The idea of journey has for a number of years been one of the focal points of Marko Tadić’s works ranging from souvenirs, postcards, cartography – imaginary geographical maps, forgotten or imagined scenes, narratives in travelogues – in animated films, drawings, collages, installations, spaces of imagined, possible and impossible journeys through various possible and impossible places. Marko Tadić builds phantasmagorical stories with just a hint at narration, where he sketches possible, imagined, fictional worlds.

He intervenes into the scenes of found vintage postcards with simple drawings and collaging of elements with minimal gesture, thus creating a fairytale narrative between the known and the unknown, fact and fiction, mixed into an organic whole with quotes from art history, tales, film or literature. The works are shaped at the crossroads of drawings, collages, appropriated photographs, installations, animation and they are determined by an interest for archive, daily life, decorativeness, the aesthetics of B films and silent horrors he uses to construct a peculiar mood of oblivion. He processes and mixes a variegated archive of images of various origin, stressing the possibilities of reinterpretation and the relation to the past.

With a series of collages and drawings Marko Tadić creates an installation functioning as a “film strip” in a spatial form– exploring the codes of cinema, the contents and tools of film, articulating the reflexive and technical processes showing the illusory character of the film medium, while at the same retaining their fascination with it. The exhibited works also indicate the huge impact of film on the whole culture, they form a specific attitude to the idea of film as a place where aspects of society and culture are reflected.

In his collages and drawings Marko Tadić builds a fragmentary narrative telling the story of film, while the spectacle of cinematography and its “construction”, i.e. the stressing of its constructed character, become a referential field of these works. The works represent an interpretation of drawing in two media: collage and animated film, bringing forth two levels of image – static and moving.

Marko Tadić's works connect us to the history of collage, its origin, some sort of pre-artistic past, because the history of collage as artistic practice begins in the 20th century until when this technique was used for purposes other than art, within the frame of non-artistic tradition – popular and religious western culture like autograph books, Biedermeier and bourgeois taste memorabilia. In European art, collage was a marginal and non-artistic technique thriving on the margins of culture, until the 20th century when it becomes the dominant way of thinking and expression finding its way to the center of the art system. Collage introduces non-artistic materials in the art system, like objects from the everyday life, elements of images and texts taken from the mass media and popular culture, i.e. material of the “media reality” of bourgeois life made by pictures from newspapers, magazines, advertisements and commercials. Besides the presumption of a fragmented reality, editing and collage denude the artistic procedure, describe and openly show the phases of the work’s constitution. Collage implies a procedure based on a semantic transfer of elements, existing messages, fragments of daily life and popular culture into a new creation, in order to create a work of art showing various interruptions, a complex multiple meaning, incompleteness, inconsistency of thought.