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

Kent, United Kingdom


Seeds of Change2019

Intstallation: wood, metal, ultraviolet lighting, glass, soil, green roof, substrate and capillary matting, wildflowers and printed veiles

Acquisition: Gift by the artist

Reference: 05278


Dan Turner is an artist and educator from London, a Romani born in Kent. Dan trained at St Martins School of Art where he completed a BA Honours in Fine Art (Sculpture). He works across mediums including sculpture, video and painting .

Dan’s practice explores the interaction between Romany and mainstream culture through themes of commercial interchange in Romani life.

He is interested in how human life can be defined and archived through the objects that are made and how these objects communicate across timelines through a shared ‘material’ culture and how they articulate that culture to a wider audience, This is particularly in relation to the Romany community. He sees his art as a reclamation of public space – where once there was a visible Romani presence now there is an absence. He believes there is a need to reset the transactional balance between Traveller and non Traveller, establish dialogue and alter entrenched attitudes.

By using Transactional Objects which have significance across both cultures, Turner examines how Gypsy, Roma and Traveller cultures meet and interact with the dominant culture. Working with migration maps of Roma diasporas and using traditional crafts and occupations such as herbalism, peg and wooden flower making and fortune telling Turner re- imagines Roma past, present and future to challenge mainstream culture’s view of our Roma identities.


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

1971, Skopje, Macedonia


Hypsifobia, 2000

Installation, wooden ladders, photography, text

Acquisition: Purchased

Reference: 03978

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

Born in Dubnica, Macedonia | 1960

Object from The Labyrinth 3, 1998, newspapers, 175 x 248cm and Object 2, 1991, oil on plywood, metal, 225x215x225cm.

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.)

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

| France/Germany |

Born in Frankfurt in 1927.


Claus Schultze, Relax, 1970

ceramics, 220 x 150 x 50 (1891)