Museum of Contemporary Art of Republika Srpska
Museum · Muzej savremene umjetnosti Republike Srpske · Founded Established 13 January 1971 as the Art Gallery in Banja Luka; renamed Gallery of Fine Arts of Republika Srpska in 1994 and Museum of Contemporary Art of Republika Srpska on 10 February 2004
Open, admission and hours confirmed 11 September 2026 · 13 sources
On this page 14 sections
Over a thousand works across painting, graphics and works on paper, sculpture/objects/installations, and media art, built from a founding donation of roughly 750 to 800 pieces given by Yugoslav and international artists after the 1969 Banja Luka earthquake and grown since 1971. Its clearest claim to international significance is a set of three lumino-kinetic works by Heinz Mack, Gunther Uecker and Otto Piene, the founding members of the German ZERO group, sitting alongside an otherwise strongly regional collection of Yugoslav and Bosnian painting from the 1960s to the present, including Petar Lubarda, Milan Konjovic, Mica Popovic and the Venice Biennale artist Mladen Miljanovic. The graphics department extends the museum's international reach further still, with prints by Friedensreich Hundertwasser and Zao Wou-Ki among its holdings.
| Local name | Muzej savremene umjetnosti Republike Srpske |
|---|---|
| Kind | Museum |
| Founded | Established 13 January 1971 as the Art Gallery in Banja Luka; renamed Gallery of Fine Arts of Republika Srpska in 1994 and Museum of Contemporary Art of Republika Srpska on 10 February 2004 |
| City and country | Banja Luka, Bosnia and Herzegovina |
| Address | Trg srpskih junaka 2, 78000 Banja Luka, Republika Srpska, Bosnia and Herzegovina |
| Website | msurs.net/index.php/en |
| Status | Open, confirmed 11 September 2026 |
| Record last verified | 11 September 2026 |
Visiting
- Hours
- Daily10:00 to 22:00As published on the museum's own site for the main building at Trg srpskih junaka 2. The museum also lists a second, separate exhibition space, Galerija Plus at Srpska ulica 10-12, open Monday to Friday 9:00 to 20:00 and Saturday 9:00 to 16:00, under the same institution and phone system.
- Closed
- No weekly closed day is published; hours are listed as daily for the main building.
- Admission
- General admissionFreeFree entry to the permanent building at Trg srpskih junaka 2, on the museum's own site. Group visits must be scheduled in advance.
Free entry: Entry is free every day; no separate free-day scheme is published- Do I need to book?
- No for individual visitors; group visits must be scheduled in advance, on the museum's own site
- Address
- Trg srpskih junaka 2, 78000 Banja Luka, Republika Srpska, Bosnia and Herzegovina Map
- Website
- msurs.net/index.php/en
- Telephone
- +387 51 215 364
- [email protected]
Before you go how long, access, photography, bags, eating, shop
- How long to allow
- Published visitor accounts put a visit at roughly 20 to 80 minutes: this is a single-storey former railway station rather than a large encyclopedic museum, and the display area turns over with each temporary exhibition rather than presenting a fixed, large-scale permanent hang
- Access
- The museum's own site states the building has enabled access for persons with disabilities
- Photography
- Not published in the sources read for this record
- Bags
- Not published in the sources read for this record
- Eating
- Not published in the sources read for this record; a restaurant next door was recommended by front-of-house staff to one visitor, on a published account, but this is not a museum amenity
- Shop
- Not published in the sources read for this record
Prices and hours change. We take them from the institution's own pages and print the day we read them, and you can check the current position at the source we used. Confirm before you travel.
What is inside
Paintings
The largest of the four collection departments, running to several hundred works. The museum's own online catalogue names painters from across the former Yugoslavia and beyond, including Petar Lubarda, Milan Konjovic, Mica Popovic, Ljubica Sokic, Nedeljko Gvozdenovic, Edo Murtic, Petar Omcikus, Petar Mazev and, at the contemporary end, Mladen Miljanovic, the Banja Luka artist who represented Bosnia and Herzegovina at the 2013 Venice Biennale. Most works date from the second half of the twentieth century, with acquisitions since 2000 extending the collection into contemporary practice.
Graphics and works on paper
Prints, drawings and works on paper, including an international run of names alongside the regional roster: Friedensreich Hundertwasser, Hans Hartung, Zao Wou-Ki, Pierre Alechinsky, Julije Knifer, Vladimir Velickovic and Mersad Berber sit beside Yugoslav and Bosnian graphic artists such as Bozidar Jakac, Miroslav Sutej and Dzevad Hozo. The department's holdings are strongest in the printmaking of the 1960s to 1980s.
Sculptures, objects and installations
Three-dimensional work spanning bronze figuration to kinetic light art, including Frano Krsinic's bronze figures and, unusually for a museum this size, three pieces by the founding members of the German ZERO group: Heinz Mack's kinetic light object Rotors (1971), Gunther Uecker's Light Panel (1972) and Otto Piene's Ballet of Light for Banjaluka, a kinetic light sculpture made for the city around 1970. The Slovenian collective IRWIN is also represented.
Media art
The museum's newest and smallest department, covering video, digital and new-media work. It is the department behind recent projects such as the 2023 NFT for Women exhibition, run with UN Women in Bosnia and Herzegovina, and it is the department into which the museum's Venice Biennale-linked video and installation work has increasingly moved since the 2010s.
What to see first
Ballet of Light for Banjaluka
Otto Piene, kinetic light object, circa 1970A kinetic light sculpture, roughly 190 cm high, made for this city by one of the two founders of the German ZERO group, the Dusseldorf circle that pushed postwar European art toward light, vibration and movement rather than paint on canvas. Its title ties it directly to Banja Luka rather than to any generic ZERO edition, and it sits in the collection alongside comparable works by Piene's ZERO co-founder Heinz Mack and by Gunther Uecker, who joined the group in 1961 - three artists from one of the most influential postwar European movements, held by a small museum in a rebuilt railway station in the Balkans.4
Rotors
Heinz Mack, lumino-kinetic object, 1971A 40 by 40 by 11 cm kinetic light piece by the co-founder, with Otto Piene, of the ZERO group in Dusseldorf in the late 1950s. Mack's work of this period used light, motion and reflective surfaces to break with figurative postwar European painting; this object and its two companion ZERO pieces are the clearest evidence in the collection of the museum's early international reach.4
Light Panel
Gunther Uecker, lumino-kinetic object, 1972A 101 by 100 by 22 cm kinetic light work by the artist who joined Mack and Piene's ZERO group in 1961 and became known for nail-relief and light-based work. Held alongside the Mack and Piene pieces, it completes a set representing all three core members of one of the most significant European avant-garde movements of the twentieth century inside a single regional museum's sculpture collection.4
Old Olive
Petar Lubarda, 1963, oil on hardboard, 54 x 90 cmA landscape by the Montenegrin-Serbian painter widely regarded as one of the most significant Yugoslav modernists of the twentieth century, credited with breaking from enforced Socialist Realism in the years after the Second World War and with reworking Montenegrin landscape and Serbian historical subject matter into a distinct postwar idiom. This is one of the earlier paintings in the collection by date.3
Traces 37
Mica Popovic, 1968, oil, sand and asphalt on canvas, 81 x 100 cmA mixed-medium work, painted with sand and asphalt worked into the oil, by a major Serbian painter of the postwar period who was also a filmmaker and a later political dissident. The unconventional materials mark a departure from the museum's more conventional oil-on-canvas holdings from the same decade.3
Storm is Coming - Wheat
Milan Konjovic, 1962, oil on hardboard, 70 x 122 cmA landscape by the Serbian colourist painter closely associated with the town of Sombor; the museum holds a second Konjovic painting, Green-and-Red Table (1974), giving the collection two works spanning twelve years of his output.3
Label
Mladen Miljanovic, 2006, oil on canvasA painting by the Banja Luka-based artist who went on, in 2013, to represent Bosnia and Herzegovina at the 55th Venice Biennale with the solo exhibition The Garden of Delights at Palazzo Malipiero, a project the Museum of Contemporary Art of Republika Srpska itself initiated and produced, with the museum's own director, Sarita Vujkovic, as co-curator. Miljanovic remains a Banja Luka-based artist with a work in his home museum's own painting collection.3
Crusade of the Crossroaders
Friedensreich Hundertwasser, 1971, screenprint from the Regentag portfolioA print by the Austrian architect-artist, held in the museum's graphics department alongside other internationally known printmakers of the period. Its 1971 date places it in the museum's first decade, when the young gallery was actively building an international, not only Yugoslav, graphics collection.5
EF No 29
Zao Wou-Ki, 1974, etching and aquatint, 615 x 430 mmAn abstract etching by the Chinese-French painter and printmaker, one of the more internationally recognised names now sitting in the graphics department's collection of postwar prints, most of them acquired far closer to home.5
A city helps itself: the 1969 earthquake and a founding gift
The Museum of Contemporary Art of Republika Srpska did not begin as a museum, or as a plan by any single collector or ministry. It began as a response to a disaster. On 26 and 27 October 1969, Banja Luka was struck by a severe earthquake that damaged large parts of the city. In its aftermath, painters, art historians and friends of the city from across Yugoslavia and beyond organised a campaign of solidarity: rather than sending money alone, they gave art. Distinguished Yugoslav painters and a number of international artists donated works, gathering a founding body of roughly 750 to 800 pieces, figures that vary slightly between the museum's own account and secondary sources and are recorded here as a range rather than resolved to one number.
On 13 January 1971, the Municipal Assembly of Banja Luka used that donated collection to establish the Art Gallery in Banja Luka (Umjetnicka galerija), with Bekir Misirlic as its first director. The gallery's core holdings, then, were not acquired through years of purchasing on the open market in the ordinary way museums build collections; they were given, in a single wave, by artists responding to a city in trouble. That origin still shapes the collection today: the institution's strongest holdings by number remain paintings and works on paper from the 1960s and 1970s, the decade immediately following the earthquake and the gallery's founding.
A railway station becomes a museum
The building the museum occupies was not built to hold art. It is a former railway station, constructed under Austro-Hungarian administration in 1891, one of the more architecturally distinguished public buildings to survive in central Banja Luka from that period. It served as the city's main railway station for decades before being adapted for museum use; sources read for this record give slightly different dates for that adaptation, placing the start of renovation work in 1980, 1981 or, in one detailed account, specifically 22 April 1982 with the work lasting about a year. This page does not resolve the discrepancy and records it as an open question below rather than inventing a single date.
What is not in dispute is the building's later protected status: in November 2007, the Commission to Preserve National Monuments of Bosnia and Herzegovina designated the former station a national monument, entitling it to special preservation measures. The building's own facade still carries the two dates that frame its history side by side, 1891 for the railway station's construction and 1971 for the founding of the museum inside it - a detail visible in one of the exterior photographs on this page. The institution changed its own name twice as its remit grew: the Government of Republika Srpska renamed it the Gallery of Fine Arts of Republika Srpska in 1994, making it the central republic-level institution for the visual arts, and on 10 February 2004 it took its current name, the Museum of Contemporary Art of Republika Srpska, to better describe a professional scope that by then extended well past a single gallery of paintings. Older English-language references, including the museum's Wikidata entry, still carry the pre-2004 English rendering, Museum of Modern Art of Republika Srpska; both names describe the same single institution at the same address, not two different bodies.
Four collections in one small building
The museum organises its holdings, now numbering over a thousand works, into four departments: paintings, graphics and works on paper, sculptures/objects/installations, and media art. The painting collection is the largest and carries the names most likely to be familiar to a visitor coming from outside the region: Petar Lubarda, one of the most significant Yugoslav modernists of the twentieth century, is represented by an early-1960s landscape; Milan Konjovic, the Serbian colourist closely tied to the town of Sombor, by two works twelve years apart; and Mica Popovic, painter, filmmaker and later political dissident, by a mixed-medium canvas that works sand and asphalt into oil paint. At the contemporary end sits a 2006 painting by Mladen Miljanovic, the Banja Luka artist who would go on, in 2013, to represent Bosnia and Herzegovina at the Venice Biennale in a project this same museum organised.
The graphics department reaches further outside the region than the painting collection does. Alongside Yugoslav and Bosnian printmakers such as Bozidar Jakac, Miroslav Sutej and Dzevad Hozo, the museum's own online catalogue lists Friedensreich Hundertwasser, Hans Hartung, Zao Wou-Ki, Pierre Alechinsky and Julije Knifer among the names in its holdings of prints and works on paper, most from the 1960s through 1980s. The sculptures, objects and installations department is smaller but includes the museum's clearest single claim to international significance, discussed on its own below. Media art is the newest and smallest of the four, built up mainly since the 2000s and now the department responsible for the museum's video and digital-format projects, including a 2023 exhibition of NFT-based work by women artists produced with UN Women in Bosnia and Herzegovina.
ZERO comes to Banja Luka
The single most unexpected fact in this collection sits in the sculptures, objects and installations department. Heinz Mack and Otto Piene founded the ZERO group in Dusseldorf, Germany, in the late 1950s, seeking what Piene called a zone of silence and of pure possibilities for a new beginning after the Second World War; Gunther Uecker joined them in 1961, completing the trio most closely identified with the movement before it grew into a wider international network reaching France, Italy, Belgium, Switzerland and beyond. ZERO turned away from painting on canvas toward light, vibration and kinetic movement, and it is remembered as one of the more influential postwar European avant-garde movements.
All three founding members are represented in this museum's collection: Heinz Mack's Rotors (1971), a lumino-kinetic object roughly 40 centimetres square; Gunther Uecker's Light Panel (1972), a slightly larger kinetic light piece; and Otto Piene's Ballet of Light for Banjaluka, made for this specific city around 1970 rather than as one of the group's many untitled or generically titled editions. None of the sources read for this record explain precisely how or when the three pieces entered the collection, and this page does not guess; but their presence together, in a museum built from a Yugoslav earthquake-relief donation and housed in a former railway station, is exactly the kind of fact a directory listing would never surface and a reader planning a visit would want to know before arriving.
A Bosnian pavilion, curated from this building
In 2013, after a ten-year gap in Bosnia and Herzegovina's participation, the country returned to the International Art Exhibition of the Venice Biennale with a pavilion organised, produced and commissioned by this museum. The artist was Mladen Miljanovic, working from Banja Luka; the exhibition, The Garden of Delights, ran at Palazzo Malipiero from 30 May to 24 November 2013 and drew an estimated 50,000 visitors over the course of the Biennale. Miljanovic's installation used drawings engraved into granite and marble slabs, a technique drawn from a Balkan tradition of gravestone carving, and took Hieronymus Bosch's medieval triptych as a starting reference for an exploration of Eastern European social, ethical and economic life. Sarita Vujkovic, who has served as the museum's director since February 2014, was commissioner and co-curator of the pavilion alongside Irfan Hosic; the museum organised a second Bosnia and Herzegovina pavilion at the following edition, the 57th Biennale in 2017. The museum's own account describes the 2013 project as the reason Bosnia and Herzegovina returned to Venice at all after a decade's absence, giving a museum in a former railway station in Banja Luka a direct hand in the country's most visible international art presentation of the decade.
Visiting today
The museum occupies the former station building at Trg srpskih junaka 2 in central Banja Luka, open daily from 10:00 to 22:00 with free admission; a second, smaller exhibition space run by the same institution, Galerija Plus at Srpska ulica 10-12, keeps separate weekday and Saturday hours. Group visits need advance scheduling, and the museum's own site states the building has accessible entry for visitors with disabilities. Published visitor accounts consistently describe a short visit, commonly well under an hour, reflecting the building's size rather than any lack of ambition in its programming: past exhibitions read for this record range from Yugoslav-era painting and sculpture shown from the permanent collection to visiting international shows, including work by Damien Hirst in 2016 and Grayson Perry in 2017, both produced with the British Council, and a touring NASA exhibition on space travel noted by one visitor. As of March 2026, six months before this record was researched, the museum's own exhibition program continued on an active schedule, including a set of international photography exhibitions opened for that year's Francophonie Days in partnership with the French Embassy and French Institute in Bosnia and Herzegovina.
What visitors say
We publish no visitor-review prose, so this draws on the museum's own published exhibition record and characterised, non-quoted visitor accounts read directly. Visitors consistently describe a small, free, single-storey museum inside a converted railway station, best understood as a changing exhibition space rather than a museum with a fixed, large-scale permanent hang: most accounts put a visit at well under two hours. The building itself, a former Austro-Hungarian railway station of 1891 declared a national monument in 2007, draws repeated comment in its own right. The museum's programming has ranged from Yugoslav and Bosnian painting and sculpture to imported international shows, including a 2016 Damien Hirst exhibition and a 2017 Grayson Perry exhibition produced with the British Council, both mentioned by name in visitor accounts read for this record.
What is praised, what is criticised
- Praised: free entry, English-speaking front-of-house staff and an unhurried, uncrowded atmosphere that several visitors specifically contrasted with more heavily guarded museums elsewhere
- Praised: the range and quality of temporary exhibitions for a museum of this size, from Yugoslav-era painting and sculpture to visiting international shows such as the 2016 Damien Hirst exhibition
- Praised: the building itself, a converted nineteenth-century railway station, repeatedly named as part of the appeal of a visit rather than incidental to it
- Criticised: the museum's small physical size, which several visitors flagged directly: a visit runs from roughly 20 minutes to just over an hour depending on the exhibition on show, and is not a full-day destination
- Criticised: renovation noise disrupting a visit, reported by one visitor in July 2021
- Criticised: the use of the building for private events such as weddings, which one visitor characterised as an odd choice for a museum space rather than a civic hall
Ratings on other platforms
Tripadvisor: 4.3 from 17 ratings, read 11 September 2026
A platform average is a tertiary source: it moves, it is not audited, and we quote no visitor's words.
Questions about Museum of Contemporary Art of Republika Srpska
Where is Museum of Contemporary Art of Republika Srpska?
Trg srpskih junaka 2, 78000 Banja Luka, Republika Srpska, Bosnia and Herzegovina.
How much does it cost to visit Museum of Contemporary Art of Republika Srpska?
General admission: free. As confirmed 11 September 2026.
When is Museum of Contemporary Art of Republika Srpska open?
Daily 10:00-22:00. Closed: No weekly closed day is published; hours are listed as daily for the main building. As confirmed 11 September 2026.
What should you see at Museum of Contemporary Art of Republika Srpska?
Ballet of Light for Banjaluka (Otto Piene, kinetic light object, circa 1970); Rotors (Heinz Mack, lumino-kinetic object, 1971); Light Panel (Gunther Uecker, lumino-kinetic object, 1972); Old Olive (Petar Lubarda, 1963, oil on hardboard, 54 x 90 cm); Traces 37 (Mica Popovic, 1968, oil, sand and asphalt on canvas, 81 x 100 cm); Storm is Coming - Wheat (Milan Konjovic, 1962, oil on hardboard, 70 x 122 cm).
What we could not confirm
- Sources disagree on the year the former railway station was adapted into a museum: the museum's own About page gives 1981, a detailed Serbian-language account gives a start date of 22 April 1982 lasting about a year, and a separate secondary source gives 1980. This page has not resolved which is correct.
- The size of the founding 1969-71 donation is given as approximately 750 works in one source and approximately 800 in another; neither figure is from an itemised inventory read for this record.
- Total collection size is given inconsistently across sources: just under 950 works in the early 1990s, over 1,300 in one recent secondary account, and over 1,600 in another; this may reflect different counting dates or different definitions of what counts as a single accessioned work, but no single authoritative current figure was found on the museum's own site.
- No source read for this record dates or explains how or when the three ZERO-group works (Mack, Uecker, Piene) entered the collection, though Piene's piece is explicitly titled for Banjaluka.
- Practical visitor information not published in any source read here: photography policy, bag policy, and whether the building has a cafe or museum shop.
- The Wikidata item (Q2784755) still carries the pre-2004 English name, Museum of Modern Art of Republika Srpska; this page uses the institution's current self-description, Museum of Contemporary Art of Republika Srpska, and treats the two as the same institution under different English renderings of the same Serbian name, not as separate bodies.
Images
Sources
- 1Museum of Contemporary Art of Republic of Srpska, official site, homepage (English). Current address, phone numbers, email, opening hours (10:00-22:00 daily), free admission, group-visit scheduling, accessibility statement, and the separate Galerija Plus location and hours. Fetched directly on 11 September 2026. msurs.net/index.php/en
- 2Museum of Contemporary Art of Republic of Srpska, official site, About Museum page. Founding by decision of the Banja Luka Municipal Assembly, the 1969 earthquake and the solidarity donation of art (given there as approximately 750 works), the building's Austro-Hungarian 1891 construction, its 1981 museum adaptation, and the building's 2007 national-monument designation. Fetched directly on 11 September 2026. msurs.net/index.php/en/info1-4/o-muzeju
- 3Museum of Contemporary Art of Republic of Srpska, official site, Paintings collection page. Full roster of painters in the museum's collection and captioned entries giving title, date, medium and dimensions for individual works, including Petar Lubarda's Old Olive, Milan Konjovic's Storm is Coming - Wheat and Green-and-Red Table, Mica Popovic's Traces 37, Ljubica Sokic's Window, Nedeljko Gvozdenovic's Green Landscape, Edo Murtic's Landscape and Mladen Miljanovic's Label. Fetched directly on 11 September 2026. msurs.net/index.php/en/kolekcija-4/slikarstvo
- 4Museum of Contemporary Art of Republic of Srpska, official site, Sculptures, objects and installations collection page. Full roster of sculptors and object/installation artists, and captioned entries for Heinz Mack's Rotors, Gunther Uecker's Light Panel, Otto Piene's Ballet of Light for Banjaluka and Frano Krsinic's Figurine, each with date, medium and dimensions. Fetched directly on 11 September 2026. msurs.net/index.php/en/kolekcija-4/skulptura-objekti-i-instalacije
- 5Museum of Contemporary Art of Republic of Srpska, official site, Graphics and works on paper collection page. Full roster of printmakers and captioned entries for Friedensreich Hundertwasser's Crusade of the Crossroaders and Zao Wou-Ki's EF No 29, each with date, medium and dimensions. Fetched directly on 11 September 2026. msurs.net/index.php/en/kolekcija-4/grafika-i-radovi-na-papiru
- 6Museum of Contemporary Art of Republic of Srpska, official site, page on the Bosnia and Herzegovina pavilion at the 55th Venice Biennale (2013). Confirms the museum organised, produced and commissioned the pavilion; the exhibition title The Garden of Delights, dates (30 May-24 November 2013) and venue (Palazzo Malipiero); artist Mladen Miljanovic; and commissioner/curators Sarita Vujkovic and Irfan Hosic. Fetched directly on 11 September 2026. msurs.net/index.php/en/izlozbe-6/la-biennale/biennale2013-3/605-p-viljon-bih-n-55-venecij-nskom-bijen-lu-ml-den-milj-novic-vrt-uziv-nj-5
- 7Serbian Wikipedia, Muzej savremene umjetnosti Republike Srpske. TERTIARY. Detailed founding chronology (13 January 1971, first director Bekir Misirlic), full list of directors to the present (Sarita Vujkovic since 20 February 2014), the 1994 and 2004 name changes, building renovation dates (22 April 1982, about one year), the November 2007 national-monument designation, a collection figure of over 1,600 works, the 2014 Living Award from the Forum of Slavic Cultures, ICOM membership, and the 2013 and 2017 Venice Biennale pavilions. Fetched directly on 11 September 2026. sr.wikipedia.org/wiki/%D0%9C%D1%83%D0%B7%D0%B5%D1%98_%D1%81%D0%B0%D0%B2%D1%80%D0%B5%D0%BC%D0%B5%D0%BD%D0%B5_%D1%83%D0%BC%D1%98%D0%B5%D1%82%D0%BD%D0%BE%D1%81%D1%82%D0%B8_%D0%A0%D0%B5%D0%BF%D1%83%D0%B1%D0%BB%D0%B8%D0%BA%D0%B5_%D0%A1%D1%80%D0%BF%D1%81%D0%BA%D0%B5
- 8English Wikipedia, Museum of Modern Art of Republika Srpska. TERTIARY, used only for cross-checking identity, address and the pre-2004 English name. States the institution has rebranded in English as the Museum of Contemporary Art of Republika Srpska, gives the address Trg srpskih junaka 2 and coordinates, and names Sarita Vujkovic as director. Fetched directly on 11 September 2026. en.wikipedia.org/wiki/Museum_of_Modern_Art_of_Republika_Srpska
- 9Wikidata, Museum of Modern Art of Republika Srpska (Q2784755). TERTIARY, used only for machine identity and coordinate cross-check. Label, description, instance-of art museum, country Bosnia and Herzegovina, inception 1971, official website http://msurs.net/index.php/en (matching the site used throughout this record), no dissolution date. Fetched directly on 11 September 2026. wikidata.org/wiki/Q2784755
- 10Wikimedia Commons, Category:Museum of Modern Art of Republika Srpska. Every image used on this page was identified in this category, downloaded, and its licence verified per file from extmetadata.LicenseShortName via the Commons API (Muzej SURS.jpg: CC BY-SA 3.0, Muzej savremene umjetnosti Republike Srpske.jpg: CC BY-SA 4.0 with embedded GPS matching the venue address, Banja Luka Hauptbahnhof 1891.JPG: Public domain, NKD 133 MSURS.jpg: CC BY-SA 4.0), then inspected by eye at reduced resolution to confirm the building shown. Fetched directly on 11 September 2026. commons.wikimedia.org/wiki/Category:Museum_of_Modern_Art_of_Republika_Srpska
- 11Tripadvisor, Republika Srpska Art Gallery (Banja Luka). TERTIARY rating and characterised visitor accounts, read but not reproduced verbatim beyond short characterisations. Overall score 4.3 of 5 from 17 reviews, ranked number 10 of 31 things to do in Banja Luka; named exhibitions mentioned by visitors include Damien Hirst's New Religion (2016) and a touring NASA space-travel exhibition; one July 2021 visitor reported renovation noise during their visit. Fetched via the in-app browser (direct curl access returned HTTP 403) on 11 September 2026. tripadvisor.com/Attraction_Review-g303192-d4750334-Reviews-Republika_Srpska_Art_Gallery-Banja_Luka_Republika_Srpska.html
- 12English Wikipedia, Zero (art). TERTIARY. The ZERO group's founding in Dusseldorf in the late 1950s by Heinz Mack and Otto Piene, Otto Piene's own description of the group's aim as 'a zone of silence and of pure possibilities for a new beginning', Gunther Uecker joining in 1961, and the group's wider international membership. Fetched directly on 11 September 2026. en.wikipedia.org/wiki/Zero_(art)
- 13Grad Banja Luka (Banja Luka city government news site), article on three international photography exhibitions opening at the Museum of Contemporary Art of Republika Srpska for Francophonie Days 2026, organised with the French Embassy and French Institute in Bosnia and Herzegovina, featuring photographers Thomas van Houttryve, Eric Bouve, and Alexandra and Pierre Boulat. Published 24 March 2026, corroborating that the museum was actively operating and exhibiting six months before this record was researched. Fetched directly on 11 September 2026. banjaluka.rs.ba/muzej-savremene-umjetnosti-republik-2/