Ljepota lažnog sjaja
Exhibition
"Fool`s Gold Beauty" - exhibition of forgeries from the Police Museum collection

The purpose of the exibition of the forgeries from the collection of the Police Museum conveniently entitlet Fool`s Gold Beauty is to warn about the unscrupulousness of the black market intentionally aimed at deceiving well-intentioned, yet naive and inexpert art buyers.

free entrance
L4 — Multifunctional Hall 4
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Dubrovnik, A Scarred City
„Dubrovnik, A Scarred City“ Exhibition

Exhibition 'Dubrovnik, A Scarred City: The Deconstruction and Restoration of Dubrovnik 1991-2000' was opened on October 1st 2019 in the 2nd hall of the renovated Lazareti Complex as part of a program to commemorate the 28th anniversary of the start of the attack on Dubrovnik.

20 kn
L2 — Multifunctional Hall 2
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Linđovi koncerti
Concert
Linđo Concert

Every Tuesday and Friday at 21:30 h, from August 25th on, enjoy Linđo Concerts in Lazareti.

120 kn
L6 — Linđo
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Mirko Ilić: The Second Before the Catastrophe – Comic Strip, Illustration and Design
Exhibition
Mirko Ilić: The Second Before the Catastrophe – Comic Strip, Illustration and Design

With the exhibition Mirko Ilić: The Second Before the Catasrophe – Comic Strip, Illustration and Design curated by Marko Golub & Dejan Kršić Dubrovnik public will have a chance to find out why is Mirko Ilić after more than four decades still one of the most interesting graphic designers and illustrators and why he is a global star.

slobodan ulaz /free entrance
L4 — Multifunctional Hall 4
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Alternative biographies

Mavro Vetranović

(Dubrovnik, 1482 – Dubrovnik, 15 January 1576) Mavro Vetranović was born as Nikola in a family of Italian origin. His family was nicknamed Čavčić. He was educated in Dubrovnik, and after he was ordained a Benedictine priest he adopted the name Mavro. Because of disagreements with church leadership about the implementation of reforms in the monastery on the island of Mljet, in 1517 he went to Italy without permission, which is why the Dubrovnik government banished him forever.

The life sentence, however, did not last so he returned to Lokrum in 1522. He performed different services in Benedictine monasteries in the Dubrovnik Republic, and he was even, for a time, the only inhabitant of the islet of St. Andrew. He was buried in the monastery of St. Jacob on Višnjica. He wrote works of different genre, and his oeuvre comprises 30 to 40,000 verses, extant in several short and three extensive manuscript “books.” He wrote religious poems, masquerades, political, satirical and reflexive poems and epitaphs. Although we have no reliable data about the chronology of his works, it is presumed that when he was younger he wrote dramatic texts with secular themes (pastoral-mythological plays) and in his mature age he wrote religious plays (Od Uskrsnutja Isukrstova, Prikazanju od poroda Jezusova, Prikazanje kako bratja prodaše Jozefa). Abraham’s sacrifice of Isaac in Posvetilište Abramovo exists in five different versions. He is also the author of the mythological drama about Orpheus and Eurydice, that he subsequently named Orfeo. The famous myth is dressed in religious apparel and in his version, it is Eurydice who turns back instead of her lover Orpheus. None of his works were published during his lifetime, and most of his oeuvre exists in the form of 17th century, or earlier, copies. In his poems, he criticized current political and social events and the corrupt nature of Dubrovnik’s society. Mavro enjoyed a great reputation in the Dubrovnik literary circle, he was respected and celebrated among Dubrovnik and Dalmatian Renaissance poets. When Marin Držić was accused of plagiarism, after he returned from Siena and showed his first pastoral drama Tirena in front of the Ragusan public, Vetranović responded with the epistle entitled Pjesancom Marinu Držiću u pomoć, in which he, in 132 octosyllabic lines, defended then young Marin and addressed the “noble” Ragusans as those who sing “heavenly songs” by which he alluded to accusations of plagiarism that came from poetic circles. On the basis of this prologue to Držić’s Tirena, it could be concluded that Mavro also wrote love poetry, however it was not preserved. After Držić died, Vetranović wrote two epitaphs; one long, entitled Na priminutje Marina Držića Dubrovčanina tužba and one short, Nadgrobnica gornjega rečenoga Marina. In 19th century historiography, there was some confusion about attribution of works between these two authors. One of Držić’s tragedies and his last performed work – Hecuba was attributed to Vetranović, and Vetranović’s Prikazanje od poroda Jezusova and Posvetilište Abramovo to Držić. Nevertheless, history left enough evidence for us to “give” each his own.