Tin Dožić exhibition

The Tin Dožić exhibition Wanderlust
for the Virtual Gallery of the Art Pavilion


The last exhibition in the Different Perspective cycle takes us off outside the space of the Pavilion. As the very title indicates, the show is motivated by the desire to wander, which is the translation of the original German term Wanderlust. For some time now, the Web project of Tin Dožić has unfolded under this name. The project consists of several sections and represents one phase in a still broader artistic investigation that is still in progress. The contents to be seen on the site under this collective definition are photographic and topographic materials processed post-production into cinematographic or interactive form. The material used has been acquired with the use of contemporary technologies, shot from a drone or some other digital video camera, or with the help of GIS technology, a computer system meant for collecting, analysing and presenting a wide range of data about a geographical space, primarily of data acquired from satellite recording and locating, which thanks to the universal networking has become part of our everyday world. All this material came into being as documentation of Dožić’s own movements round the landscape, hiking, that is, but the post-production handling takes it far away from any kind of documentary ambition. As already mentioned, at issue is an experimental filmic essay, founded on the free collaging and artistic treatment of clips and photogrammetric depictions with the addition of narration and music, or even interactive interfaces through which the user can manipulate the eyelevel or choose one or other of the edited sequences, which regularly consist of image and accompanying text, which might be a poetic commentary on the image or a link to an associated theoretical discussion.

Although this might seem from the description fairly abstract, looked at thematically, Dožić’s work links up with a traditional, perhaps better to say classical, topic of western culture: going out into nature as occasion for contemplation and self reflection, travelling as mechanism for self-knowledge in general. Although the concept of Wanderlust belongs to the modern age, the literary topos has a longer tradition. From the famed ascent of Mont Ventoux in Provence by Petrarch who in the telling of his experience invokes St Augustine, this topos of isolation in a landscape would last for centuries in various literary registers, the confessional and the travel and adventure genres; in Romanticism it was to gain a second breath, from which the modern worldview was to take it. It also has a tradition in visual art: the depiction of a landscape, whether as component part of various painterly subjects, whether as theme or genre sui generis, it is always, in fact, a philosophical study about the subject observing the landscape. The subject’s view, of course, never reflects the reality in and of itself, it is always that which the subject wishes to see, a mediated idea or view point then. Whether this is a matter of a totalising view that seems to see at the same time equally clearly the distant horizon and the tiniest detail, or whether it is an impression founded on the appearance of the phenomenon to the senses, or about an expressionist stereotype according to which the landscape is identified as a reflection of the state of mind, the landscape is always a gnoseological debate about the relation of the ego and the world. For an illustration of this topos in painting, it is worth calling to mind the well-known picture of Caspar David Friedrich Wanderer Above the Sea of Fog, painter of Germany Romanticism, in which neither the landscape nor even the face of the person that observes it, is actually seen at all, since the hiker-wanderer has their back to the viewer of the picture, is calmly standing in front of a panorama that is covered in mist, Friedrich’s painting primarily shows the existential condition of the individual immersed in their own thoughts.

Although Dožić’s work addresses a new experience of looking and moving, mediated by digital contemporary technologies, we would venture to assert, then, the continuity of the basic problem area. The physical, bodily mastering of the space, primarily the natural landscape, is a cultural concept and an intellectually purposeful activity (like Petrarch’s, would mention in passing, Dožić’s hiking experience too is accompanied by reading). The fact that technological innovations necessarily change perceptual dispositions, and the modern model of the subjectively incorporated look is replaced by polycentric and heteronymous systems of view and presenting, does not essential impinge on the humanist sense and meaning of the topos itself. Someone who is moved by the desire to wander does not set out to walk the world in order to discover unknown regions of the globe rather to measure themselves and their views up against both the physically and the technologically mediated reality. This kind of measuring up refers primarily to hiking or hill-walking, which dramatically changes the everyday pedestrian vision and presents the world in a new scale indeed. Physical ascent, rising from foothills to peak, automatically means a change in the discursive register. When we gain at last the peaks, the elevation of the view is not only literal but also symbolic for unlike the quotidian, which unfolds in the low or comic code, it is metaphors of elevation and ascent that belong to rituals of the soul, the tragic mode, the event of catharsis. We will conclude: the pictorial collages and other contents that in his project Dožić offers for our looking at and reading connect up in their essential termination with the tradition of narration about the mental and spiritual experience of climbing and of being in the mountains. There the world can be seen from different, uncommon, perspectives; there the consciousness is opened to the beauty of details, the rhythm of change; there the eye passes without let or hindrance from earth to sky and back again, prompting the thinking individual to raise the essential questions. 


Ivana Mance, PhD

Access the virtual exhibition by clicking on the photo:

List of exhibitions

Selected exhibitions (2018 –Present):

Solo exhibitions and performances:


Finalna prezentacija procesa rada, Otvoreni studio, Galerija Miroslav Kraljević (GMK), Zagreb


Izložba Pjesme za antropocen, Galerija Prozori, Zagreb

Re-Cycles / Re-Okreti na otvorenju Galerije Karas, Galerija Karas, Zagreb

Audio izvedba Nekoliko krajolika i strojeva, FIUK (Festival izvedbenih umjetnosti i kazališta), Koprivnica 

No-input free improv set na izložbi Transient Hole (variations) VIII, Galerija Miroslav Kraljević (GMK), Zagreb

Audio izvedba Test lab – otvorenje Device_Art 2018 festivala, Kino Beton, Split


Group exhibitions:


Tin Dožić i Sven Sorić: multimedijalna instalacija Radical now: Arhiv koordinata 45.448927, 16.395571, Gradska galerija Striegl, Sisak

Rad Less Screen Time na završnoj izložbi WHW Akademije Drei Tage bis zum Ende der Kunst, Galerija Nova, Zagreb

Rad I am sitting in a room, birds are singing outside na digitalnoj izložbi WorkShope online, Muzej moderne i suvremene umjetnosti (MMSU), Rijeka

Instalacija Pjesme za antropocen #4, Galerija Šira, Zagreb


Rad GoldRush na izložbi Test_Lab: Machinic Ecologies, V2_, Lab for the Unstable Media, Rotterdam, Nizozemska

Rad Pjesme za antropocen #3 na izložbi finalista nagrade Radoslav Putar, Mali salon, Muzej moderne i suvremene umjetnosti (MMSU), Rijeka


Rad GoldRush na izložbi Device_Art 6.018, Muzej suvremene umjetnosti Zagreb (MSU), Zagreb

Rad Pjesme za antropocen na izložbi Zlatna Lubenica, Srpski kulturni centar u Puli (SKUC), Pula

Rad Pjesme za antropocen #2 na izložbi Sounding DIY, Multimedijalni kulturni centar Split (MKC), Split


Group performances:


Utopija produženog ovdje i sada; jedanaest satni digitalni događaj autorice Sonje Pregrad razvijen kao suradnja autora/ica DISCOllective, Tin Dožić, Teuta Gatolin, Andro Giunio, Marko Gutić Mižimakov, Lana Hosni, Vanda Kreutz, Sonja Pregrad i Josipa Štulić, Zagreb (online)


Norac/Pavičić/Dožić – Klarinet i petlje (Clarinet and loops), Muzej suvremene umjetnosti Zagreb (MSU), Zagreb

Utopija produženog ovdje i sada (jedanaest satna multimedijalna izvedba u autorskoj koncepciji i koreografiji Sonje Pregrad realizirana s: DISCOllective, Tin Dožić, Teuta Gatolin, Andro Giunio, Marko Gutić Mižimakov, Lana Hosni, Vanda Kreutz, Branimir Norac, Sonja Pregrad i Josipa Štulić, Pogon Jedinstvo, Zagreb


Norac/Pavičić/Dožić – Klarinet i petlje (Clarinet and loops), ZEZ Festival, KSET, Zagreb

Koncert za spavanje, izvođači/ice – Sven Sorić, Carl Bussey, Hyemin Jung, Tihomir Zdjelarević, Byungseo Yoo, Tin Dožić, ZK/U – Zentrum für Kunst und Urbanistik, Berlin, Njemačka

Koreografija Utopije, pokret br. 2., s Androm Giuniom i Sonjom Pregrad, Pogon Jedinstvo, Zagreb

Koreografija Utopije, pokret br. 2., s Androm Giuniom i Sonjom Pregrad, Pogon Jedinstvo, Zagreb


Izvedba Machine Life in the Bush of Ghosts u suradnji s australskim umjetnikom zvuka Colinom Blackom na festivalu Perforacije u koprodukciji s Muzičkim salonom Zagreb, polukružna dvorana Teatra &TD, Zagreb

Koncert za spavanje, izvođači/ice – Sven Sorić, Vanda Kreutz, Carl Bussey, Hyemin Jung, Cha Pang Cha Pang, Tin Dožić, ZK/U – Zentrum für Kunst und Urbanistik, Berlin, Njemačka 


Tin Dožić (Rijeka, 1989), took at degree in psychology at the University of Zagreb’s School of Croatian Studies in 2016 and another in new media at the Academy of Fine Arts in Zagreb (2016). His starting point in his work is frequently the medium of sound, and he is also into recordings in the field, experimental music and multimedia installations.  His work is in fact founded on media research, and he is particularly interested in the materiality of the media, (dark) ecology and extractionism, DIY, geology and the Anthropocene, the interface of science and art, dreams and sleeping.  In his recent work he has been exploring experientially various ways of being in a landscape.  He has exhibited in and appeared on various platforms at home and abroad, on his own or in collaborative projects.  His work Songs for the Anthropocene was awarded the Gold Watermelon at the festival Media Mediterranea in 2018. He was a finalist for the Radoslav Putar Prize in 2018 and an alumnus of the WHW Academy in the 2019/2020 cohort.  He was part of a team of authors consisting of Sven Sorić (visual identity), Hrvoje Spudić (visual identity), Sara Salamon (video animation) and Tin Dožić (acoustic design) that won the Prize of the 55th Zagreb Applied Art and Design Salon in 2020 for young authors up to the age of 35 for the visual identity of the 30th Music Biennial Zagreb. His work Electromagnetisms – 14 simple interactions with electronic devices (2018), commissioned by Croatian Radio was selected to represent Croatia at the Palma Ars Acoustica Award in 2018, organised by the EBU.  He has participated in several artistic residencies: Summer Sessions (V2_ Rotterdam, The Netherlands, 2017), Creart (LAVA Valladolid, Spain, 2017), Open Studio (Miroslav Kraljević Gallery, Zagreb, Croatia, 2019), AgitArt (Agueda, Portugal, 2019) and Free_art_glitch (Croatia House – small stage, Karlovac, Croatia 2019). He is a member of the Croatian Freelance Artists Association.