Videomedeja Video Art Association, Library & New Media Festival, Novi Sad

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Videomedeja Video Art Association, Library & New Media Festival, Novi Sad

International New Media Art Festival founded in Novi Sad, Serbia in 1996. http://videomedeja.org

The main non-profit cultural project of the Video Art Association VIDEOMEDEJA, focused on experimental video, AI, digital installations and hybrid media art practices.

05/10/2026

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KADROVI VREMENA 29 | 30. VIDEOMEDEJA

JOŠ DVE NEDELJE!

30. VIDEOMEDEJA

U subotu, 17. oktobra, od 17:30 počinjemo.

30 godina novih vizuelnih istraživanja.
Jedan dan.
Jedna Videomedeja.

Svaka donacija nam zaista znači, jer smo i dalje u minusu zbog troškova pripreme i organizacije festivala.

Ako možete, podržite opstanak Videomedeje. ❤️

Doniraj:
https://videomedeja.org/donacije/

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FRAMES OF TIME 29 | 30th VIDEOMEDEJA

JUST TWO WEEKS TO GO!

30th VIDEOMEDEJA

We start on Saturday, October 17, at 5:30 PM.

30 years of new visual explorations.
One day.
One Videomedeja.

Every donation truly matters, as we are still facing a deficit due to the costs of preparing and organizing the festival.

If you can, please support the future of Videomedeja. ❤️

Donate:
https://videomedeja.org/donation/?lang=en

30/09/2026

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KADROVI VREMENA 28 | Nagrade

Od prvih izdanja Videomedeje, nagrade su bile način da se izdvoje radovi i autori koji su pomerali granice video umetnosti i novih medija.

Tokom godina menjali su se nazivi, kategorije i kriterijumi, ali je ostala ideja da se prepoznaju umetnička originalnost, eksperiment, inovacija i hrabrost da se istražuje nešto novo.

Danas se među nagradama Videomedeje nalaze Grand Prize, Nagrada Bogdanka Poznanović i Pohvala, dok posebno mesto ima Zlatno priznanje Videomedeje, najviše priznanje festivala.

Za 30 godina festivala, iza ovih nagrada ostaje trag brojnih umetnika, radova i ideja koje su obeležile njegovu istoriju.

🔗 https://videomedeja.org/nagrade/

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FRAMES OF TIME 28 | Awards

Since the earliest editions of Videomedeja, the awards have been a way of highlighting works and artists who pushed the boundaries of video art and new media.

Over the years, the names, categories and criteria have changed, but the idea has remained the same: to recognize artistic originality, experimentation, innovation and the courage to explore something new.

Today, Videomedeja awards include the Grand Prize, the Bogdanka Poznanović Award and Special Mention, while the Videomedeja Golden Recognition holds a special place as the festival’s highest distinction.

After 30 years of the festival, these awards leave behind a record of artists, works and ideas that have shaped its history.

🔗 https://videomedeja.org/awards/?lang=en

28/09/2026

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KADROVI VREMENA 27 | Bogdanka Poznanović

Bogdanka Poznanović bila je avangardna umetnica, profesorka i jedna od pionirki novih umetničkih praksi na prostoru bivše Jugoslavije. Osnovala je Vizuelni studio za intermedijalna istraživanja na Akademiji umetnosti u Novom Sadu i među prvima uvela video umetnost u nastavni proces.

Sa Bogdankom smo voleli dugo da razgovaramo o umetnosti, videu i novim medijima. Posećivala je Videomedeju i bila deo njenog života na način koji je ostao mnogo veći od jednog festivalskog programa.

Od 1996. godine jedna od nagrada Videomedeje nosi njeno ime.

🔗 https://videomedeja.org/foto/festival/8vm2004/

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FRAMES OF TIME 27 | Bogdanka Poznanović

Bogdanka Poznanović was an avant garde artist, professor and one of the pioneers of new artistic practices in the former Yugoslavia. She founded the Visual Studio for Intermedia Research at the Academy of Arts in Novi Sad and was among the first to introduce video art into the curriculum.

We loved having long conversations with Bogdanka about art, video and new media. She visited Videomedeja and became part of its story in a way that went far beyond a single festival programme.

Since 1996, one of Videomedeja’s awards has carried her name.

🔗 https://videomedeja.org/photo/festival/8vm2004/?lang=en

26/09/2026

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KADROVI VREMENA 26 | Kada gledalac postaje učesnik

Sa razvojem novih medija promenila se i uloga publike. Interaktivna umetnost ne traži od posmatrača samo da gleda, već mu daje mogućnost da učestvuje u događaju, utiče na njegovo odvijanje ili sam kreira sopstveni narativ.

U svetu preplavljenom slikama i informacijama, savremena umetnost pokušava da ponovo mobiliše gledaoca, da ga iz pasivnog posmatrača pretvori u aktivnog učesnika.

🔗 https://videomedeja.org/foto/festival/26vm2022/

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FRAMES OF TIME 26 | When the Viewer Becomes a Participant

As new media evolved, so did the role of the audience. Interactive art does not ask the viewer simply to watch, but offers the possibility to participate, influence the experience or create their own narrative.

In a world saturated with images and information, contemporary art seeks to mobilize the viewer again, transforming the passive observer into an active participant.

🔗 https://videomedeja.org/photo/festival/26vm2022/?lang=en

22/09/2026

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KADROVI VREMENA 25 | Videomedeja – četvrt veka

Povodom 25 godina Videomedeje nastala je monografija „VIDEOMEDEJA – četvrt veka – od videa do transformacija medija“.

Knjiga donosi istoriju festivala i širi pogled na razvoj video umetnosti i novih medijskih praksi, kroz tekstove, razgovore i svedočenja umetnika, kustosa, istoričara i teoretičara.

Priredili: Ivana Sremčević Matijević i Srđan Radaković.

Monografija je dostupna besplatno u PDF formatu, a fizički primerak možete dobiti poštom ili preuzeti na 30. Videomedeji.

🔗 Preuzmite knjigu i saznajte više:
https://videomedeja.org/autorski-tekstovi/videomedeja-cetvrt-veka-od-videa-do-transformacija-medija/

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FRAMES OF TIME 25 | Videomedeja – A Quarter of a Century

To mark 25 years of Videomedeja, the monograph “VIDEOMEDEJA – A Quarter of a Century – From Video to Media Transformations” was published.

The book presents the history of the festival and offers a broader view of the development of video art and new media practices through texts, conversations and testimonies by artists, curators, historians and theorists.

Edited by Ivana Sremčević Matijević and Srđan Radaković.

The monograph is available free of charge as a PDF, while a physical copy can be sent by post or collected at the 30th Videomedeja Festival.

🔗 Read, download or learn more about the book:
https://videomedeja.org/authors-texts/videomedeja-a-quarter-of-a-century-from-video-to-media-transformations/?lang=en

20/09/2026

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KADROVI VREMENA 24 | Marijana Topo

Svake godine menjali su se ljudi koji su radili PR festivala. Sa Marijanom Topo pronašli smo saradnju koja traje.

Od 2015. godine, Marijana je PR Videomedeje i brine o komunikaciji festivala, odnosima sa medijima, partnerima i publikom.

Od početka smo dobro funkcionisali zajedno. Odgovaramo jedni drugima u načinu rada, razumemo se i, što nam je možda najvažnije, volimo da radimo zajedno.

Zato je Marijana već više od decenije deo tima Videomedeje.

🔗 Upoznajte Marijanu:
https://videomedeja.org/vm-tim/marijana-topo/

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FRAMES OF TIME 24 | Marijana Topo

Every year, the people working on festival PR changed. With Marijana Topo, we found a collaboration that has lasted.

Since 2015, Marijana has been Videomedeja's PR, taking care of the festival's communication and relations with the media, partners and audience.

From the beginning, we worked well together. Our ways of working complement each other, we understand one another and, perhaps most importantly, we enjoy working together.

That is why Marijana has been part of the Videomedeja team for more than a decade.

🔗 Meet Marijana:
https://videomedeja.org/vm-team/marijana-topo/?lang=en

18/09/2026

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KADROVI VREMENA 23 | Ljubiša Sremčević

Ljubiša Sremčević bio je jedan od onih ljudi koji nisu tražili mesto u prvom planu, ali su svojim radom mnogo značili za Videomedeju.

Napravio je video špicu za Videomedeja Production, radio i prilagođavao različita grafička rešenja zahtevima festivala, kao i video formate za različite potrebe. Kada je nedostajala tehnika, ustupao je svoju kućnu opremu, a bio je prisutan na gotovo svakom festivalu, uvek spreman da pomogne i reši ono što je potrebno.

Čovek iz senke, a jedan od onih koji su mnogo značili za festival.

🔗 https://videomedeja.org/video/promo-video/

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FRAMES OF TIME 23 | Ljubiša Sremčević

Ljubiša Sremčević was one of those people who never sought the spotlight, yet whose work meant a great deal to Videomedeja.

He created the video opening for Videomedeja Production, worked on and adapted various graphic solutions to the festival’s requirements, as well as different video formats. Whenever equipment was needed, he provided his own, and he was present at almost every festival, always ready to help and solve whatever needed to be done.

A man behind the scenes, and one of those who meant so much to the festival.

🔗 https://videomedeja.org/video/promo-videos/?lang=en

16/09/2026

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KADROVI VREMENA 22 | Video je izašao sa ekrana

Video na Videomedeji nikada nije morao da ostane na ekranu. Mogao je da postane deo bioskopa, galerije, ambijenta, fasade, instalacije ili neke sasvim nove situacije.

Zato su se kroz godine na festivalu susretali video, film, animacija, CGI, medijske instalacije, prostorne intervencije i interaktivne forme. Video je mogao da bude gotovo bilo gde, važno je bilo šta kroz njega može da se saopšti.

🔗 https://videomedeja.org/foto/festival/21vm2017/

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FRAMES OF TIME 22 | Video Left the Screen

At Videomedeja, video never had to remain on a screen. It could become part of a cinema, gallery, environment, façade, installation or an entirely new situation.

That is why the festival has brought together video, film, animation, CGI, media installations, spatial interventions and interactive forms. Video could exist almost anywhere, what mattered was what it could communicate.

🔗 https://videomedeja.org/photo/festival/21vm2017/?lang=en

13/09/2026

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KADROVI VREMENA 21 | Slobodan Šijan

Slobodan Šijan, jedan od najznačajnijih reditelja srpskog filma, autor kultnih ostvarenja kao što su Ko to tamo peva, Maratonci trče počasni krug, Kako sam sistematski uništen od id**ta i Davitelj protiv davitelja, kao i drugih filmova, bio je član žirija 14. Videomedeje 2010. godine.

Pre nego što je postao poznat po filmovima koji su obeležili jugoslovensku kinematografiju, Šijan se bavio eksperimentalnim filmom i videom. Upravo taj deo njegovog umetničkog p**a povezuje ga sa poetikom Videomedeje i njenim interesovanjem za alternativne forme pokretnih slika.

Njegovo učešće u žiriju ostalo je zabeleženo u digitalnoj arhivi Videomedeje kao još jedan susret različitih generacija, poetika i pogleda na pokretnu sliku.

🔗 https://videomedeja.org/videomedeja-2010/ziri-2010/slobodan-sijan/

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FRAMES OF TIME 21 | Slobodan Šijan

Slobodan Šijan, one of the most significant Serbian film directors, author of cult films such as Who’s Singin’ Over There?, The Marathon Family, How I Was Systematically Destroyed by an Idiot and Strangler vs. Strangler, as well as other films, was a member of the jury at the 14th Videomedeja in 2010.

Before becoming known for films that marked Yugoslav cinema, Šijan worked with experimental film and video. This part of his artistic background connects him directly to the spirit of Videomedeja and its interest in alternative forms of the moving image.

His participation as a jury member remains part of the Videomedeja Digital Archive, marking another encounter between different generations, artistic approaches and perspectives on the moving image.

🔗 https://videomedeja.org/videomedeja-2010-en/jury-2010-en/slobodan-sijan-2/?lang=en

10/09/2026

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KADROVI VREMENA 20 | Kada je video postao dostupan svima

Video je nekada bio jednostavniji i dostupniji način stvaranja od filma, a digitalna tehnologija taj proces je potpuno promenila. Od oko 2008. godine gotovo svakom pojedincu postao je dostupan video visoke rezolucije.

Počela je velika demokratizacija videa: medij koji je nekada bio prvenstveno vezan za eksperimentalne umetničke prakse postao je jedan od dominantnih oblika savremenog vizuelnog izražavanja.

🔗 https://videomedeja.org/foto/festival/27vm2023/

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FRAMES OF TIME 20 | When Video Became Accessible to Everyone

Video was once a simpler and more accessible way of creating than film, and digital technology completely transformed that process. From around 2008, high definition video became available to almost everyone.

A major democratization of video began: a medium once closely associated with experimental artistic practices became one of the dominant forms of contemporary visual expression.

🔗 https://videomedeja.org/photo/festival/27vm2023/?lang=en

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