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DiEM25 Academy 2018

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CZKD

A place where people come to feel free

The Center for Cultural Decontamination (CZKD) is a nonprofit cultural institution whose work is based on critical thinking, and cultural and artistic production. Through cultural and social engagement, which has included thousands of people, CZKD articulates initiatives of politization and repolitization of public space, culture and art. Established at a time of war and transitional devastation, the Center has managed to develop into an institution of resistance. Opened at the “First Decontamination”, on January 1st 1995, with the firm belief that nationalism, xenophobia, and any kind of violence can be questioned in the same way that they are developed – through culture, art and public speech.

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The Fight Against the Belgrade Waterfront Project

[Interview with Dobrica Veselinović…]

Magacin u Kraljevića Marka

Otvorena platforma za programe organizacija nezavisne kulture

Magacin represents a former publishing company’s warehouse, which has been adapted into a cultural centre of 1000m2– consisting of several offices, a large gallery/debate room, dance room for rehearsals and a smaller cinema hall. The space is situated in Savamala quarter, in the immediate vicinity of Belgrade Waterfront project. The Cultural Center Magacin exists since 2007, when city authorities announced the open call in which five organizations got the space at their disposal.

About us

Gorki – Alternative for Germany? / Гояки – Алтернатива за Немачку?

The title of the performance Gorki – Alternative for Germany? is intrinsically multilayered. It poses a straightforward question: whether Berlin Maxim Gorki Theatre can be an alternative, left-wing, artistic project open to foreigners and their problems and thus a real social alternative in Germany today.

Although still one of the most open societies in Europe, Germany, like many other countries, has also started taking a turn to the right. Recent elections, for the first time since the Second World War, have put a far-right party – Alternative for Germany – into Bundestag. In an artistically original and inventive way, Oliver Frljić once again tackles his favourite subject: social function of theatre and its potential for political resistance.

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Programme guidelines

Founded in 1967, through the initiative of Mira Trailović and Jovan Ćirilov, BITEF (Belgrade International Theatre Festival) has continually followed and supported the latest theatre trends, becoming thus one of the biggest and the most important European festivals.

Transcending all political and cultural borders, for the half of century Bitef has managed to keep its pace with a tumultuous evolution of performing arts. Thus, one could identify the history of Bitef as a history of contemporary theatre.

Ethno Mansion / Етно зданије

You’ll find ethno mansion “Zmaj od Noćaja” (The Dragon of Noćaj) on the right bank of the Sava river, in Mačvanska Mitrovica, nearby Sremska Mitrovica, located a hundred metres from the regional road Mitrovica – Sabac and nearby archealogical site Sirmium (now Sremska Mitrovica) to one side, and nature reserve Zasavica on the other.

There you can relax and learn more about rich cultural heritage of this part of Mačva and Srem. Ethno mansion “Zmaj od Noćaja” is named after famous duke from the First Serbian Uprising, Stojan Čupić, whose life and heroic achievements are connected to this part of Mačva.

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Ne da(vi)mo Beograd /
Don’t Let Belgrade D(r)own

Initiative Ne da(vi)mo Beograd (Don’t let Belgrade d(r)own) brings together organizations and individuals interested  in urban and cultural policies, sustainable city development, fair use of common resources, and the involvement of citizens in the urban development of their environment.

We are a group of people of various profiles, interests and beliefs, gathered around a common goal: putting an end to the degradation and plunder of Belgrade on behalf of megalomaniacal urban and architectural projects, primarily the “Belgrade Waterfront” project.

We are determined to fight against the appropriation of parts of our city for the private interests of non-transparent actors, for whose expenditures, once again, we, the citizens of this country, would have to allocate vast amounts of money. We refuse the constant disregard and contempt for citizens’ voices and opinions in the face of the private interests of individuals and shady deals between investors and politicians, in which, ultimately, the public good and public funds always end up as collateral damage.

O inicijativi

KC Grad

The GRAD European Centre for Culture and Debate, also known as KC GRAD, was opened on April 16, 2009. It is a product of a joint initiative of the Cultural Front Belgrade and the Amsterdam Felix Meritis Foundation.

KC Grad is situated in an old 1884 warehouse located in the old, neglected and rundown industrial neighborhood in the very heart of Belgrade, on the banks of the Sava River. The KC GRAD building consists of two levels of a total of 397 square meters in size. It houses a large gallery space and an art library on the upper floor. The Steve Austen café bar and the Gradstor art shop are located on the ground floor. In addition to exhibitions, KC GRAD also organizes conferences, debates, book launches, workshops, music programs, film screenings and many other events.

Welcome to GRAD!

Bollywood / Bolivud

The musical Bollywood, written and directed by Maja Pelević and produced by the National Theatre in Belgrade, has been selected primarily due to its innovativeness and the fact that it represents a form of “political theatre” different from what we are used to seeing in Serbia today. This seemingly easy, nonchalant and comically coarse form of “trash musical”, which ingeniously toys with kitsch iconography, strings out a completely surreal and yet very realistic imagery of Serbian reality in transition. Moreover, these images are also typical of other economically, politically and ethically ravaged eastern European societies: devastated socialist factories, foreign investors’ speculations, xenophobia, the humiliating position of “cultural workers” who, however, show an utter lack of class consciousness and any other consciousness whatsoever. Without any kind of preaching or enforced ethics, this performance presents a story of a great Bollywood production house which comes into a small east-European border town filled with ethnic tensions caused by the presence of refugees waiting to get into the European Union. The production house came with an idea to buy and convert into one of its studios a closed factory from the socialist period, a building now used by a local theatre whose actors see this unreal investment project as a unique springboard for their international film career.

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