In a landscape reshaped by global shifts and local resilience, a new wave of Serbian artists, curators, and collectives is redefining contemporary art with bold ideas and unapologetically local narratives
Once centred around Belgrade’s established galleries and state institutions, Serbia’s art scene has been steadily moving toward a more decentralised, dynamic, and defiant space. The years following 2020 brought both rupture and revelation, prompting a generation of artists and cultural leaders to question not just their practice—but the entire ecosystem around it.
The result? A creative terrain that feels more urgent, more unexpected, and far more engaged with the world beyond its borders.
NEW VISIONS, BRAVE MEDIUMS
Among those shaping this moment is Vladislav Vanja Šćepanović, a visual artist and the Director of the Museum of Applied Arts in Belgrade.
Known for his richly layered paintings and conceptual installations, Šćepanović explores the relationship between form, memory, and national identity. He combines institutional leadership with a continuous personal artistic practice, bridging theory and aesthetics in ways that influence both emerging artists and the wider public.
Another standout voice is Ivana Ivković, whose multimedia installations and performances tackle themes of eroticism, power, and public space. Often provocative and deeply immersive, her work invites viewers into a conversation with the body, with architecture— and with their own internal boundaries.
SPACES THAT SHAPE STORIES
Independent artist-run initiatives are now key drivers of the Serbian art scene. KVART Belgrade, born out of the Belgrade Waterfront district, has created a rare intersection between urban development and cultural experimentation. Hosting exhibitions, performances, and educational programmes, KVART provides a rare venue where public space and public dialogue merge.
Elsewhere, U10 Art Space remains a crucial platform for early-career artists. Since 2012, this artist-run space has championed fresh perspectives, challenging dominant narratives and encouraging cross-border collaboration. From video art to experimental sound, U10’s exhibitions often feel more like provocations than presentations.
THE CURATORIAL SHIFT
Curators in Serbia have moved far beyond their traditional roles—they’re now cultural strategists and scene-shapers. Una Popović, curator at the Museum of Contemporary Art in Belgrade, has curated exhibitions that not only reflect but challenge Serbian identity. Her focus on overlooked voices and bold thematics makes her a key force in the institutional world.
Equally influential is Jelena Vesić, whose work as a curator, theorist, and editor bridges the worlds of academia and activism. Known for projects that challenge nationalism, historical amnesia, and institutional inertia, Vesić approaches curation as an act of resistance as much as of organisation.
THE PUBLIC CANVAS AND DIGITAL PLAYGROUND
While galleries and institutions remain vital, some of Serbia’s most recognisable artistic voices now thrive in the open. Street artist Artez, whose colourful murals have appeared across continents, continues to turn blank walls into towering narratives—blending realism with fantastical elements that often nod to local culture and global concerns.
DECENTRALISATION AND ESCAPE
Away from urban centres, a different kind of art revolution is taking place. Serbia’s rural areas—particularly regions like Mokrin, Tršić, and Stara Planina—are emerging as places of refuge and experimentation for artists burnt out by the city. Mokrin House, a coliving and coworking retreat in northern Serbia, blends tranquil isolation with collaborative possibility, attracting creatives from across the region and beyond.
Here, the rhythm is slower, but the thinking is no less radical. Artists report finding new ways to connect with craft, with nature, and with their own unfiltered expression—far from the trends and constraints of institutional expectations.
WHERE IT’S ALL HEADED
The Serbian art scene of 2025 is neither neatly defined nor easily categorised— and that’s its strength. It’s a blend of post-Yugoslav reflection and digital- native experimentation, of curatorial daring and grassroots resilience. It’s shaped by the forces of globalisation, but anchored in distinctly regional textures.
These artists and curators aren’t just reacting—they’re reimagining. They’re not waiting to be discovered—they’re carving their own paths. And they’re doing it with courage, humour, and a sense of urgency that suggests this is not just a moment, but a movement.
As the world watches, Serbia’s art scene is no longer following. It’s leading— in ways that are as disruptive as they are beautiful.