Exhibition activities

Exhibition activities


 C U R R E N T:



3 – 27 of February

The Project Everyday Life of a Discord uncovers today's stereotypes, confronting the various dimensions of opposing to (un)attainable lifestyles of an individual in modern society, whose brutal signifier is the militant exclusivity of stereotypes that do not allow even subtle differences of existence to fluctuate, intertwine or naturally spread throughout.

The Project Successful Series reflects on the perception of success in contemporary society, on the one hand, and the subconscious, personal desires that contemporary artists can achieve through their field of activity in a society that has no developed economic, let alone artistic market, but through a field of activity where it is allowed and what would be sanctioned in ordinary life. As stated by Astrid Wege in the text Some Notes on the Work  of Miodrag Krkobabić: "...Krkobabić approaches this topic in his “Successful Series” again from a slightly different, quite self-ironic perspective. The focus here is directed onto the different meanings the notion of success whether connoted with beauty, fame, adventure or represented in material fetishes like a hot car – may assume. He and some of his artist colleagues are portrayed with the attributes of their “personal” desires which correspond well with the stereotyped images of success contemporary society presents..."

AV installation REFLEX, through the invisible face form the garbage, in a split second, incarnates and literally personify but also brutally epitomizes one of the main issues raised by this project.




Miodrag Krkobabić, Graduate, Postgraduate and PhD studies at Faculty of Fine Arts, Belgrade. Specialization in Audiovisual compositions, Hochschule fur Kunste Bremen, Germany. Professor of Audiovisual compositions at the Academy of Art and Design in Belgrade.

Since 2000 exhibiting, lecturing and making projects in the public sphere worldwide, investigating the social, political and economic implications of contemporary society, taking a critical look at the way in which institutional system, marketing and politics distort our perception and attitude. 2006–2010, Artistic Director of Nadežda Petrović Memorial, Čačak, introducing a new concept and organization of the oldest Biennial exhibition in ex-YU and creating the new visual identity (together with Mirko Ilić).

Awards: 2016, Nominee for the Award of Belgrade for the visual arts, visual and extended media; 2015, Nominee for the best exhibition in Serbia in 2015; 2014, Nominee for National Pavilion at Venice biennial 2015; 2010, Nominee for  Henkel Art.Award 2010, Vienna, Austria; 2006, Jury Mention – 10th Cairo International Biennale, Cairo, Egypt; 2005, KulturKontakt Grant, Vienna, Austria; 2003, DAAD Award – Deutscher Akademischer Austausch Dienst; 2003,  Honorable Mention – 14th International Electronic Festival – Videobrasil, Sao Paulo; 2002, Gallery Award - 22nd Memorial of Nadežda Petrović, Čačak, Serbia; 2001, October Prize at 42nd October Salon, Belgrade, Serbia


Otvaranje Krkobabic






Partcipating artists: Darko Vukić (RS), Liza Grobler (SA), Mirza Dedać (RS), Mila Panić (BiH), Igor Ripak (RS/AT), Sahar Sepahdari (IR/US), Goran Stojčetović (RS)

Curator: Nadežda Kirćanski

hybrid narratives, hybrid histories begins with the unsettling sound of multiple echoes from the past that might have something to do with us. Marianne Hirsch named it postmemory, aiming to signify a specific relationship that the new generation has to the memory of their descendants. It is an inherited narrative; the one that sometimes turns out to be rooted so deeply it appears authentic to one’s own experience. A memory that is transmitted to the new generation through images, stories, and behaviors that reflected onto their surroundings, relationships, and perspectives. A fluid, fragmented narrative, an unstable compound built by filtering the already filtered until there is a semi-curated outcome we could deal with; a hybrid narrative, emerged from the shattered pieces of something that did not deserve to be a part of the history, or at least, could not afford it.

But this new generation, on the contrary, seems to be having severe difficulties remembering things: we forgot how to remember because the Internet does not need us to remember. The Internet that has lost its claim on the capital letter as it had (invisibly but fully) penetrated our reality beyond retrieve. We keep on forgetting how to remember things, or how to develop new tools for filtering and remembering since the old ones have been severely damaged with this amount of data flow. They have burned out, leaving us unequipped right here in the middle of our post-truth digital amnesia with a half-burned motherboard that needs to be rebuilt.

Works and experiences shared in hybrid narratives, hybrid histories explore the storytelling instruments that serve a counter-history, revealing and archiving the marginal, overseen, and hidden perspectives in correlation to the post-factuality era we have entered this millennium. It offers a virtual and physical forum to discuss our role in historical knowledge production and the ways we convey these narratives and methods to the next generations. 

hybrid narratives, hybrid histories is a collaborative project between Nadežda Kirćanski and HEKLER – a collaborative platform and collective that focuses on the critical examination of hospitality and conflict through art projects, pedagogy, residencies, and archive. HEKLER is founded by artists Nataša Prljević, Jelena Prljević, and Joshua Nierodzinski in New York. The project started developing in November 2018, during Nadežda Kirćanski’s residential stay at the Residency Unlimited in Brooklyn, as a part of the Mangelos Award she was awarded with in that year. Besides providing a two month residency, the Mangelos Award also includes a solo show term upon the recipient’s return to Serbia.

The project hybrid narratives, hybrid histories was conceived as a group show with an aim to dilate the usual form of such shows by taking the role of a selector/curator; this show gathers both local and regional artists, including the ones she had a chance to meet and start collaborating with in New York. The experience that had a thorough influence on scaling this into a project was meeting HEKLER’s activities and general mission which overlapped with what motivated Nadežda for the exhibition in the first place. The encounter with HEKLER platform has metabolically grown into a collaboration which resulted in this project - hybrid narratives, hybrid histories, an international art project consisting of a group show and a one-month residency in Belgrade for artists Liza Grobler and Sahar Sepahdari. The show hybrid narratives, hybrid histories was firstly presented in U10 artspace in Belgrade from 28th November till 14th December this year and will also be presented in Contemporary gallery Zrenjanin from 27th December 2019 up until 27th January 2020.


IMAGE 2019

Jelena Vladušić, Isidora Kelečević, Nora Mesaroš, Nemanja Milenković, Dario Smetiško

December 9 – 25, 2019

 Otvaranje Slika2019






14 November – 5 December 2019








October 7– November 14, 2019.

Otvaranje Bijenale





Value, Work and Money
April 15  – May 9, 2019

 Otvaranje Urticae



March 4  – April 11, 2019

Otvaranje skluplture



February 11  – February 28, 2019





Otvaranje 4 slike






Olivera Topalov
JA - moje emocije, misao i postojanje
February 11  – February 28, 2019


Otvaranje Toplalov




10th December 2018. – 17th January 2019.

Slika 2018 otvaranje

Aleksandra Jovanić holds a PhD in Digital Arts and a BSc in Computer Science. In her research and artistic practice she combines various media, mainly focusing on interactive art, art games and generative art. As an Assistant Professor, she currently teaches at all three levels of studies - the undergraduate programme of the Faculty of Fine Arts in Belgrade, master studies of the Faculty of Applied Arts and art doctoral studies at the University of Arts in Belgrade.
As a designer and computer programmer, she worked successfully on the development of prominent web projects, mainly in the field of culture and arts. Beside web design, she has been active in the area of graphic design and also designed film theatre and concert posters and motion graphics for films. Since 2003, she has had several solo and group exhibitions.
Aleksandra won a European Digital Art and Science Network award, in national selection for 2015.

Karkatag is a Belgrade-based art collective founded in 2009. It works in the field of interactive art and new media, at the border with performing arts.
Karkatag works are mostly peculiar machines, usually larger ones, which, exposed or foisted to be used, bring the audience into a situation where they become an active participant, performer, and the event that is generated through their work/use is an inseparable and essential part of the realization itself.
Karkatag has so far participated in numerous exhibitions, festivals, performances in Germany, England, Austria, Poland, Croatia, Switzerland, Montenegro and several cities in Serbia. Karkatag as a part of the National Selection won the Golden Medal for launching the dialogue on the Prague Quadrilange in 2015. Also, in 2015 it won the Award for the development of the British program Gone in 20 Minutes for new and bold art projects in the open. That same year it won the prestigious Oxford Samuel Beckett Theater Trust Award and Production at the Barbican Center in London in 2016 in collaboration with the British group Collectif and then...
Karkatag has been running a residential art space in Svilajnac since 2010, and in 2015 it started an open workshop Praksa Makerspace Belgrade in Cultural Center Magacin in Kraljevića Marka Street.
Karkatag is part of the Association Independent Cultural Scene of Serbia.


Saša Spačal is a postmedia artist working at the intersection of living systems research, contemporary and sound art. Her work focuses primarily on the posthuman continuum, where human beings exist and act as one of many elements in the ecosystem and not as sovereigns. Therefore abandoning the Cartesian system of classification and accepting the fact that the field of technology has expanded not only from hardware to software but also to wetware resulting in hybrid phenomena inscribed in mechanical, digital and organic logic.
Her work was exhibited and performed at venues and festivals such as Ars Electronica Festival (AT), Prix Cube Exhibition (FR), Transmediale Festival (DE), Onassis Cultural Center Athens (GR), Chronos Art Center (CHN), National Art Museum of China (CHN), Museum of Contemporary Art Metelkova (SI), Kapelica Gallery (SI), Device_art (CRO), Art Laboratory Berlin (DE), Museum of Contemporary Art Vojvodina (SRB), Lisboa Soa Festival (PT), Match Gallery (SI), Gallery of Contemporary Art Celje (SI). Her work was awarded Prix Ars Electronica Honorary Mention and nominated for Prix Cube.

Lives and works in Belgrade. He is an associate professor at the Faculty of Fine Arts of the University of Arts in Belgrade. He gives lectures in subject Transmedial Research at the department of New Media in whose founding he was actively involved. He has been exhibiting in solo and group exhibitions since 1992 in leading home and international institutions and festivals of new media in Europe and the world, such as MMA (Museum of Modern Art) Novi Sad; Salon MMA Belgrade; MMA Zagreb; Artspace Sydney; Ars Electronica Linz; ZKM Karlsruhe; NRLA Glasgow - Perth; Lux Center, London; Transmediale Berlin; Video Marathon New York; World Information, MMA Belgrade; Blood and Honey - Essl Collection, Vienna; Austrian Cultural Forum, New York.

He represented Serbia at the 53rd Biennale in Venice.
His works are kept in significant private and national collections in the world and in Serbia. He periodically publishes essays and texts about his work and art, Art and Biotech Era, Experimental Art Foundation Inc. Adelaide, South Australia 2008, Noise, ZKM, The MIT press Cambridge, Massachusetts London, England 2002, etc.


She completed undergraduate and master studies at the New Media department at the Academy of Arts in Novi Sad. She is employed as an assistant professor at the New Art Media department at the Academy of Arts in Novi Sad, where she is currently head of the department.
The work of Isidora Todorović explores the technological, cultural and political aspects of art in the context of biopolitical theory, post-feminist theory and DIY culture. In her works she often uses the form of sociopolitical games, interactive installations and socially engaged projects. She has authored several award-winning works (The Traveling Game, One Good Day) and exhibited at national and regional festivals of electronic arts: 2013 Play Again! Games and culture conference, Košice, Slovakia; 2014 Fields exhibition, Arsenals Exhibition Hall of the Latvian National Art Museum (LNAM), Produced by RIXC, with Can You Feel The Spill? political board game/android app; 2014 SUTRA/TOMORROW, Belgrade Youth Center; 2015 Device art, Zagreb, Croatia; 2015 Wonderlab, Museum of Contemporary Art of Vojvodina, Novi Sad; 2017 “ART&SCIENCE“, Cultural Center Belgrade, European Digital Art and Science Network (in collaboration with Ars Electronica from Linz, Science Gallery from Dublin, GV Art from London, LABoral from Gijon, Etopia from Saragossa, Kapelica Gallery from Ljubljana and DIG Gallery from Košice); 2017 SUTRA/TOMORROW, Museum of Technology, Belgrade; 2017 Ars Electronica, Linz, Austria, Future innovators summit.





Mirjana Blagojev
19th November – 6th December 2018.

MIRJANA BLAGOJEV (1974, Zrenjanin)
Graduated and earned her master’s degree in sculpture at the Academy of Arts in Novi Sad. She completed master studies at Ecole Supèrieure des Arts Décoratifs in Strasbourg, France, at the department of Object-glass. She is currently attending doctoral art studies at the Academy of Arts Novi Sad, as a part of which she did her research internship at the CTU- Faculty of Architecture in Prague in 2017. She works at the Academy of Arts in Novi Sad on the subject of sculpture as an assistant professor. Member of ULUV and ESGAA (European Studio Glass Art Association).

Sizifova kocka (1)


39. meeting of aquarelle artists

15. of October  2018. 

Nadezda Kircanski

Iva Kuzmanovic

Vladimir Miladinovic

Mirjana Boba Stojadinovic

Rade Tepavcevic




1 – 11.of October 2018.




SUMMER with the collection of Contemporary Gallery Zrenjanin

16th of July- 1st of September, 2018

       The exhibition implies the setting of 34 works from the collection of Contemporary Gallery Zrenjanin by 22 authors, among whom are the significant names of Serbian fine arts in the mid 20th century (M.Konjović, I.Radović, I.Tabaković, N.Graovac, V.Pomorišac...) Most of these works were created in the Ečka Art Colony inspired by the summer landscapes of Vojvodina, especially in 1962, when the official theme of the work in the colony was summer. This part of the collection is complemented by works on the theme of the sea landscapes of the authors from the territory of the former Yugoslavia, which entered the collection of Contemporary Gallery as a gift from Federal Executive Council in 1963, soon after the famous Tito's speech at the Seventh Yugoslav Youth Congress when he condemned abstract art. The exhibition examines possible political influences on the work of the colony and gives the opportunity to partially review the development and formation of the collection through the work of the Art Colony Ečka, and the name itself has a dual meaning by describing the theme of the exhibition in the first place and by inviting the audience to spend some time with works from the collection of Contemporary Gallery Zrenjanin during the summer months of July and August, when the exhibition will be set, in the decades-long expectation of the permanent exhibition of the art museum of Contemporary Gallery Zrenjanin.


Curator and author of the exhibition: 
Slavica Popov, senior curator 

Ministry of Culture and Information Republic of Serbia and City of Zrenjanin



11 April 2018




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