towards industrial and architectural heritage is visualized with the help of unfinished and fussy aesthetics of the current state of the Marjan Hotel and interpretive copies of concrete decorations produced in this almost forgotten factory.”

Lana Stojićević (1989, Šibenik) graduated in painting from the Academy of Arts in Split, where she teaches as an assistant professor. She has exhibited at numerous exhibitions in Croatia and abroad, such as the Ostrale Biennale (Robotron Kantine, Dresden, 2021), the New East Photo Prize (Calvert 22 Foundation, London, 2016, 2018), and the OFF Biennale (Teleport Galéria, Chimera-Project, Budapest, 2017). She has received several awards for her artistic work, such as the Radoslav Putar Award (Institute for Contemporary Art, Zagreb, 2021), the third prize of Ivan Kožarić Award (MSU, Zagreb, 2021), the Metro Imaging Award at the New East Photo Prize (Calvert 22 Foundation, London, 2016) and the annual award for young artists (Croatian Society of Fine Artists, Zagreb, 2015). She lives and works in Split.


March 21th – 25th 

Prostor, Plančićeva 2, Split


As part of the Voids 2022 program Verica Kovacevska is collecting your stories about Kineski zid! She would love to hear your story, memories, and experience as a past or a current resident of the building. In particular, she is interested to explore – What makes a place special? How can we tell stories in a different way? In what way do imagination and local understanding come together in subtle but inextricable ways? What happens when a building is transformed into a landmark?

The stories will later be used to create a new artwork that would lastingly be installed in the building, allowing both residents and visitors to engage with it.

When: 21th – 25th March 2022 / 10AM – 8PM

Where: [PROSTOR], Plančićeva 2, 21000 Split


Verica Kovacevska (1982, Skopje) is an artist living and working in Zurich. Her artistic process is based on both research and personal experience. She uses different media (e.g. performance, video, photography, new media) to engage the audience with her work and the (public) space where the work is created. She holds BA in Visual Arts with Theatre and Performance from the University of Plymouth (UK) and MPhil in Arts, Culture and Education from the University of Cambridge (UK). Her work has been shown in numerous international exhibitions, including Design Miami/ (Basel); Manifesta 11 (Zurich); Other Possible Worlds, Casino Luxembourg (Luxembourg); re.act.feminism, Akademie der Künste (Berlin); 4th Moscow Biennale (Moscow); 255 804 km2, Galerie Ernst Hilger (Vienna); and Belgrade: Nonplaces, Museum of Contemporary Art (Belgrade). Among her solo exhibitions were Everyday Art, Art of the Everyday, Museum of Contemporary Art (Skopje) and Two and a Half Rooms, National Gallery of Macedonia (Skopje). She is the recipient of the 2017 Werkstipendium der Stadt Zurich and the 2018 DENES Young Visual Artist Award in North Macedonia.

cover photo: Frano Gotovac, Kineski Zid A1, 1970 (source:



March 14th – 19th 

Dioklecijanova street: March 14th & 19th (17h)

Creative hub Prostor: March 15th – 18th (10 – 19h)

With a reference to Mladen Stilinović’s iconic flag, Less Laziness uses the language as a medium in which Driton Selmani plays with the ontological meaning of a subject it denotates. The flag does not occupy a specific location, it does not belong in the city hence it doesn’t officially represent it. Placed in the void in the old city center, in a guerilla manner, it is questioning what the city is, and what does make one. As such, it can be borrowed by anyone who has access to a place they think it resonates with. The added elements referring to the screenshot of a mobile phone are Selmani’s signature that this artist uses in his recent work to indicate a fragment of the contemporaneity to which we belong to. The title, Less Laziness, stands as an invitation to perform tourism related labour, nowadays considered inevitable.

The flag is handmade by the students of the High School of Fine Arts in Split under the guidance of professor Larisa Vukšić.

Driton Selmani (b. 1987) lives and works in Prishtina and Doganaj. Selmani approaches the idea of perceived reality by deconstructing formations of social, political and cultural topics that have been embodied around him. At a young age, he was told to worship a country that no longer existed, which caused him to form a basis of skepticism towards any supposedly given reality. He later used this as a beneficial tool to reconstruct his beliefs into visual artifacts. In 1999, old simulacra have been replaced by new simulacra; the ornaments of a previous space have been refurbished in order to unfold with new meanings but also new uncertainties. Selmani confronts himself as a spectator of this “on-going event”, and positions himself as an actor, enacting his performances based on his personal histories,beliefs and doubts. He has exhibited at solo and group exhibitions in Stacion Center For Contemporary Art Pristina, Ludwig Múzeum in Budapest, KunstraumNiederosterreich Vienna, Casa São Paulo, Mediterranea Biennial 16 Ancona, U10 Belgrade, 5th Marrakesh Biennial, Amsterdam Light Festival, Fabbrica del Vapore Milan, Bregenz Biennale, ExchiesettaPolignano a Mare, National Art Gallery Tirana, Thessaloniki Center of Contemporary Art, Eugster || Belgrade, Norrköping Light Festival, La Maison des Arts Brussels, MAXXI Museum, MMSU Rijeka, Škuc Gallery, Museum of Contemporary Art Skopje among others.


March 7th – 13th / various locations in the historical centre of Split:

Dioklecijanova street (next to the Center Zlatna Vrata) 

Poljana Grgura Ninskog

Carrarina poljana

Dominisova street (garden)

North wall of the Diocletian’s palace


“My starting point comes since my first visit in Split in 2020, when I noticed the hanging clothes across the old town. Here and there, they seemed like flags that manifest the existence of locals’ life behind those walls. I started to trace those clothes, just like following tiny heartbeats of the town, pulses showing that this monumental site generates its own genuine life, not just of touristic sort. My work uses textiles to create ‘invasive’ structures along the pathways. It is sort of an action which aims to acclaim territory. These structures will occupy nothing more than the air around the buildings, as common sheets usually do. But in this case they require attention and become peaceful invaders of the public space. At the same time, the title  refers to a state of  being unestablished, something to be discussed about or ambivalent, uncertain, such as those ‘walls’ under the breeze.”


Ledia Kostandini (1983, Pogradec) is an Albanian artist living and working in Tirana. She graduated from the Art Academy in Tirana, and her practice includes a variety of media, including photography, painting, installations, public interventions and illustration. In her works she is inspired by social transformations, inherited or lost cultures, with a special interest in architectural forms and random urban elements that manifest social behavior in thepublic space. Her works have been exhibited internationally and locally. Solo exhibitions include “Çentro Estetike” (Miza Galeri, Tirana, 2014), “Blockwork” (Tulla Culture Center, Tirana, 2016), “Let Us Meet in Between” (Bazament Art Space, Tirana, 2018) and “I Look at Them They Look Back at Me” (Private Print Studio, Skopje, North Macedonia, 2019). She has participated in numerous group exhibitions. She won the first prize in the See Visions photography competition (2010), the Ardhje Award (2011); and the awards of the Italian Embassy in Tirana (2020). She participated in the International Study and Curatorial Program (ISCP) in New York City in 2012, and was one of the artists who participated in the first edition of the Voids project in 2020.




sound art composition

February 28th – March 5th / Dosud 9 (in front of “Tri volta”) 

(28. 2. | 18:00 – 19:00 / 1. – 5. 3. | 17:00 – 18:00)

community radio KLFM / Friday, March 4th /17:30


“Thinking about the extreme contrast of summer and winter dynamics in the city of Split and the relationship between summer overcrowding due to mass tourism and winter void, I turn my attention from the city to the sea and sea travel. I want to compare the sea with the streets of Split, and I imagine it as a dynamic surface that also changes seasonally, both due to the weather and the amount of boats that cross it. This work was produced as a sound composition based on the sounds of the ferry on the route Split – Stari Grad. I see the ferry as a moving mainland, a hypothetical island or a city, which on the one hand connects the inhabitants of real islands with the mainland, and on the other hand transports crowds of tourists from Split to the islands in summer. In winter, the city is uninhabited, its streets are empty. I find it interesting to draw an imaginary parallel between the empty streets of Split and the sound of an empty ferry and to fill the streets of Split with that sound.”


Tin Dožić is a multimedia artist from Zagreb whose work is based on media research. He is interested in media materiality, (dark) ecology, DIY culture, anthropocene and geology, connecting science and art, sleep and dreams. Dožić’s work Song for the Anthropocene won the Golden Watermelon Award at the Media Mediterranea Festival in 2018. He was a finalist of the Radoslav Putar Award 2019 and alumni of the WHW Academy in the 2019/2020 generation. As a team member, along with Sven Sorić, Hrvoje Spudić and Sara Salamon, he won the Award of the 55th Zagreb Salon of Applied Art and Design (2020) for young authors up to the age of 35, for visual identity of the 30th MBZ: Zagreb Music Biennale. He is a member of HZSU. Tin participated in the “Voids” project in 2021.