astronaut floting in space

Downtown Variety: Serbia Edition

February 19

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Friday at 4PM EST

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La MaMa and CultureHub Present
Downtown Variety
Powered by LiveLab
Curated by Eho animato

Downtown Variety: Serbia Edition explores resilience as a distinct characteristic of the art scene of this turbulent socio–cultural space – resilience against social apathy, against visible and invisible enemies, against totalitarianism, against marketplace art, against capitalism, against disconnection.
In the spirit of La MaMa, contemporary artists will open new spaces of freedom, experiment and create new connections and meeting points.
Curated by Eho animato, Downtown Variety: Serbia Edition presents artists working in the fields of A/V performance, performing arts, drag performance, film, sound art, puppetry, digital arts etc.

Featuring:
Ivana Ivković, Doplgenger, Björnsonova & Milica Stefanović, Jovana Ivanac & Dobrivoje Milijanović,
Aleksandar Bulajić, Ana Popović, Isidora Pejović Blagojević, Maja Maksimović & Sunčica Pasuljević Kandić,
Miklós Barna-Lipkovski, Markiza de Sada, Sandra Nikač, Eho animato collective

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About the Artists

Björnsonova is a platform for interdisciplinary artists to experiment, research and study together. She’s also a monstrous fictional character and a project with roots and connections in Belgrade, Berlin, Brussels and Prague. Nik Timková, Zuzana Žabková, Tamara Antonijević and Tanja Šljivar combine their practices to describe the relationship between female bodies and their environments in order to unleash fantasies about how this relationship can change. 
Eho animato is a collective devoted to research in performing arts and multimedia practices, founded in Belgrade in 2011. In their creative work, they aim to provoke as many perspectives as possible through collaborative processes, supporting each artistic voice to be heard and developed. They employ multimedia and interdisciplinary approaches as a way to enrich the language in which they tackle the topics they explore. 
Tamara Baračkov (1988) graduated Dramaturgy at the Faculty of Dramatic Arts in Belgrade. Since 2012, she has been working as a TV editor, dramaturge and screenwriter within the Culture and Art program of the Radio – television of Serbia. She authored plays Fifty Strikes and Cell, as well as dramatizations of Max Frish’s novel Homo Faber, Ingmar Bergman’s Private Confessions and Best Intentions. She was a dramaturge of Fragments of DisquietOthello, Rosmersholm. For Radio Belgrade, she wrote radio-dramas Copy – Paste and Amethyst, as well as radio-dramatizations of Jasminka Petrović’s novel The Summer When I Learned How to Fly and Yevgeny Zamyatin’s short story WOMB.  As a screenwriter assistant, she worked on several awarded shorts (Red Snow, Baits and Hooks, Of Ashes – a segment from October omnibus).  Her theater reviews and texts were published in magazines Scena and Teatron.
Doplgenger is an artist duo from Belgrade, comprising Isidora Ilić and Boško Prostran. Doplgenger engages as a film/video artist, researcher, writer, and curator. The work of Doplgenger deals with the relation between art and politics by exploring the regimes of moving images and the modes of their reception. They rely on the tradition of experimental film and video, and through some of the actions of these traditions intervene on existing media products or work in expanded cinema forms. Their work has been shown internationally at institutions such as Museum Wiesbaden, Kunstmuseum Bonn, the Centre Pompidou in Paris, Stedelijk Museum Bureau Amsterdam, Osage Gallery in Hong Kong, the Museum of Contemporary Art in Zagreb, and the Museum of Contemporary Art Vojvodina. Doplgenger’s films have been screened and selected for film festivals including the International Film Festival Rotterdam, Seattle International Film Festival, Kassel Documentary Film and Video Festival. Doplgenger has participated in symposia and discussions, organised educational projects and workshops, presented lectures, and screened curated programs worldwide. They edited the publication „Amateurs for Film” and served as curators and selectors for the Alternative Film/Video Festival.
Jovana Ivanac is a poet and multimedia artist interested in ways of communication between words, sound and visual material, especially in the context of improvisation. Produces experimental electronic music as Shaan, and has released two full-length albums - "Notes From a Peculiar Time in Space" (Modern Tapes) and "Loop Quantum Gravity" (E.C.T). Her music was a part of a sound exhibition at the Biennale of Western Balkans 2018: https://bowb.org/exhibitions/sound-of-work/ . Editor and contributor to 20 Seconds Magazine, a magazine for experimental music and art: https://www.20secondsmag.com/. Programs visuals in TouchDesigner, and does that under the pseudonym 1014. 
Ivana Ivković gained international recognition mostly by shifting the infamous classical roles between women and men in her drawings, performances and site-specific works. Ivković examines gender roles between women and men in the art using the naked or semi- naked male body as a performative instrument within her orchestrated scenes or tableau vivant where it becomes precisely a medium, a channel of sensitivity, vulnerability, discomfort and sensuality. The focus of her research ranges from personal reflections, intimate stories and immediate surroundings to various phenomena of global socio-political context resulting from the artist’s requented dislocation through travel and nomadic way of life.
Ana Konstantinović (1987) is a theater director, founder and curator of Eho Animato. She holds a degree in theater and radio directing from the Faculty of Dramatic Arts in Belgrade, where she is currently finishing artistic doctoral studies. At the moment she is working at the National Theater in Belgradе. She participated in numerous workshops and international projects like Terre Promesse / Bussole Rotte (Milan), Europe Unlimited (Hannover), Augenblick mal! (Berlin). She has directed theater performances, radio plays, public readings and performances, such as In a Glass Ball (Cultural Center Pavilion, Hannover), The Tempest (Regional Theater Novi Pazar), I Bei Tempi and Home (Milan), The Glass Menagerie, After the Play,  Rosmersholm, Fragments of Disquiet and others. 
Marija Kovačina is a multimedia tech engineer oriented towards audio and video postproduction. Her main interests and fields of activity are film and video editing and sound design for film, but she is also engaged in VJing, music production and multimedia artist in theater. She has been a member of AES since 2012, and was a Berlinale Talents Alumni in 2017. She is currently working with Panorama Films Collective. Her filmography includes documentaries, art and short experimental films, many of which were screened and awarded at international festivals. Film selection: dogs, moon river and Baudelaire (Serbia, 2019), Then Comes the Evening (Serbia, 2019, dir. by Maja Novaković), Ficus (Bosnia and Herzegovina, 2018, Sarajevo City of Film project), Big Leap (Bosnia and Herzegovina, 2018, Sarajevo City of Film project), A Steady Job (Serbia, 2018, dir. Igor Toholj), Vukica Djilas – Home Movies (Serbia, 2015, dir. Slobodan Šijan), Rzav the Great (Serbia, 2015, dir. Ivan Nikolić), Romeo and Juliet are Dead (2014, UK/France, r. Helen Stewart).
Ana Knežević, a visual artist based in New York but originally from Belgrade. She is making light and sound installations and experiential technology informed works to shift dominant narratives and explore meditative experiences through new territories related to space. She has had artist residencies and received grants from CECArtlink, Pollock-Krasner, CultureHub, and more. Due to pandemic regime, she is currently unable to visit her hometown and now she finds opportunity to virtually visit Belgrade in AIVI game where she meets Ana Popović, one of the designers of this game, and two of them are opening the black (Pandora) box of AI applications in both public and private spheres.    www.anaknezevic.net
Although mainly interested in electronic music, Dobrivoje Milijanovic revels in designing sound for theatre and creating interactive sound installations. From 2014-16. he performed as raum.null (with Chris Bruckmayr) at Ars Electronica Festival (AT). “Dark WindTrilogy” was comprised of three audio-visual performances, each with different artistic team, and evolving around site-specific subjects (https://www.youtube.com/watch?v=KAbSPbTzKH8). He holds DA in Polymedia Art on subject of interactive sound installations, and teaches Sound Design for Theatre at Faculty of Dramatic Arts in Belgrade. 
Željko Maksimović (1985) is an actor from Belgrade and member of Eho Animato since 2011. Besides performing in Belgrade’s institutionalized theatres, he has also worked independently. Since 2014, he has occasionally worked in Prague, Czech Republic, with the award-winning directorial duo SKUTR on performances The Tempest, Walls and Handbags, A Midsummer’s Night Dream at the Summer Shakespeare Festival and with choreographer Adela Stodolova on Heiner Miller’s Description of a Picture. Since 2019, he has been working with artist Ivana Ivković, participating in her performances (Un)protected Witness and In Him We Trust. He has also translated essays on theatre theory and plays by Filip Grujić, Dino Pešut and Tanja Šljivar, the latter in collaboration with a New York based artist Cory Tamler, published in the US by Asymptote Journal, The Mercurian and The Offing.
Sandra Nikač is a theatre designer and visual artist from Belgrade. She completed her MA specialist pathway in puppetry at the Royal Welsh College of Music and Drama and is currently attending Doctoral Academic Studies in Scene Design at the Faculty of Technical Sciences. She works as a puppet, set and costume designer primarily in theatre for young audiences. She is part of the editorial team of Ascending – an online platform focused on the work of emerging performance designers. Her articles have been published by Threads puppetry arts magazine, and Scena theatre review. Her visual art practice evolves in the madium of pencil on paper. These works have been exhibited at group shows, insluding OSTEN Biennial of Drawing Skopje 2020 (finalist). 
Ana Popović is a theatre director and co-founder of theatre company Tri groša/Threepenny in Belgrade. Her work is known by combining various performance arts forms - physical theatre, contemporary circus, contemporary dance, puppetry, musical theatre, digital arts exploring different aspects of the body, autopoietic feedback loops and overlapping roles of performers and audience. She is also active in the fields of performance education and children and young audience development. Ana is collaborating with many art individuals, organisations and institutions advocating for an open, free and solidar art community. 
Markiza de Sada is a fatal seductress, bastard of a Russian revolutionary and a German aristocrat. It is said that in a surge of passion she killed her lover and now roams the cities of Europe in search of entertainment. Of dubious morality and with an insatiable sexual appetite, she is unconquerable in arm wrestling, skilled with the sword and a champion in downing an entire bottle of absinthe. Shrouded in a veil of mystery and with an inherent and immaculate style; she chooses her company carefully and goes nowhere without her driver.
Visual Anthropology Center has been founded by young professionals from the fields of anthropology, film and theater with a goal of creating a hub that will encourage and store works of visual anthropology. In our age ever so overwhelming with visual data we find it crucially important for documentarists and social scientists to cooperate with visual artists, film and theater-makers in order for their work to be not only relevant but visually enticing as well. Documents can be art as pieces of art can be documents – yet visual anthropology in the digital age is one of the most underdeveloped social sciences and there’s barely any institutions or organizations that give it the key importance it should have. The BVAC is a creative hub and a database that aims to fill the aforementioned gap. The hub that we imagined is unique: motion picture and photography, any kind of visual art shouldn’t just be a tool in the hand of the scientist; visual anthropology and film are to have a symbiotic relationship, documentaries and feature film can have an anthropologic approach and anthropology and social science in general can have an artistic approach – it is our belief that the much desired social change depends on such approach.

Technical Team

Creative Technologist — Sangmin Chae
Lead Technician — DeAndra Anthony
Video Production Coordinator — Jean Garcia

ABOUT CULTUREHUB & LIVE LAB

CultureHub is a global art and technology community that was born out of decades of collaboration between La MaMa and the Seoul Institute of the Arts, Korea’s first contemporary performing arts school. These two pioneering institutions sought to explore how the internet and digital technologies could foster a more sustainable model for international exchange and creativity. 
Now in its 10th year, CultureHub has grown into a global network with studios in New York, Los Angeles, Korea, Indonesia, and Italy, providing connected environments for artists to critically examine our evolving relationship to technology. Through residencies, live productions, and educational programming, CultureHub advances the work of artists experimenting with emerging technologies in search of new artistic forms. CultureHub builds new partnerships that expand our network and provide increased access to online and offline platforms that fuel artist mobility, create opportunities for cultural exchange, and broaden human understanding through the convergence of art, technology, and education.
Click Here to Learn More About CultureHub
CultureHub is deeply committed to the use of open source and consumer-based technology to make electronic media art accessible to artists and audiences. In the past year, CultureHub collaborated with resident artist Olivia Jack to produce LiveLab, an open source video call software designed specifically for artists, educators, and cultural organizations. The LiveLab toolkit provides a flexible and artful environment for producing multi-location performances, workshops, and cultural exchanges. Built as an alternative to hardware video conferencing systems, LiveLab is customizable, free of cost, and as easy to use as Skype or Google Hangouts.
Click Here to Learn More About Live Lab