Dino Bićanić rođen je 1980. u Bihaću (Bosna i Hercegovina). Diplomirao je kiparstvo na Umjetničkoj akademiji u Splitu 2007. godine u klasi prof. Hraste. Izlagao je na samostalnim (Galerija Zoja Dumengjić, Split 2022.; Kako sam završio ovdje, Galerija Branislav Dešković, Bol, 2021.; Bićanići, Gradska galerija Labin, Labin, 2019.; Crkva sv. Marka , Hvar, 2019.; Bićanić, Atelieri Žitnjak, Zagreb 2018.,…) i skupnim izložbama (HvarUrbArt, Hvar, 2022.; Pozitiv–negativ, Hvar, 2021.; E-mail Art: Unutrašnja pokretljivost,  Split, 2021.; Sprint, Split, 2018.; Umjetnost preuzimanja, Zagreb, 2017.,...). Dobitnik je Nagrade Ljevaonice Ujević na 14. Trijenalu hrvatskog kiparstva,  jedne od tri jednakovrijedne nagrade na 39. Splitskom salonu. Finalist je nagrade Radoslav Putar u 2020. godini. Ima realiziranu javnu skulpturu u gradu Hvaru.

Dino Bičanić was born in 1980 in Bihać (Bosnia and Herzegovina). He graduated in sculpture from the Academy of Arts in Split in 2007 in the class of Prof. Hraste. He exhibited at solo exhibitions (Zoja Dumengjić Gallery, Split 2022; How I ended up here, Branislav Dešković Gallery, Bol, 2021; Bićanići, Labin City Gallery, Labin, 2019; St. Mark's Church, Hvar, 2019; Bićanić, Ateliers Žitnjak, Zagreb 2018,...) and group exhibitions (HvarUrbArt, Hvar, 2022; Positive-negative, Hvar, 2021; E-mail Art: Inner mobility, Split, 2021; Sprint, Split, 2018; The art of acquisition, Zagreb, 2017,...). Bičanić won the Award of Ljevaonica Ujević at the 14th Triennial of Croatian Sculpture, one of three ex-aequo awards at the 39th Split Salon. In 2020, he was a finalist for the Radoslav Putar award and realized a public sculpture in the town of Hvar.

Dino Bićanić
Manjine, 2024. / Minorities, 2024
glina / clay
8 x 10 cm, 3 cm, 2 cm

Netko je rekao : “U gomili je toplo, ali smrdi“. Rad su minijaturni spomenici predstavnicima nacionalnih manjina. Neki su već bivši odnosno “politički mrtvi” i kao takvi zaslužuju spomenike, da budem ironičan. Svaka figura se postavlja na zaseban postament tako da njihova “minijaturnost” dolazi još više do izražaja. Nešto kao Giacometti, ali bez egzistencijalizma. Zastupnici su dobro situirani i ne razmišljaju duboko o smislu života. Njihovi birači se uglavnom bave egzistencijalnim pitanjima i biraju uvijek iste. Postavlja se pitanje zbog čega ljudi u lošim životnim situacijama uglavnom na izborima glasuju za iste političare? Vjerojatno je stvar u obrazovanju odnosno neobrazovanju. Možda, ne znam. Mnogi glasuju po tradiciji koja kod nas vuče još od drugog svjetskog rata.

Someone said, “In the crowd, it’s warm but it smells bad”. The works are miniature memorials to representatives of national minorities. Some are already former or “politically dead” and as such deserve monuments, to be ironic. Each figure is placed on a separate pedestal so that their “miniatureness” becomes even more prominent. Something like Giacometti, but without existentialism. The representatives are well-off and don’t think deeply about the meaning of life. Their voters are mostly concerned with existential questions and always choose the same ones. The question arises why people in bad life situations mostly vote for the same politicians in elections? It’s probably a matter of education or lack of education. Maybe, I don’t know. The legacy of World War II continues to influence voting tradition.