Galerija Manuš

08/09/2026

31/08/2026

✨ Don’t miss the opening on September 3 at 8 PM at Galerija Manuš Zagreb!

Kemil Bekteši
Shade is Shade is Shalter

And don’t forget to read the interview with Kemil Bekteši by Bojana Jovanović Bojana Jovanović  for Vogue Adria published on the occasion of Kemil’s exhibition in Zagreb. Link in bio. 🔗

See you there! 🤍

Kemil Bekteši

06/07/2026

Kristijan Popović

How Many Dictators Does It Take to Build a Table?

5. 6. – 19. 7. 2026., Manuš, Split

Foto: Glorija Lizde

29/06/2026

Carlos Amorales

The War of the Worlds

27. 5. - 31. 7. 2026.
📍Manuš, Zagreb

🖇️ Read the exhibition essay by Martina Munivrana - link in bio.

Carlos Amorales lives and works in Mexico City. He studied in Amsterdam at the Gerrit
Rietveld Academie (1996–97) and Rijksakademie van beeldende kunsten (1992–95). He has participated in artistic residencies at the Atelier Calder in Saché (2012) and MAC/VAL, Vitry-sur-Seine in France (2011), and as part of the Smithsonian Artist Research Fellowship program in Washington, D.C. (2010).
Among its most important exhibitions are: Black Cloud, Phoenix Art Museum, Phoenix,
FL, US (2025); Black Cloud. Kunst Museum Brandts, Odense, Denmark(2023); Words of
Mouth and Hands. Kurimanzutto. New York, United States (2023); Black Cloud. National
Museum of Contemporary Art. Bucharest, Rumania (2023).The Snake of the Days. Museo
Kaluz, Mexico City, Mexico (2022); The Factory. Stedelijk Museum. Amsterdam, Netherlands (2019); Ghost Demonstration. BAMPFA. Art Wall Project, Berkeley, United States(2019); Axioms for Action, MUAC – Museo Universitario de Arte Contemporáneo, Ciudad de México, México. (2018) (2019); Herramientas de trabajo, MAMM- Museo de Arte Moderno de Medellín, Colombia (2017); Working Class Today... Mañana Nuevos Ricos!, Fridericianum, Kassel, Alemania (2009); Carlos Amorales, Museo de Arte Latinoamericano de Buenos Aires, Argentina (2006); ¿Por qué temer al futuro?, Casa de América, Madrid and Artium, Vitoria, España (2005).
In addition to representing Mexico at the 57th Venice Biennale with the project Life in the Folds (2017), His work has been included in other biennials such as the 10th Shanghai Biennale, China (2013); 2nd and 8th Berlin Biennale (2001 and 2014); Sharjah Biennial 11, United Arab Emirates (2013); 10th and 12th Havana Biennial, Cuba (2009 and 2015); the 5th SeMA Biennale Mediacity Seoul in Seoul, Korea (2008); and he represented The Netherlands at the 50th Venice Biennale participating in the exhibition “We Are The World”.

20/06/2026

Kristijan Popović

How Many Dictators Does It Take to Build a Table?

📍 Manuš, Split — on view until July 19

In the work How Many Dictators Does It Take to Build a Table?, Kristijan Popović constructs a wooden table whose structure is held together by metal nails shaped like dictators. These nails perform a dual function: they support the construction while simultaneously revealing its symbolic logic. On a literal level, they connect the table's components and ensure its apparent stability. On a metaphorical level, they point to violence, coercion, authority, subjugation, and the mythology of the strong hand as the elements from which such stability is built.
Rather than appearing as monumental figures on pedestals, the dictators emerge as technical details embedded within the structure itself, inserted into the very object we use in everyday life. This is one of the work’s key characteristics. Popović examines dictatorship as a structural principle: a system of small, precisely positioned elements that reinforce order, bind its parts together, and create an impression of permanence. The leader’s face, public speeches, uniforms, and monumental architecture give way here to joints, nails, and load-bearing points. In the work, permanence appears as an effect of pressure, while strength is revealed as a condition dependent on elements prone to bending, loosening, and breaking. The table’s structure appears stable at first glance, yet within its construction the possibility of collapse is already present. What is presented as stable proves to be fragile, and what is imposed as a supporting framework is ultimately exposed as a site of weakness.
An excerpt from a text by Dalibor Prančević

Photo: Glorija Lizde

19/06/2026

Thrilled to see Kemil Bekteši’s work at Liste Art Fair Basel featured in Artnet News.

Andrew Russeth’s latest article, 5 Attempts to Write About Liste, Art Basel’s Emerging-Art Satellite, highlights the presentation by Galerija Manuš and Bekteši’s installation at the fair.

Read the full article via the link in bio 📎

18/06/2026

Two more days to visit us at Basel Social Club

1.
- Matt Mullican, Cosmology and Five World Chart, 2023, pencil on paper, diptych
- Matt Mullican, Overall / Five World Charts, 2023, pencil on paper, diptych
- Matt Mullican, Circular Chart and Glen, 2023,
pencil on paper, diptych
- Matt Mullican, World Framed / World Unframed, 2023, pencil on paper, diptych

2. Dalibor Martinis, JBT, 27.12.2004., 2004, triptych

3. Dalibor Martinis, Blasted Lenin’s Coat, 2012

17/06/2026

Thank you for your wonderful review of Kemil Bekteši’s work at Liste Art Fair Basel 2026 in FAD magazine

Read the full text in our bio.

Liste Art Fair Basel

09/06/2026

Razgovaramo s jednim od finalista Nagrade Radoslav Putar, Kristijanom Popovićem

30/05/2026

EXHIBITION CLOSED

Niko Mihaljević
Jaffa Cakes Package and the Leakage of the Not-from-Here, Volume 1

Within the sealed space of the gallery, a package of Jaffa Cakes allows something not from here to leak through, manifesting itself as an acoustic presence. The possibility of an event that may never stabilize is set up. A technological apparatus is present in the space to witness this event, though without any guarantee of a recording: it simultaneously records / not-records. This state is sustained for fifty days. (NM)*

———
*Niko Mihaljević, interdisciplinary artist and lecturer based in Zagreb. His practice is process-based and unfolds through exhibition situations and performance.

Niko Mihaljević
Ambalaža Jaffa keksa i propuštanje ne-od-ovdje, volumen 1

U zapečaćenom prostoru galerije, ambalaža Jaffa keksa propušta nešto što nije odavde te se manifestira kao akustična prisutnost. Postavlja se mogućnost događaja koji se možda nikada ne stabilizira. U prostoru je prisutan tehnološki aparatus koji tom događaju svjedoči, ali bez jamstva zapisa: on istodobno snima / ne-snima. Ovo stanje opstaje pedeset dana. (NM)*

———
*Niko Mihaljević, interdisciplinarni umjetnik i predavač koji živi i radi u Zagrebu. U svojoj umjetničkoj praksi bavi se procesualnim radovima, izložbenim situacijama i izvedbom.


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