14.03.2007. - 08.04.2007.
When it comes to Tadić's work, the most prominent element is the act of borrowing signs from the contemporary culture fields such as comic, film, advertising, art history...Collecting them meticulously, he recycles the abundant amount of rejected and consumed visual signs, thus giving them new meanings in the context of the art work and art exhibition.
The following extracts from the texts written by the art critics Ana Dević and Ivana Mance provide more information about his work:
“Marko Tadić's works are hybrid forms that challenge the status of art and everyday objects, their use, decorative and symbolical functions. They result from the overlapping of the painting, graffiti, collage, photography, objects and ambient installations, and are determined by the element of privacy, collecting passion, interest in everyday, tendency towards decorative, kitsch and transformation.
He often paints and combines the rejected or cheap objects such as plastic plates, wooden kitchen boards, pads, found objects...His paintings/ objects develop a specific iconography that brings together the attractive colouristic graphics and fragments of words and sentences, numbers, graffiti, idioms, pop quotes ending up in the absurd slogans and surprising image-verbal combinations. His colourful collages made of disparate fragments reflect the urban context of everyday life, elements of film and comic aesthetics, iconography of contemporary design, fashion, music, lifestyles...”( from “Circus, Carnival, Spectacle, Execution Site…” by Ana Dević ).
“The poetic rule, if there is any, that brings all these elements together, Ana Dević described as graffitism. The concept of graffiti is primarily about anti-aesthetic intervention in the urban space that through the brutal overtaking of public areas tends to symbolically destroy their neutral identity and introduce a dimension of social differentiation. For this reason, graffitism defines his work as a voluntary intervention without the tendency towards aesthetic or narrative unity. Moreover, he turns the components against their formal, functional and semantic integrity. Without aggression or ethically dubious force, his gesture is light, and the transformation from one reality into other is invisible: the plate he could put in the sink where it “belongs” he easily puts on the wall, lightly transferring images, words and things from one context/ space/ object to another, from public life into private and back.” ( Ivana Mance )
Marko Tadić, born in 1979, won the winning award at the 2001 Young Artists Salon in Sisak as well as the 2006 Young Artists Salon’s award in Zagreb.
In 2006, he graduated from the Fine Arts Academy in Florence. He has had two solo exhibitions in Zagreb and dozens of the exhibitions in Croatia and abroad (Florence, Sisak, Ljubljana, Beograd). He is preparing for the group exhibition in Manchester, organized by the Museum of the Modern Art from Zagreb.