Class Activities 2013 / 2014


Aleksandra Kovačević
Guest student at Painting department, Universität für angewandte Kunst Wien, Spring 2013/2014.
Outstanding Creativity Award From the Fund of Miloš Bajić at the FFA.

Laurel Severin (guest student from AdBK München)
Accepted at the Institute of Transmedia Art, Universität für angewandte Kunst Wien, Fall 2014/2015.

Jelena Nikolić
Učešće na KCB ArtSample #3.

Jelena Mijić
Guest studen at Freie Kunst, class of professor Jean Marc Bustamante, Akademie der Bildenden Künste München, Spring 2013/2014.


New Space SCC, Belgrade
Selected new and emerging student projects | 12-14 May 2014.


Being Smart is Easy
Dejan Grba
Discussions about the documentaries by Sophie Fiennes, Slavoj Žižek: The Pervert's Guide to the Cinema, 2006 and The Pervert's Guide to Ideology, 2012.
Selected observations and remarks:
Alfred Hitchcock: McGuffin is the main narrative.
William Friedkin, The Exorcist, 1973: Ultimative horror is in interpretation.
Ideologies of the post-ideological society: Adam Curtis, The Century of the Self, 2002, The Trap (What Happened to Our Dreams of Freedom), 2007 and All Watched Over by Machines of Loving Grace, 2011.
Rammstein: a more relevant example of superidentification is the poetics of NSK / Laibach, for example Laibach, Krst pod Triglavom, 1987, score for the theater play of the same name by Sestre Scipion Nasice. Selected Laibach documentaries: Goran Gajić, Laibach: Pobeda pod suncem, 1987; Peter Vezjak & Retrovision, Laibach: A Film From Slovenia (Bravo), 1993 and Michael Benson, Predictions of Fire (A Film About Art, Politics and War), 1996.
Starbucks: Capitalist ideology not only in consumerism but also in activist art.
Mojave Desert: Godfrey Reggio, Koyaanisqatsi, 1982.
Mythical subject of history: Forman and Žilnik.
It [Revolution] Depends on Us – And That's Why It Will Never Happen: The effectiveness of collective and personal transformations.


Dejan Grba
A Selection of Experimental Projects and Studies | CC Catalysis.

Talent / Talent Factory / Childhood Museum
Vladimir Perić and Milica Stojanov
Work presentation.

I Scream, You Scream, We All Scream For Ice Cream
Dejan Grba
Artists, Theory and Literature.

Me, Myself & I: 4 Lectures on Interactive Art
Dejan Grba
Intro | Installation | Interfeace (selected bibliography) | Action.

Il mio nome è Nessuno / WTF are You?
Dejan Grba
David Lynch, Lost Highway, 1997 | Tonino Valerii, My Name Is Nobody (Il mio nome è Nessuno), 1973 | David Fincher, Fight Club, 1999 | Woody Allen, Zelig, 1983 | Nikki S. Lee | John Schlesinger, Marathon Man, 1976 | Tomoko Sawada | Gillian Wearing | Gavin Turk | Yasumasa Morimura | Cindy Sherman.

The Future is What it Used to Be
Dejan Grba
Daito Manabe, Controlling Sound With Your Face (The Creators Project), Face Visualizer | Arthur Elsenaar & Remko Scha | Innovative instrument control via MIDI: The Art of Noise and Laurie Anderson | Carsten Nicolai (Alva Noto), crt mgn, (The Creators Project), 2013 | Nam June Paik | Ben F. Laposki, Oscillions, 1952. | Barbrook, Richard. Imaginary Futures: From Thinking Machines to the Global Village. London / Ann Arbor, MI: Pluto Press, 2007.

Selected Works From the Digital Arts PhD Students, IS UA Belgrade
Dejan Grba
References: Virgil Widrich, Fast Film, 2003 | Marco Brambilla, Sync, 2005 | Jono Brandell & George Michael Brower, Life In A Day Touchscreen Gallery, 2011 | György Pálfi, Final Cut: Ladies and Gentlemen, 2012 | Martin Scorsese, Goodfellas, 1990 and Casino, 1995.

Lectures (elective)

Tactical Media
Dejan Grba
Creative contexts of digital activism and tactical media as one of the most exposed, most attractive, most ambitious and simultaneously one of the most disputable domains of digital art.

Generative Art
Dejan Grba
Art that uses various techniques to formalize the natural unpredictability of the creative process, and to aestheticize the contextuality of an artwork. Artistic approaches and productions based upon the precisely defined procedures in conceptualizing, generating, rendering, performing and/or presenting the artwork, and art projects primarily based upon computer programming.

Dejan Grba
Historical, socio-political and technological overview of BioArt, and concepts of biopolitics, bio-power, etc. connected to it; Relationship between the art projects based on biotechnology and biotechnological research projects that acquire the identity of an artwork.


Beijing-Belgrade: New Aspects of Chinese Contemporary Art