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Museum of Contemporary Art
Ušće 10, blok 15, Belgrade

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Gallery-Legacy of Milica Zorić & Rodoljub Čolaković

2 Rodoljuba Čolakovića St, Belgrade

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Entrance to the Legacy is free of charge.

Three Points Of Support: Zoran Bojović

Programme | 18.09.2012

Three Points Of Support: Zoran Bojović 

Gallery-Legacy of Milica Zorić & Rodoljub Čolaković, 2 Rodoljub Čolaković St.
September 18 - October 22, 2012

Curators: Andrej Dolinka, Katarina Krstić and Dubravka Sekulić 

Among one of the well known stories of Yugoslavia was the story of Yugoslav construction companies building extensively in African countries. While most of the people knew someone who knew someone that was working on some of the projects, either on construction site, or as an engineer, no one knew, or even bothered to get to know more about what was actually built, beside the generic notion of damns, highway, roads, and some other buildings. Newspapers reported on those project routinely, in the discourse best described by often used phrase “another achievement of our builders”, focusing on quantities of work and money earned, while professional architectural magazines were ignoring the subject. Although ignored, this practices raised a lot of questions, such are  How did these projects connect with the local environment and culture? What does it really mean to plant a dam, a factory or a hotel in a country that is just defining itself as an independent? What is a relationship between those constructions and the Non-aligned Movement? most of them left unanswered. Energoprojekt was one of the most prominent of all construction companies working in Africa, Asia and Middle East, not only in comparison with other Yugoslav companies, but actually with other companies in the world. Among architects working in Energoprojekt, the work of Zoran Bojović stands out, both in his approach and the sheer size of the projects he was in charge of. 

The aim of this exhibition is not to show the vast and diverse opus of Zoran Bojović as an architect in its entirety, but to situate the practice of Zoran Bojović, the architect, in the wider context of the postcolonial development of Africa and global South; the internal and external dynamics of the Non-aligned Movement, as the third part of mostly bipolar Cold War world with the rest of the world; competitive world of global construction industries that “Energoprojekt” was important part of until the end of 1980s, and the impact all those forces had on his architectural practice, and more widely, the intellectual and architectural labour coming from Non-aligned Yugoslavia. 

Behind all these large narratives, there is also a story of Zoran Bojović, an architect who found in “my Africa”, how he often addresses it, the qualities and logic to guide him through design process.

The focus of exhibition are four (large scale) projects: two situated in the northern Nigerian state Kano: Secretariat of Kano State - complex of ministries, that Bojovic co-authored under the direction of Milica Šterić, the chief architect of Energoprojekt, and Master plans for Seven Cities in Kano State; International Trade Fair Lagos in Nigeria, and Al Khulafa Street development in Baghdad, Iraq. The first two projects situate Bojovic in African context and were formative for Bojović’s latter approach. The latter two are centred around the premise that in the context in which Bojović was mostly operating — a large scale projects with an extremely short deadlines, with limited supply of materials and skilled labour — he has developed a specific approach in which the architecture becomes a tool to manage complexities. Exhibition also tries to shed light on the position of these projects now, couple of decades later in a completely different society. 

The exhibition Three points of support: Zoran Bojović brings back to the fore the subject of architecture in the Museum of Contemporary Art, establishing the paradigm for its presentation. This is not the first exhibition in the MoCAB taking the architecture as its subject. In 1968 the museum put on an exhibition entitled Contemporary Serbian architecture. On that occasion the emphasis was placed on the issue of examination of the architecture’s criteria, as well as on getting the local architectural discourse into the dialogue with both the European and global currents. The monographic exhibitions such as the one about Ivan Antić, the co-author of the museum’s building (1975), or thematic ones, such as Solar architecture (1980), Architecture of water — the War Island (1983) and Architecture of earth (1981), were also organised. In 1972 the museum organised the exhibition Serbian architecture 1900–1970, thereby including this discipline into the cycle of the major study exhibitions. The exhibition Three points of support: Zoran Bojović anticipates a new continuity in the relationship between the Museum of Contemporary Art and the architecture.

The curatorial team would like to thank: Ljiljana Bojović, Milica Velanac, Slobodan Simić, Aleksandar Slijepčević, Andjelko Kovačević, and the Energoprojekt company (Vladimir Milovanović, Slobodan Jovanović, Marijana Vasić, Zoran Radojičić and Nikola Ban).

Zoran Bojovic was born in 1936 in Belgrade. After graduating from the Faculty of Architecture in Belgrade, in 1961 he started working at Energoprojekt. He was actively employed at Energoprojekt until his retirement in 1998. Apart from Belgrade, he has lived and worked in several countries throughout Europe, Africa, Asia and South America. 

Between 1961 and 1991 he led Architecture and Urbanism, an architectural studio within Energoprojekt. From 1991 to 1998 he was an architecture department manager in Energoprojekt-Inžinjering and Energoprojekt-Oprema. He was a chief of design in major construction projects in the country and abroad. He was a permanent member of the Expert Council within the framework of the Architecture and Urbanism department, and also a member of the Scientific Council in Energoprojekt. His work consists of the wide range of architectural and urbanistic designs, from large-scale residential and public projects, through industrial, energy and technical facilities, urban plans, sport compounds, special purpose projects to individual buildings.
Some of his most important projects: general urban plan for seven cities of the Kano State [Nigeria, 1973, co-authored with: M. David (arch.), M. Janjic (ecc.), A. Veljkovic, D. Udovicki (arch.)]; Aktaš – I, 400 appartments and accompanying space (Priština, 1974); Palais Omnisport — a sport hall in Bangui (Central African Republic, 1975); International Fair in Lagos [Nigeria, 1977, in collaboration with: Predrag Ðakovic (arch.), Milorad Cvijic (arch.), Aleksandar Raševski (arch.), interiors by Ljiljana Bojovic (arch.)]; State Secretariat in Kano [Nigeria, 1978, co-authored with Milica Šteric (arch.)]; Block 37, 270 appartments and accompanying retail-business space (Novi Beograd, 1983, co-authored with Natalija Pavlovic); residential-business centre Al Khulafa in Baghdad [Iraq, 1984, interiors by Ljiljana Bojovic (arch.)]; aerodynamical tunel Trisonik in Žarkovo [Beograd, 1986, in collaboration with Andelko Kovacevic (civ. eng.)]; residential-conference centre — Memorial complex dedicated to the victims of war from the Al-Faw island, at the Shatt al-Arab river delta [Iraq, 1992, in collaboration with: Milica Velanac (arch.), Zorana Stojnic Šerbanovic (arch.)]; underground railway station with the shopping mall “Vukov spomenik” (Beograd, 1995), as well as many other.

He participated in numerous international competitions: Warsaw Confrontation ’86 [jointly with D. Mladenović (arch.) and S. Krunić (arch.)] — prize awarded by the Minister of Culture and Art of Poland; Official palace of Saddam Hussein in Baghdad [Iraq, 1988, with an international team of collaborators: Tariq al-Jaidah (arch.) from Quwait, Alex Cvijanović (arch.) from US, and Spasoje Krunić (arch.)] — first prize; wholesale market in Abu Dhabi [United Arab Emirates, 1988, in collaboration with: Milica Velanac (arch.) and Slobodan Simić (arch.)] — first prize; the Great Mosque in Baghdad (Iraq, 1989, the same team as in the SH presidential palace project); Samaraneftgaz — administration-management building (Russia, 1995) — ranked first; reconstruction, redevelopment and covering of the Republic stadium in Kazan [Tatarstan, 1996, collaborators-consultants: Bakulin (arch.), R. M. Muhametshina (arch.)]; draft design for the Lighthouse Tower in Dubai (United Arab Emirates, 2003) and Burj Al Abraj in Bahrain (2005), co-authored with: Prof. Milorad Ivkovic (PhD), A. Slijepcevic (BSc. Civ. Eng.), Svetislav Sindjelić (BSc. Civ. Eng.), V. Alender (BSc. Civ. Eng.).

He has made contacts with many global organisations and individuals, such as: Ove Arup & Partners from London, The Architects Collaborative from Boston, with architects: Rifat Chadirji from Iraq, Richard England from Malta, Rem Koolhaas from Netherlands, et al…

Retired in 1998, as a freelance designer he actively pursued his work in the fields of architecture and urbanism. He is a member of many professional associations, among other the Academy of Engineer Sciences of Serbia, Academy of Architecture of Serbia, Association of Applied Arts Artists and Designers of Serbia, etc… His work earned him many acknowledgements, awards and decorations.

Three Points Of Support: Zoran Bojović
Three Points Of Support: Zoran Bojović
Three Points Of Support: Zoran Bojović
Three Points Of Support: Zoran Bojović
Three Points Of Support: Zoran Bojović
Three Points Of Support: Zoran Bojović
Three Points Of Support: Zoran Bojović
Three Points Of Support: Zoran Bojović
Three Points Of Support: Zoran Bojović
Three Points Of Support: Zoran Bojović
Three Points Of Support: Zoran Bojović
Three Points Of Support: Zoran Bojović
Three Points Of Support: Zoran Bojović