"Stipan's preoccupations with painting materials, techniques, styles, art history, and genres have continuously developed and transformed since the very beginning of his artistic practice. Although he presents a new 'perspective' in the new stages of his oeuvre, it is possible to locate familiar tropes of his painting—deep reflection on (his own and historical) styles, experimentation with techniques, reinterpretations of historical painting, and self-reflective exploration in the form of portraiture. In the new works he created after moving to New York, displayed in this exhibition, Tadić revisits the same 'places' but deepens them further." (About the exhibition: Patricia Počanić)

LOVE LETTERS TO THE CITY, curated by MichelleHouston, is a tribute to urban spaces and encourages reflection on the role ofart in shaping our collective urban experiences. The exhibition examines thetransformative potential of public art and explores the methods and motivationsbehind such works, as well as their social impact.

Participating artists:

2501, Banksy, Blek le Rat, Bordalo II, CarlosMare aka Mare139, Chop 'em, Down Films, Crash, Dan Witz, Daze, Drew. Lab_One,Elfo, Evol, HA Schult, HOGRE, Isaac Zavale, James Reka, Jaune, Jazoo Yang, JoelDaniel Phillips, Johannnes Mundinger, Jordan Seiler, Kenny Scharf, Lady Pink,Liviu Bulea, Martha Cooper, Matthew Grabelsky, MILLO, Moses & Taps, NikaKramer, Octavi Serra, Owen Dippie, OX, PAINTING DHAKA Project, Mr. Paradox, Paradise,Rocco and his brothers, Sebas Velasco, Shepard Fairey, Stephanie Buer, StiftungBerliner Mauer, Stipan Tadić, Susanna Jerger, Tats Cru, THE WA, Vhils, undZhang Dali.

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Babel is an exhibition and performance series featuring works by Sam Anderson, Ali Eyal, Emma Fujiko, Yimiao Liu, Keli Safia Maksud, Asif Mian, Timmy Simonds, Stipan Tadic, and the duo Liz Phillips and Heidi Howard. Babel is the fourth project of SARA’S residency at Dunkunsthalle, located at 64 Fulton St., New York, NY.

Babel features a program of performances by each artist participating in the exhibition. While the group is comprised of primarily visual artists, the program spans poetry, sound, body art, and theater. Babel seeks to forge a conceptual bond, rather than a thematic one, between each work in the exhibition, giving the artists a liberatory tool within the commercial gallery space, where beyond the material, the fleeting moment also becomes their canvas. In the tradition of Fluxus, Babel invites viewers to consider whether performance can continue to offer visual artists a sense of freedom to create in a meaningful and sometimes bizarre way.

CLAY / CRAFT / CONCEPT investigates different ways of creating with clay, from prehistory to contemporary practice, and creates a dialogue between sculptural and functional clay objects by bringing together a large and eclectic group of artists, all of whom think and create differently.

The Malta Society of Arts has long been a stronghold for supporting crafts and has a history of clay education. CLAY /CRAFT / CONCEPT flows from this legacy while also bringing the Society’sactivity into dialogue with contemporary currents of thought.

Participating artists: 
Victor Agius, Julie Apap, Shirley Agius Xuereb, Francesca Balzan, Trevor Borg, SkujaBraden, Tony Briffa, Gabriel Caruana, Ioulia Chante, Nico Conti, AndrewDiacono, Victor Diacono, Burghild Eichheim, Martina Farrugia, SinaFarrugia, Alberto Favaro, Nina Gerada, Caz Hildebrand, LeahKaplan, Helen Martin Lowinger, Rosa Madonna, Nadya Anne Mangion, ClareMcCracken, Eleanor Meredith,
Salvina Muscat, Kira Ni, Paul Scerri, Anna Snowdon, Hae Won Sohnx Stipan Tadić, THISS, THISS x Rebecca Bonaci, THISS x VERNACULAR, Tiziana Schembri, Jeremy Tua, Ally Vella, Maryia Virshych 

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By the Means at Hand is Vlatka Horvat’s project for the Croatian Pavilion at the 60th Venice Biennale.

The title of the project – By the Means at Hand – refers to the improvised transport systems whereby individuals activate informal networks of friends, acquaintances, and even strangers to deliver letters, parcels, documents, money, and other material goods to family members and others who live in cities or countries far away. While such practices are born out of social dispersal, migration, and displacement, the networks they give rise to build effectively on wider principles of solidarity, shared struggle, mutual support, and friendship – factors that the project emphasizes as prerequisites for co-existing with others, and as key elements in the toolkit for those living “in foreign lands.”

Taymour Grahne Projects is pleased to present 'Interior Worlds' - an online group show opening virtually on June 3 and exploring domesticity. The show features 11 international artists, including: Ali Eyal, Emil Robinson, Enzo Meglio, Evie O'Connor, Flora Temnouche, Gail Spaien, Kyle Coniglio, Louise Janet, Mikey Yates, Sarah McEneaney and Stipan Tadić.

A Study in Form (Chapter Two) marks the second half of a two-part exhibition project curated by Arden Wohl that touches upon various relationships, dialogues, intersections, and companionships between artists and poets; and their poetry and art. Here, a range of disciplines, generations, and perspectives come together to push beyond the boundary of the visual artifact as an end point of the artwork.

Featuring works by Adam de Boer, Adam Linn, Ákos Ezer, Amir H. Fallah, Benny Or, Charlie Roberts, Cindy Bernhard, Deborah Brown, Erik Nieminen, Everette Ball, Gosha Levochkin, Ian Ha, Jaemin Bae, Jean Nagai, Kaylie Kaitschuck, Katya Muromtseva, Laura Sanders, Margaret Curtis, Mathew F. Fisher, Mathew Tom, Maude Corriveau, Michael Igwe, Shuto Okayasu, Stipan Tadić, Xiao Wang and Yesiyu Zhao.

Cementing its mission of promoting intercultural dialogue, PLATO inaugurates its program with Double Vision, a group exhibition spanning works by 25 artists who see the world through the eyes of the other. The first iteration of the show will be open from March 27 through May 5 at the gallery’s new nearly 3,000 sq. ft. home at 202 Bowery, followed by the second part of the exhibition in May.

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Quiet Storm will showcase a meticulously curated collection of new works by talented global artists, including:
‍Alexis Ralaivao, Sarah Lee, Stipan Tadić, Keita Morimoto, Laure Mary, Serban Ionescu, Cindy Bernhard,Serpil Mavi Üstün, Jess Han, Hongmin Lee

When I ask myself to think of a brick, I quickly think of bricks. I see a wall — my mind’s eye fills the frame completely with the soothing geometry of brickwork, the patterning of deep reds and cement mortar — I can zoom in and out, but it’s all wall. I’m seeing them in service, seeing the general functionality of an object without reverence to its materiality, to the umpteen trusted hands, processes, markets and social structures that enabled raw clay to arrive here in my mind as a vast and effortless wall. And there is thinking beyond this, to the delineations humanity has made, it’s keeping in or keeping out, and to the rubble of what is seemingly irreconcilable.

Since ancient times, humanity had a tendency to explain the world through the concept of duality. The existence of interconnected opposites, the good and the evil, was an easy way to understand and make sense of things and events around us. But being wired to see things in such binary terms, makes it difficult to comprehend the possible existence of many different, sometimes contradictory directions happening at once. A multitude of dualities forming a multitude of realities – a Polyireality.

James Fuentes is pleased to present Metropolis: 36 Views of New York, a new body of work by Croatian artist Stipan Tadić. Taking its title from Fritz Lang’s 1927 titular film and referencing Hokusai’s woodblock-print series Thirty-six Views of Mount Fuji, the series, like its name, is a mosaic of references. Throughout the 36 paintings on view, Tadić maps the neighborhoods surrounding the D line train from the Bronx to Coney Island. The series is the result of a year-long walking tour during which Tadić documented well-tread and lesser-known cityscapes, taking photographs, collecting historical references, and observing passers-by. Allowing his mind to wander and his senses to guide him, the artist absorbed locales where he has little context and no personal roots. Instead, Tadić activates his imagination to reveal the microcultures of each enclave; scenes where landmarks like Greenwood Cemetery and the Apollo Theater intersect with cues from religious iconography, folk art, and video games — a topography layered with both the quotidian and allegorical.

Invisible Hand is an attempt to position us within the complex dynamics at play in the world of contemporary art today. The beginning of the decade saw some exceptional factors shaping the world, and the art landscape adapted to those changes accordingly. The concurrent extremes of the physical world coming to an abrupt halt while we advanced into the metaverse with supersonic acceleration affected all aspects of life, including art, yielding unpredictable new formations. This exhibition showcases a selection of artists who have activated the infinite allure of the image as a conduit between the digital and material worlds.

(…)Tadić is interested in the reality that surrounds him, but his distinct astuteness and ability to convey, through the selection of motifs and conception of the composition in the segment of quotidian life, a much deeper view of reality than what directly meets the eye, which makes him an excellent chronicler of everyday situations.(…) Branko Franceschi, except from the text in the exhibition catalogue.

F2T Gallery is proud to announce Lost in the Worlds, a group exhibition co-organized with the American collector and gallerist Will NYC, who shares our same passion for art. For this occasion, we move our gallery to Le Marais, center of the art world in Paris, especially this year during the first edition of Paris+ . In Lost in the Worlds 11 international artists are brought together in order to represent landscapes emphasizing different techniques, styles, cultural backgrounds and influences that each of them has. The representation of natural ambiences has always been an important subject in the art history and an example of how different artists are able to express their own view of the world. The exhibition take the viewer into a journey without a precise destination where each of us can find elements that reconnect to our own experiences.

Zagreb-born Stipan Tadić (1986) relies on his keen sense of observation and his ability to look for hidden meaning to create paintings that do more than merely depict their subjects. His Balkan origins are reflected in his works trough symbols, references, codes, which make themselves the spokesman for his figure of an immigrant relocated to a megalopolis like New York, a city that can also lead to a feeling of strong loneliness, just as the two works on display testify: two lonely men smoking in an almost empty street. Whether portraits, cityscapes or landscapes, Tadić conveys something beyond appearance. With dramatic colors, skewed perspective, and altered reality, he conveys attitude, character and emotion.

WOAW Gallery is pleased to present Contemporary Curated: Landscape curated by gallerist and curator Taymour Grahne, highlighting ten contemporary artists based between the UK and USA. Sixteen landscape paintings were created to illustrate each artist’s personal interpretation of nature, ranging from mythology, historical references, social issues, to human consciousness.

ATM Gallery is pleased to present Visions of the City, a solo exhibition of paintings by Stipan Tadić. The show will be displayed at 54 E Henry st, New York, NY, from June 23 to July 31, 2022. For Stipan Tadić there is always romance. In Visions of the City a series of paintings come tantalizingly close to forming a complete story arc. Dense with imagery, Tadić articulates in a style that negotiates the art historical into the proletarian grammar of comic books, arriving at a core which defies boundaries, in which Medieval illuminated manuscripts mingle with video game aesthetics and 1980’s neon. Here, vignettes surface, of people haunted and depressed, of Tadić himself, and most of all, of life in New York City.

SHFAP presents Several Places Several Stories, an exhibition of works by Phoebe Gloeckner (b. 1960) and Stipan Tadić (b. 1986). The two artists explore often concealed or overlooked aspects of contemporary life with work created from backgrounds in both cartoon art and traditional academic training. Both artists’ works involve in-depth documentation of specific places over extended periods of time and possess an objective, almost journalistic attention to detail and their subjective experience with the subject matter, including self-portraiture. Gloeckner’s and Tadić’s works capture gritty, mysterious, and eccentric subject matter from the paradoxical perspective of intimate outsiders, revealing commonalities found in even the most surprising places and stories.

Steve Turner is pleased to present the first iteration of Our World, an online group exhibition which features new works by eight artists (Hannah Epstein, Kate Klingbeil, David Leggett, Kevin McNamee-Tweed, Samantha Rosenwald, Stipan Tadić, Brittany Tucker and Mark Yang) who come from various parts of the world and who have coalesced to become part of the gallery’s world. While the artists work in a broad range of media, styles and concepts, all make deeply personal work that is a consequence of their biography, geography, identity and mentality. Their world is our world and we are delighted to present it to the art world at a time when we all would be converging in Miami for Art Basel Week. With no art fairs and no opening receptions, we want to demonstrate that life goes on, art goes on and community goes on.

SECCA proudly presents DRAWN: Concept & Craft, an expansive exhibition featuring more than 200 works by a wide array of artists including LeRoy Neiman, Kara Walker, Fab 5 Freddy, Kiki Smith, Kambui Olujimi and Buckminster Fuller. DRAWN brings together the diverse works of over 60 artists from around the world in an exhibition that provides a rare, revealing look into the creative process and artists’ unique relationship with the art of drawing.

In the rivers north the future / I cast the net (Paul Celan):
Being human is not enough, and already too much. Sometimes we act like robots, but want to feel like animals. How can we breathe and rethink work and pleasure, art and industry, politics and poetics, when everything flows into each other, like streams into a river? Is the whole planet our home or just the square meters we occupy? Between disorientation and reorientation, to find new directions and avoid dead ends, we need to breathe differently. We have to change our perspective and pay attention to those at the borders of our field of vision: the misfits, the oppressed, and the unknown, but also biospheres, buildings and social spaces. At the gate of a new, post-pandemic era, exhausted but hopeful, curious and ready for a change, the OSTRALE in 2021 explores the ways we coexist with our fellow humans, animals and our complex environment.

The idea for Contemporary Domesticity has been on my mind for a while, as I have always wanted to explore how contemporary artists engage with domestic space: from the mundane to the decorative, how these spaces hold their lives, their meals, family gatherings, pictures and heirlooms, quiet spaces, books and flowers.The artist’s home is also where I find myself spending so much time in, as many of the studio visits I do throughout the year are within artists’ homes. I often find that the home says so much about the artist, the way they work, live, and what they choose to surround themselves with. I find my eyes wandering around the home, trying to piece together the puzzle of the person. I also find the experiences of these home visits so rewarding, filled with generosity, hospitality, and warmth, offering true insight into the person behind the artwork.

Stipan Tadić’s works build on a tradition of depicting New York City night scenes, employing a beautiful and delicate range of colors that capture the street life atmosphere of a night walk in the East Village. Temporal touches give ephemeral and subjective clues of Tadić’s experiences of moments, reflecting both familiar and personal aspects of a neighborhood that welcomed Tadić recently. Working with imagination and local inspiration, the artist builds elements of his reality into works that are inspired by what he sees during frequent night walks. Tadić explains, “In my work I like to capture the outside world and bring it to life together with a strong subjective aspect. In this way I am juxtaposing the inner to the outer world. As a tool for that I use references from video games, and combine them with classical European masters such as Brueghel, the German expressionists or underground comics from the 60s.”

The exhibition To Be Continued… Comics and visual culture in Croatia sets the so-called Ninth Art of comic strips, cartoons and graphic storytelling in its European and international context, bringing together its history, evolution, and canonical authors. The exhibition examines the way in which perceptions of comics have changed over time, the role of comics in shaping popular and mass culture, and the professional and personal networks within which comics are created and find their way to the audience.

City Lights by New York-based Stipan Tadić features paintings of New York that he created during the first months of the COVID-19 pandemic. Tadić has explored the city at night, observing, drawing and writing down his observations. He found Chinatown to be of special interest. Even though it is an enduring symbol of the city, more of its essence was revealed in the absence of crowds. While the works were intended to document an historic moment in the city, they also came to serve as a psychological diary for the Croatian-born Tadić, who observed a new form of dystopia in New York’s empty streets. Colorful neon signs were flashing but no one was there to see them.

The show’s newest name belongs to Stipan Tadić — a transplanted Croatian and recent graduate of Columbia University’s M.F.A. program. His Medika Dance (2019) evokesa dark alley leading to a late-night club, an image out of German Expressionism by way ofUnderground comics; it depicts an alternative cultural center in Zagreb and is based on Pieter Bruegel’s Peasant Dance.

A multimedia and interdisciplinary exhibition in the author's conception of the museum advisor of the Modern Gallery Željko Marciuš and expert associates Frano Dulibić, Saša Pavković, Vanja Babić, Milivoj Zenić and Feđa Gavrilović.

In addition to more than 500 works, mostly from the collection of the Zagreb Modern Gallery, the exhibition also presents works from other Croatian museums and related institutions, as well as from private collections. These are pictures, drawings, comics, posters, graphics, caricatures, objects, installations, artistic photography, video art, fiction and animated films.

The 18th Triennale of Croatian Painting Blue Salon, entitled Realisms of Privacy: Subjective in Objective in New Croatian Painting, is being held in the 61st year of the Zadar exhibition of painting of national character, after due to space limitations, in 2011, a transitional, unnumbered exhibition, Encountering Blue, was held salonu — The artist as an ideal liar. The reason that inclined us to the idea of ​​dedicating the 18th Blue Salon to the new hyperrealism/photorealism is its appeal and massification in recent years, equally emphasized in the world and in us. Twenty Croatian authors of the younger generation are thus represented with about ninety painting works in the realist tradition based on photographic and new media and are a kind of trend, almost the main stream of contemporary painting production in Croatia.

The founding of The Society of Art in Zagreb in 1868 is of exceptional importance for the development of Croatian modern art. Although it only nominally existed during the first decade, The Society gained momentum in 1879 when Izidor Kršnjavi returned to Zagreb after studying in Vienna and Munich, where he initiated the establishment of the most important artistic institutions and institutions in a very short period of time.

The exhibition presents some of the works of Stipan Tadić created during the first residential stay as part of the HINT project: Bread, Innovation, Naive, Tradition, which was started with the aim of evoking the tradition of naive art and contemporary artists. The exhibition remains open until November 18, 2018, and was realized with the support of the Ministry of Culture of the Republic of Croatia.

In Trieste, from 28 June to 16 September 2018, the MLZ Art Dep gallery presents the solo exhibition of the Croatian artist Stipan Tadić entitled The Vice of Painting and Other Stories. The painting of Stipan, a young artist from Zagreb, manifests in this exhibition what appears to be a direct derivation of the Naive tradition of the school of Hlebine, a small municipality in north-eastern Croatia with less than 2000 inhabitants on the border with Hungary which was home of the undisputed master Ivan Generalić. Having said this, in the series of large oil paintings dedicated to the Croatian mountains, the artist describes in his debt to tradition, natural forms and small urban concentrations taken from above which show an almost orographic attitude, but he does so without photographic or positions at the easel, but rather using the memory of his excursions and the geographical maps, through which he archives by meticulously painting mountain peaks or profiles of hills covered with forests immersed in a light that ironically distorts their chromatic realism.

...Tadić’s intriguing cycle CYCLIST’S JOURNAL/ROADKILL – series comprising 19 small sketches based on photographs of roadkill he stumbled upon while cycling. According to him, “the images represent illustrations of dead animals found and photographed on his cycling journeys through Croatia, Montenegro, Albania and Italy. They are made in the style of 18^th century encyclopaedic sketches, using egg tempera technique. Arranged accordingly, they compose a short narrative story in which animal corpses, from the beginning to the end, blend with soil and surrounding environment progressively, morphing into abstract shapes and becoming completely unrecognisable at the end of the process. Final illustration represents Heaven, where all animals stand alongside bicycle, most peaceful means of transport and representation of non-aggressive way of life”.

The Croatian Mountains exhibition continues the concept of naive art and the poetics of the Motives from the Surroundings cycle from the beginning of 2017, when the monumental painting Sljema was presented for the first time. As the author himself states, the painting Sljema, displayed in the context of Motiv, represented a contrast to the sarcasm and (negative) critical depiction of the Zagreb periphery, but also to the criticism and sarcasm of all of Tadić's works. Five monumental oils on canvas: Biokovo, Dinara, Velebit?, Sljeme, Sljeme from the back and Učka, and five oils on glass — Sv. Rok, Klek, Ravna Gora, Ivanščica, Kalnik place nature in the center, and unlike most previous cycles, the artist depicts landscapes emptied of human presence. In contrast to previous works where the human figure represented the artist's (auto)humorous approach, a point of critical questioning of reality, in this cycle Tadić tries to completely avoid engagement, to provide an exclusively aesthetic experience that represents the monumentality of nature on a personal and collective level.

The Independent Biennial is a recurrent event that explores the areas and context of usage of contemporary illustration, supports direct authorship, promotes authors, and co-creates the visual culture in Slovenia. Established in 2007, the independent platform has emerged from the need to redefine the idea of illustration. Contemporary creative practices have long since surpassed the outdated view, and the complete lack of response from the professional sphere has pushed the entire generation of young artists to the fringes of artistic practices. With its ideas and goals, the Independent Biennial has facilitated an expansion of contemporary illustration and the wider public understanding of it. The Independent Biennial with its various projects continues to open the space for discourse and dialogue by supporting the upcoming generation of artists.

Through the works of 38 selected artists and 10 invited artist a cross-section of the prominent Croatian painting scene in the last two years will be represented.Traditionally, within The Biennial of Painting, the exhibition of foreign authors is also hosted, which, according to the guest curator’s concept, represents the cross-section of the painting art scene of one of European cities (2011, I am Berliner, Berlin; 2013, Vienna Calling, Vienna; 2015, Exporting Gdańsk, Gdansk). This year the EXTENDED PAINTING PRAG exhibition will be hosted. The exhibition is under the curator concept of Marek Schovánek, who will represent prominent artists from the contemporary Prague art scene, including Jiří David, representative of the Czech Republic at the Venice Biennale in 2015.

Exhibition of the academic painter Stipan Tadić: Motives from the surroundings. 30 Illustration (gouaches on paper) and created during walks/wanderings in the smaller towns of Zagreb County. The exhibition itself and the book with 30 illustrations refer to the well-known local Podravine motifs.

In the art exhibition, which was designed by the architect Mario Beusan according to the idea of ​​the author of the exhibition, Dajana Vlaisavljević, the artistic range from the traditional genre scene to numerous modern and contemporary artistic achievements is represented through about two hundred selected works; sculpture oil paintings, prints, works on paper and medals with animal themes.

Solo exhibition of the academic painter Stipan Tadić: Motives from the surroundings. 30 Illustration (gouache on paper) and 1st picture (Sljeme), created during walks/wanderings in the smaller towns of Zagreb County. Several works were also created in Zaprešić, where Stipan painted Skurjeni's motifs (the Krapin bridge, the Karbon factory, Susedgrad). The curator of the exhibition and the writer of the foreword in the book/catalogue is Feđa Gavrilović. The exhibition itself (and the book with 30 illustrations) refers to the well-known local Podravine motifs by Krsto Hegedušić with a foreword by Miroslav Krleža.

The Biennale of Painting follows the development and current achievements of Croatian painting by presenting prolific exhibitions and authors of the last two seasons. The continuous follow-up enables development, impact on the cultural scene and interest of the audience. In the country without an organized art market, the Biennale of Painting provides the wider public with the opportunity to meet different generations, heritage and poetics employed by the painting scene, which is still the most interesting to lovers and collectors. The Biennale features the whole scope of artists, from the youngest ones, who have only just come out of the Academy, to the young stars and well-known painters and academics.

The Biennale of Painting is an attempt to overcome the trendy recognition; it poses a possibility for a number of approaches to painting and the personal significance the painting has to the author and the audience.

Through 12 sheets on which 33 dead animals were painted, Stipan Tadić showed what man does to nature, heartlessly, brutally and without thinking about the consequences; what we normally don't see, what we have to be reminded of. The beautiful natural landscapes of the countries he visited on his bicycle are in direct contrast with the precise, almost encyclopedic depictions of animal corpses and their glowing entrails. They show an environment in which man has not particularly intervened, a landscape that has remained astonishingly beautiful despite the fact that homo sapiens live around it.

All of us, just about all of us, sometimes wonder who we are, what we are and where we are going. Why are we here, what is our role, what are we doing in this world? These questions can hide existential despair, and they can be approached from the other side, from the position of wit, laughter, relativizing big topics. Stipan Tadić's approach is somewhere in between, at the same time frighteningly serious, but also cheerfully unencumbered; it makes you think, but it also makes you laugh, silly, childlike.

The exhibition project with Croatian and Austrian artists takes place as part of the Künstlerhaus autumn and under the theme “Cooperations extended”. "Spaces between land and water" is a cooperation project between the Künstlerhaus and the HDLU (Croatian Association of Visual Artists).The exhibition in the Künstlerhaus was preceded by a two-week, privately organized symposium in Croatia for the Austrian artists at the end of August/beginning of September 2014 on the topic of "Spaces between land and water" and "Island(s)" and forms a basis for the joint project.

The comic produced and published by HDLU was created as a direct result of Tadić's stay in Paris at HDLU's residency at the Cité Internationale des Arts two years ago. During his three-week stay in Paris, Tadić decided to take a break from painting and focus more intensively on his comic career and document everything that happened to him there with drawings and accompanying comments.

Stipan Tadić started a project four years ago that is based on drawing portraits every day. The portraits are created from specific situations in which the artist found himself, and logically, he decided to continue this approach during his stay at the residency in Paris. Tadić returned from Paris richer for about 400 drawings that were created during his three-week stay at the Cite de International.

One of the most prominent young artists among those who have succeeded in attaining their position on the Croatian art scene over the past several years, is undoubtedly Stipan Tadić, a painter of systematic and continuos creative endeavour to produce an authentic artistic output. To put it briefly, Tadić's art could be said to foster the contemporariness of traditional approach to painting. His visual artistic expression contains a special kind of experimental virtuosity that is emphasized in all his works. In accordance with this, he reaches for the postmodern resources and methods – irony, paraphrase, pastiche, kitsch, triviality, puzzlement, playfulness...

The word identity, mentioned more often since the beginning of the globalization, questions and covers all aspects of the society. Is the identity one of the words in which context can anything be inserted or is it a very important form that determines the existential meaning of the individual, group, community?Let’s not ignore the fact that Zagreb and Croatia for a few days will enter into the new system and we are not sure what exactly it will bring for all of us. Thus, we can conclude that the context of the new salon is questioned, when comparing with the context within it is formed. And I don’t speak about it negatively but from the perspective of a curious person. The one upcoming for sure is the last one important just within the borders of Croatia because the next one will be the first one within the expanded boundaries.

They are part of the author's own reflections on the status of women in society, but also of general stereotypes about women and their social roles as objects of the bizarre, psychedelic and ironic, realized in the picture through interesting references to key icons of art history. Stipan Tadić starts from a specific person whom he places in a general situation, finding him within recognizable historical-artistic patterns, reinterpreting them and parodying the seriousness of 'high' art or the seriousness of the presented situation itself. The paintings are not critical reviews of templates, but templates that 'trigger ideas', places where Tadić incorporates scenes of a new everyday profane scene into unexpected environments or strange situations.

The exhibition Dimensions of Humor presents the works of about twenty artists of the younger generation: Željko Badurina , Snježana Ban, Dina Bićanić, Dražen Budimir, Nemanja Cvijanović, Igor Eškina, Ivan Fijolić, Alen Floričić, Vladimir Frelih, Sonja Gašperov, Luka Hrgović, Danijela Kovača, Ines Krasić, Denis Krašković, Siniša Labrović, Tihomir Matijević, Vedran Perkov, Viktor Popović, Dragana Sapanjoš, Josip Špika, Ivan Tudek, Goran Škofić, Anton Svetić and Stipan Tadić. The basic idea of ​​the exhibition is to problematize the layered levels of functioning and the meaning of humor in the contemporary media practice of Croatian contemporary art. The curator of the exhibition is Ana Medić.

NMZ art gallery invites you to the opening ceremony of the exhibition "What is more real: what we see or what we sense (or as the evil Little Red Riding Hood told the painter: I am not what you think I am)" City Lodge - Lovro Artuković and The Little Individual and the Great History of Art (or the Atrophinis against the Arnolfini), Duke's Palace - Group Gluteus: Luka Hrgović, Stipan Tadić, Miran Šabić Thursday, September 15, 2011 at 8 p.m. in the City Lodge, Narodni trg, Zadar. The exhibition is open until November 6, 2011.

If we look at the works of the group of three Gluteus artists, who express themselves in different artistic media, we will undeniably notice that different philosophical theories cannot be their justification, but only an upgrade, because their works undoubtedly boast of craftsmanship, which many artists cannot boast of today. Therefore, it is quite logical that Gluteus finds role models in tradition, that is, he quotes various historical works in an ironic way, giving them a dedication at the same time, but also criticizing their uniformity, all for the purpose of rebellion against conceptual and so-called engaged idols that continuously exist on the art scene.