The sketch between the two bombings.The little cousin Ana is asleep (14.12.1991.) 1991

Curator: This delicate pencil drawing is by Alfred Freddy Krupa. Titled "The sketch between the two bombings. The little cousin Ana is asleep (14.12.1991.)", it offers us a brief glimpse into a life punctuated by conflict. Editor: The rough texture of the paper and the tentative lines give the drawing an immediacy, almost as if Krupa sketched this quickly. The mood is peaceful, considering the title’s context. There is a soft light coming in that falls delicately on the face. Curator: Indeed. Created in 1991, it provides a somber historical note during the early stages of the Croatian War of Independence. Its existence is interesting, suggesting art's necessity even during times of conflict. I imagine paper and pencils may have been easier to acquire than other art supplies at that time. Editor: Precisely. Look closely at the lines—you can almost feel the artist’s hand moving across the page. Was this pencil a locally sourced one or something obtained via some humanitarian effort? The socio-political background is heavy when considering the labor put in. Each mark represents resistance. Curator: The inscription as part of the title becomes almost diaristic, framing a personal moment amidst national turmoil. One wonders where it was exhibited, and what political commentary it makes to the viewers as the exhibit shifts locality. What happens if the display is moved to Serbia for instance? The meaning will take on additional layers. Editor: And how crucial is the act of observation during a conflict, even when observing something as peaceful as a child sleeping? Sleep is a commodity and a privilege! Curator: The fragility of the medium underscores the fragility of life during wartime. The pencil’s ephemerality captures the feeling of tenuousness present at the time, offering commentary on the violence. Editor: Right, there is more at play here than just a lovely sketch of a child. What seems a gentle sketch ends up hinting at massive sociopolitical tensions that ripple from maker, materials, setting, all the way to us, the observers, here today. Curator: Agreed, a quiet yet powerful testimony about war seen through the innocent face of a child, crafted with readily available materials. Editor: Indeed. It's a poignant reminder that art is born from the crucible of human experience, challenging the conventional means and locations that produce art.