Mrdjan Bajić, Professor , Faculty of Fine Arts, Belgrade, Serbia

Born in 1957. in Belgrade, Serbia.
1976/1983. completed the undergraduate and graduate studies at the Sculpture Department of the FLU Belgrade, studio of Professor Jovan Krathovil.
1985/1990. – Professor Assistant at the Sculpture Department of the FLU, Belgrade.
1990/1992 Cite Internationale des Arts, Paris.
1992/1993. – Usine ephemere, Asnieres, Paris.
1994/1995. – Pollock-Krasner Foundation Grant, Paris.
Since 1997 works as Professor at the Sculpture Department of the FLU Belgrade.
1998/2002 – Works on the project Yugomuzej /www.yugomuzej.com/.
2003. “Theatre Sculpture”, lobby of Yugoslav Drama Theatre, Belgrade.
2007. Reset_ , Padiglione Serbia, La Biennale di Venezia.
2006/2019 Kalemegdan Bridge Collaboration, Richard Deacon/Mrdjan Bajić, Belgrade. 2011/19.
Participant and selector at Beli Venčac / Mermer i Zvuci Symposium, Aranđelovac.
2015. Chevalier de l’Ordre des Arts et des Lettres.
2017. Together with Biljana Srbljanović won the international competition for the monument to Zoran Đinđić.
Exhibited on Venice Biennale /1900 and 2007/, Sidney Biennale /1990/, Sao Paolo Biennale /2002/, Cairo Biennale /2008/. Continuously exhibits in France/ Gallery RX, Paris/; in Italy/Galeria Paola Verengia, Salerno/; and in Serbia /Galleries Arte, Rima, Belart and Draco in Belgrade, Novi Sad and Kragujevac/.

Public space: REPORT_three attempts_three decades_

1* _Yugomuzej an imaginary, self-proclaimed and self-financed institution that, in the late 1990s, in Miloševic’s Serbia, followed aclever intellectual instruction “in the culture of lies make up even a bigger lie”. At the moment when all the newly born states reject, with disgust, every contact with Yugoslav memories, looking for a self-centered space of an  isolated history, and long  before the commercial waves  of yugonostalgy from the two thousands, and still at the moment of  disruption of the previous state’s live tissue, Yugomuzej is trying to  collect  and bring together memories and crossing documentary material with fiction, create conglomerates of contradictory memories and reconsiderations. The attempt to make the first public presentation of Yugomuzej on Slavija Square within 1999  Belef Summer, immediately after Nato bombing, was short-lived: the installation was removed after just 3 days because it obstructed visibility of  public transport. Yugomuzej had its very representative and off -performances, lectures, exhibitions, multiple  internet presentations, really all around the world, but, except for the exhibition at the Center for Cultural Decontamination in 2001, actually no institutional presentation in the region. The lst decade of the previous century_

2** _Working class goes to Paradise, series of sculptures marked by a large nonpermanent public installation in 2010, in private production of the Gallery Rima, on the street of Kragujevac, in which, at that very moment, Italian FIAT , with heavy subsidies from the local state, bought “ZASTAVA” a socialist almost ruined car factory that has produced the “FIĆA” car for decades, the ultimate Serbian licensed version of Fiat 500, a car that was  the best-selling car in Yugoslavia and the first vehicle of the emancipated working class. Citation from the interview on the occasion of the exhibition (2010): _One of your  cycles  was called Working class Goes to Paradise. Where did the local class go? _Nowhere.  It is just depressed by the realization that it was much easier to overtake exaggerated socialism than it is to survive  exaggerated capitalism.  Not completely without their own blame, or at least naivety, in half-disintegrated country, they are passively waiting for the promised better future  which is just around the corner. Tomorrow, then tomorrow, then again tomorrow but in two years time, and then may be sometime.  And then, again, those impossible multi-party elections between half-intelligent and half-capable. The first decade of the new century_

3*** The Arrow. This project is the first prize winner at the anonymous international competition for the monument to Zoran Đinđić, murdered Serbian Prime Minister, philosopher and politician. This audio-sculptural installation, done in cooperation with dramaturgue Biljana Srbljanović, provoked, much before its realization an avalanche, un unprecedented wave of  discussion, polemics, and above all denials in the regional media, particularly on social networks. They all gave their opinion about an unfinished artwork; those who do not like modern sculpture, those who do not like Djindjic, those who do not like the authors, those who do not like this specific solution, as well as those who like all the above but can’t stand the authoritarian  administration framework  and the state as the contest announcer,  considering it as  the insurmountable betrayal of the authors. Thus,  an artistic proposal articulated the question how to behave in an authoritative society: whether to move or to be freeze, in other words  are we, as a community, capable of perceiving any phenomena at all in our own society, beyond  daily political divisions and  insuperable  intolerance. The second decade of the new century_

Mina Cvetinović Pavkov (1985) is a Associate Professor in the field of Animation and Visual Effects at the Academy of Arts in Novi Sad, Serbia. She has fifteen years of experience in the field of computer graphics. She has participated in the realization of over 40 promotional films and projects that contained computer-generated image (selected client list: Dolce&Gabbana, Tuborg, X factor, Telenor,…).

She was a member of a visual effects team making thirteen feature-length live action films (selection: (2016) “On the Milky Road” directed by Emir Kusturica, (2014) “Sunstroke” directed by Nikita Mikhalkov).

She held Izba’s animated film workshop during which is made movie “Klackalica” (Seesaw) who won award for the best animated movie at international animated film festival “See a Paris” 2015, Paris, France. Her animated film „Kafana“ (Tavern) won award for the best student film at international animated film festival BALKANIMA 2008, Belgrade, Serbia.

Virtual actor and architectural visualisation

In the first part, the talk focuses on the artistic approach and technical aspects included in the process of creating a virtual actor. The artistic, technical and legal aspects of creating a virtual actor resembling the late Ljuba Tadic will be fully presented. After that, we will go through virtual reconstruction of the missing architectural heritage of Novi Sad.

Mirko Stojković, DA

Head of Dramaturgy Department and Interactive Arts Laboratory at the Faculty of Dramatic Arts. 

Professor and author of curriculums of Film and TV Dramaturgy, Video Games Dramaturgy and Copywriting at BA level, TV Ad Dramaturgy at MA level and Dramaturgy 3 at Doctoral studies level at the Faculty of Dramatic Arts. Teaches Scene Design 5 at the Faculty of Technological Sciences and Video Games Dramaturgy at the Academy of Arts Novi Sad.

Over twenty years of professional experience as screenwriter, director, game designer and copywriter in Serbia, Montenegro, Bosnia and Herzegovina, Macedonia, Hungary, Germany, UK and USA.  

An active member of SRN (Screenwriting Research Network), IETM (International network for contemporary performing arts) and Serbian screenwriter association.

Immersive Theater

Mirko Stojković will speak about about pervasive games / immersive plays he made: “Fade Out” (FDA, Belgrade, Serbia 2015), “The Opening” (CDC, Deutsche Schule Beograd, Serbia, 2013) and co-authoured: “Serb.I.Am” (London International Festival of Theatre, National Theatre, London, UK 2010), “Hajduks” (IgFest, Bristol UK, 2010), “Bright On!” (White Nights Brighton, UK 2010) and “Dragon Tail” (Belgrade Fortress, DKC, Belgrade, Serbia 2010/2011).

Branko Sujić (b.1980) is an associate professor at the Film and Television Camera Department at the Faculty of Dramatic Arts (University of Arts in Belgrade) and integral part of the Interactive Arts Laboratory. He is attending doctoral studies of drama and audio-visual arts at the Faculty of Dramatic Arts, concentrating on cinematography, photography and virtual reality.

Horizons of Virtual Reality

Within the lectures on virtual reality, participants will have the opportunity to get acquainted with basic techniques of stereoscopic photography, 360 stereoscopic photographs, photogrammetry (volumetric photography), and current trends in the VR industry. The lecture will be held by Branko Sujić, associate professor at the Faculty of Dramatic Arts in Belgrade (art field – cinematgraphy and photography).