Tin Dožić u svojoj praksi često polazi od medija zvuka, a bavi se multimedijom, sound artom i kolaborativnim praksama. Područja interesa su mu materijalnost medija, DIY kultura, susret znanosti i umjetnosti te spavanje i snovi. Izlagao je i nastupao na raznim platformama u Hrvatskoj i inozemstvu, samostalno i u kolaborativnim projektima. Za instalaciju ‘Pjesme za antropocen’ osvojio je nagradu Zlatna lubenica na festivalu Media Mediterranea 2018. godine. Finalist je nagrade Radoslav Putar 2019. i alumni WHW akademije u generaciji 2019./2020. Kao član autorskog tima sa Svenom Sorićem, Hrvojem Spudićem i Sarom Salamon dobitnik je Nagrade 55. zagrebačkog salona primijenjene umjetnosti i dizajna (2020.) za mlade autore do 35. godina za vizualni identitet za 30. MBZ: Muzički biennale Zagreb. Dožić i Udovčić dobili su nagradu za mladog autora do 35 godina 58. zagrebačkog salona primijenjene umjetnosti i dizajna (2024.) za rad Šumska koliba. Član je HZSU.

Tin Dožić often bases his practice on the medium of sound, and he engages in multimedia, sound art, and collaborative practices. His areas of interest include the materiality of media, DIY culture, the intersection of science and art, as well as sleep and dreams. He has exhibited and performed on various platforms in Croatia and abroad, both independently and in collaborative projects. He won the Golden Watermelon Award at the Media Mediterranea Festival in 2018 for his installation "Songs for the Anthropocene." He was a finalist for the Radoslav Putar Award in 2019 and an alumnus of the WHW Academy for the 2019/2020 generation. As a member of the creative team with Sven Sorić, Hrvoje Spudić, and Sara Salamon, he received the Award of the 55th Zagreb Salon of Applied Arts and Design (2020) for young authors up to 35 years old for the visual identity of the 30th Music Biennale Zagreb. Dožić and Udovčić received the Young Author Award (up to 35 years old) at the 58th Zagreb Salon of Applied Arts and Design (2024) for the work „Šumska koliba." He is a member of HZSU (Croatian Freelance Artists Association).

Tin Dožić
Dromomania, 2022.
multimedijalna instalacija / multimedia installation
dimenzije promjenjive / dimensions variable

Multimedijalna instalacija Dromomania temeljena je na tri procesa: onog plovljenja splavom od Zagreba prema Sisku rijekom Savom, onog izgradnje privremene kolibe na zagrebačkoj Medvednici te onog hodanja gorama, planinama i dijelovima planinarske rute Via Adriatica. Osnovna istraživačka i radna metoda je putovanje ostvareno kao svojevrsna fuga ili dromomanija. Značenje dromomanije autor Ian Hacking opisuje u knjizi “Mad Travelers: Reflections on the Reality of Transient Mental Illnesses”: riječ je o zastarjelom pojmu, koji je sredinom 19. st. opisivao danas nepostojeću psihijatrijsku dijagnozu tzv. “patološkog turizma”. Sam pojam sačinjen je od riječi dromos (grč. trkalište) i mania (grč. ludilo, bjesnilo). U tom smislu se ovaj rad okreće od homogenizirajućih formi reprezentacije okoliša, bilo kroz turističke ili geoinformacijske sustave (GIS). Danas, u doba razvoja masovnog turizma i komodifikacije putovanja, dromomanija se čini kao nešto poželjno, a želja za putovanjem ili lutalaštvom postaje još jedna aktivnost koja generira proizvodnju slika. Ono što je zajedničko za sva tri procesa je želja za eskapizmom praćena dezorijentacijom i neuspjehom bijega od civilizacije. Instalacija traži začudne odnose između doživljajnosti zbilje i mentalnog zdravlja pojedinca, tehnosfere i digitalne prostornosti te divljih krajolika, gora, planina i rijeka.

The multimedia installation Dromomania is based on three processes: a raft journey from Zagreb to Sisak along the Sava River, the construction of a temporary hut on Medvednica Mountain near Zagreb, and walking through mountains and parts of the Via Adriatica hiking trail. The fundamental research and working method is travel realized as a kind of fugue or dromomania. Author Ian Hacking describes the meaning of dromomania in his book Mad Travelers: Reflections on the Reality of Transient Mental Illnesses: it is an outdated term that, in the mid-19th century, described a now non-existent psychiatric diagnosis of so-called “pathological tourism”. The term itself is composed of the words dromos (Greek: racecourse) and mania (Greek: madness, frenzy). In this sense, this work turns away from homogenizing forms of environmental representation, whether through tourism or geographic information systems (GIS). Today, in the age of mass tourism and the commodification of travel, dromomania seems desirable, and the desire to travel or wander becomes another activity that generates image production. What is common to all three processes is the desire for escapism accompanied by disorientation and the failure to escape civilization. The installation seeks strange relationships between the experience of reality and individual mental health, the technosphere and digital space, and wild landscapes, hills, mountains, and rivers.