Tanja Dabo rođena je 1970. u Rijeci. Multimedijalna je umjetnica, autorica umjetničkih instalacija, performansa, fotografskih radova, video radova, urbanih intervencija, umjetničkih knjiga, grafika i dr. U svom radu bavi se temama položaja pojedinca u društvu, odnosa umjetnika/ica i institucija, individualnog spram kolektivnog, nametnutih očekivanja, nacionalnog identiteta i slično. Od 1993. godine izlaže na brojnim samostalnim i skupnim izložbama, kustoskim projektima, festivalima, javnim izlaganjima i seminarima  u Hrvatskoj i inozemstvu (Zagreb, Headlands, Prag, London, Macao, itd.). Samostalno realizirala ili sudjelovala u desetak grafičkih mapa. Radovi su joj uvršteni u više zbirki i muzeja u Hrvatskoj i inozemstvu. Objavila je više tekstova i radova u raznim publikacijama (Zarez, Grafika, Radionica, Performance research, itd.), a o njenom radu objavljeni su brojni svrti, kritike i publikacije. Selektorica je nekoliko filmskih festivala u Hrvatskoj i inozemstvu, te autorica nekoliko izložbi. Dobitnica je 10 nagrada i priznanja za svoj rad u Hrvatskoj i inozemstvu. Radi na Akademiji likovnih umjetnosti u Zagrebu, Grafički odsjek, u zvanju redovite profesorice.

Tanja Dabo was born in 1970 in Rijeka. She is a multimedia artist, the author of art installations, performances, photographic and video works, urban interventions, art books, prints, etc. Her art examines the position of the individual in society, the relationship between artists and institutions, the individual vs. the collective, imposed expectations, national identity, and the like. Since 1993, she has exhibited at numerous solo and group exhibitions, curatorial projects, festivals, public exhibitions and seminars in Croatia and abroad (Zagreb, Headlands, Prague, London, Macao, etc.). The artist has independently realized or participated in about ten print portfolios. Her works are included in several collections and museums in Croatia and abroad. She has published several texts and works in various publications (Zarez, Grafika, Radionica, Performance research, etc.), and a large number of reviews, critiques and publications about her work have been released. She has curated several film festivals in Croatia and abroad and is also the author of several exhibitions. A recipient of 10 awards and recognitions for her work both domestically and internationally, she holds a full professorship at the Graphic Arts Department, Academy of Fine Arts in Zagreb.

Tanja Dabo 
Jama 2024., 2024. / The Pit 2024, 2024
grafička mapa, litografija / graphic portfolio, litography
26 x 28 × 21 cm 
naklada: 20 primjeraka / edition: 20 copies

Najpoznatije izdanje poeme „Jama“ jest grafička mapa s ilustracijama Ede Murtića i Zlatka Price, otisnuta u tehnici litografije na litografskoj preši konstruiranoj u partizanskoj tiskari 1944. u Topuskom gdje je održan Kongres kulturnih radnika Hrvatske na oslobođenom teritoriju. Otisnuta je na običnom papiru i uvezena je u padobransko platno. Premda je „Jama“, osim tog, doživjela više izdanja, ona koju pamtimo iz školskih udžbenika jest upravo ovo izdanje. Murtićeve i Pricine ilustracije odražavaju užas opisan u tekstu Ivana Gorana Kovačića. U radu „Jama 2024.“, koja je i hommage spomenutom izdanju, reinterpretiram to izdanje mape na način da, prateći izvornik, izvodim čim vjerniju kopiju svih listova i uveza grafičke mape, no crteže Murtića i Price zamjenjujem svojim fotografijama (primjenjujući postupak fototransfera) natpisa i simbola, te ljudi koji prolaze uz njih, a koje sam zatekla i dokumentirala tijekom i nakon umjetničkog istraživanja „Usputno zlo“, odnosno do kraja 2023. godine. Umjesto Murtićevih i Pricinih ekspresivnih prikaza ratnih užasa, moje fotografije ocrtavaju društvenu sadašnjost prikazujući prethodno dokumentirane nacističke, fašističke i ustaške simbole i ljude kako, ne obazirući se, prolaze kraj njih ignorirajući prijeteće zlo koje ih svakodnevno okružuje. Novi prizori ne donose užas stradanja već užas prijetnje ponavljanja povijesti, oživljavanja zločinačkih režima, te užas posvemašnje nezainteresiranosti spram takve moguće bliske budućnosti, a na europskom kontinentu i aktualne sadašnjosti.

The most famous edition of the poem The Pit is a graphic portfolio with illustrations by Edo Murtić and Zlatko Prica, printed in lithography on a lithographic press constructed in the partisan printing house in Topusko in 1944, where the Congress of Croatian Cultural Workers on Liberated Territory was held. It was printed on ordinary paper and bound in parachute canvas. Although The Pit has undergone several editions since then, the one we remember from school textbooks is precisely this one. Murtić's and Prica's illustrations reflect the horror described in Ivan Goran Kovačić's text. In my work The Pit 2024, which is also a homage to the aforementioned edition, I reinterpret this portfolio edition by creating, as faithfully as possible, a copy of all the sheets and bindings of the graphic portfolio, but I replace Murtić's and Prica's drawings with my own photographs (using the phototransfer process) of inscriptions and symbols, and of people passing by them, which I found and documented during and after the artistic research Incidental evil up until the end of 2023. Instead of Murtić's and Prica's expressive depictions of wartime horrors, my photographs outline the present-day society by showing previously documented Nazi, fascist, and Ustasha symbols and people passing by them indifferently, ignoring the threatening evil that surrounds them daily. The new scenes do not convey the horror of suffering but the horror of the threat of history repeating itself, of the revival of criminal regimes, and the horror of complete indifference to such a possible near future, in the context of the current situation in Europe.