Sead Kazanxhiu

1987, Fier, Albania


Small House, Home Sweet Home, 2014

350 plaster and acrylic colored houses, each 5 x 5 cm

Acquisition: Gift by the artist

Reference: 5277

1987, Uroshevac, Kosovo


Barking on the Clouds Doesn’t Hurt the Dogs, 2022

Welded iron letters and broken glass, 60 x 840 cm

Acquisition: Gift by the artist

Reference: 5308

1962 Skopje, Macedonia


Closed Echo, 1996

Installation with 12 objects, variable dimensions; polyester, photography, metal holders, steel stripes, sand, pigment

Acquisition: Gift from the artist

Reference: 04055

1956, Kavadarci, Macedonia


Kite of All Kites, 1986/2019

Straw, wooden construction, 400 x 300 x 120 cm

Acquisition: Purchased

Reference: 03653 



In 1981 Stefanov graduated from the Academy of Arts in Belgrade, where he also studied as a post-graduate (1983-5). From the outset of his career, Stefanov treated sculpture as an object or an installation of objects. In the mid-1980s he set up several installations and assemblages made of cotton, straw, grass, clay and wood in public sites in Kavadarci and galleries in Skopje, Belgrade, and Zagreb. In 1986 he held a solo show at the Museum of Contemporary Art in Skopje, an installation with “Kites”, made of straw. In 1988 he settled in London, where the narrative aspects of his work shifted from mythology to religion. In the early 1990s, he produced a series of objects and installations entitled Seraphim, Cherubim, and Thrones in the form of angels’ wings and discs, executed in straw and boards or tree trunks and branches set up in the Whitechapel Art Gallery (Broadgate Sculpture Project, 1989), London, the Grizedale Forest (1990) in Cumbria and in Cirencester (1991). In 1993, together with the sculptor Petre Nikoloski (b 1959), he exhibited in the Macedonian section of the 45th Venice Biennale. In 2019 a retrospective exhibition Gligor Stefanov: Grabbing the Space took place at the Museum of Contemporary Art Skopje. (z.p.)

1932, Krk, Croatia – 1992, Belgrade, Serbia


Experiment with Newspapers, 1975

Newspaper, wood, steel poles, 112 х 83,5 х 64,5 cm

Acquisition: Gift by the artist

Reference: 03134

1961, Bamberg, Germany


Abandoned Landscapes, 1995

Metal, perforated photograph, glass jar, 100 х 150 х 15 см. (х 4)

Acquisition: Gift by the artist

Reference: 03951

1941, Cairo, Egypt – 2008, Athens, Greece


Expanding of a Surface – Interior, 1978

Acrylic on plywood, 190 x 183,5 cm

Acquisition: Gift

Reference: 02614

1932, Taranto, Italy – 2018, Rome, Italy


Cube, 1966

plastic, acrylic perspex, 40 x 38 x 38 cm

Acquisition: Gift

Reference: 01866

1926, Las Palmas, Spain – 1972, Madrid, Spain


Wounded in Peace, 1964/1965

Mixed media on canvas, 101 x 82 cm

Acquisition: Gift

Reference: 01664



Self-taught as an artist, Millares was introduced to Surrealism in 1948. In 1953, he moved to Madrid and became an abstract painter. In 1957, Millares along with other artists founded the avant-garde group El Paso (The Step) in Madrid. The members of El Paso at the time of signing the manifesto and in their first exhibitions as a group were the painters Rafael Canogar, Luis Feito, Juana Francés, Manolo Millares, Manuel Rivera, Antonio Suárez, Antonio Saura and the sculptor Pablo Serrano. After showing his work in San Pablo in 1957, Millares’ work was introduced to the United States in 1958.[2] He attained an international reputation by the early 1960s, and had a solo show at the Pierre Matisse Gallery in New York in 1961.

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1920, Bristol, Great Britain 1920 – 1999


Conjunction, 1965

Mixed media on plywood, 99 x 58,5 cm

Acquisition: Gift

Reference: 01291