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Part of French Pulse · Belgrade

Digital Art Week Belgrade

An exhibition, artist talks, a workshop, open gameplay and a research symposium. Five days at Institut français de Serbie and Europa House. Free entry.

Dates
27–31 October 2026
Venues
Institut français de Serbie
Europa House
Organised by
Center for Digital Curiosity
Kinopravda Institute
Entry
Free and open to the public

About

Digital Art Week Belgrade combines creative intervention with critical analysis, for technological ecologies that make net-positive impacts on the environment and society.

Through a multifaceted programme of exhibitions, workshops and a research symposium, Digital Art Week Belgrade practices radical transdisciplinarity and serves as a collaborative point of convergence for artists, technologists, researchers, and builders.

Presented as part of French Pulse from 27 to 31 October 2026 at Institut français de Serbie and Europa House in Belgrade, as a carte blanche to Center for Digital Curiosity and Kinopravda Institute. All events are free and open to the public.

27–31 October 2026

Programme

Five days, nine events, two venues. Free entry, open to the public.

Day by day

Tuesday, 27 October

  1. 18.00

    Vernissage

    In a Grain of Light, a solo exhibition by Sanja Šikoparija

  2. 18.30

    Artist talk

    In a Grain of Light by Sanja Šikoparija

In a Grain of Light uses the light-capturing properties of nature and biological textures as an entryway into uncovering what nature really means in modern society, while critiquing extractivist and greenwashing trends. Šikoparija’s work combines biological and environmental research with digital media and large-scale sculptural interventions as a means of physically interrogating the impacts one has on the other.

Wednesday, 28 October

  1. 10.00–17.00

    Workshop

    Mundane AI, led by Jacques Laroche and Uroš Krčadinac

  2. 18.30

    Public presentation

    Mundane AI, workshop outcomes

Artificial intelligence is increasingly shaping contemporary artistic and cultural production, but discussions around AI often remain trapped between technological hype and apocalyptic fear. Mundane AI proposes a different approach: a practical and critical workshop focused on the ordinary realities of working with AI as an artist, filmmaker, writer, or cultural worker.

Thursday, 29 October

  1. 13.00–17.00

    Studio residency / Open gameplay

    Demagog Studio

  2. 18.30

    Artist talk

    Igor Simić, on game development and production

Demagog Studio creates digital content for a generation that will live to witness the end times. They are an omnichannel arteinment facility, a supplier of non-slop, anti-escapist, semi-fun, story-driven, so-so games and animations that will save our souls.

Friday, 30 October

  1. 10.00–15.00

    Studio residency / Open gameplay

    Demagog Studio

  2. 18.30

Prof. Dr Vladan Joler is an academic, researcher and artist whose work blends critical and system design, data investigations, counter-cartography, data visualisation, and numerous other disciplines. He explores and visualises different technical and social aspects of algorithmic transparency, digital labour exploitation, invisible infrastructures and many other contemporary phenomena at the intersection of technology and society.

Saturday, 31 October

  1. 10.00–18.00

Topics of interest at this symposium include the protocol in art and culture, im/material ecologies, philosophies of (technological) autonomy, and related concerns. The symposium features interdisciplinary research by artists, writers, academics, curators, technologists and more.

Speakers: Anna Bouali, Boško Prostran, Tijana Jevrić, Katarina Popović, Jacques Laroche, Mansoor Adayfi, Uroš Krčadinac, Nađa Pavlica.

Research symposium

30–31 October 2026 · Institut français de Serbie

Protocologies

Concept

Palazzo Diedo recently opened the exhibition Strange Rules, coinciding with the grand opening of La Biennale di Venezia in May 2026. The exhibition is curated by Mat Dryhurst, Holly Herndon, and Hans Ulrich Obrist, with Adriana Rispoli, and it is described as introducing the concept of ‘Protocol Art’. This art is defined as ‘a practice that engages with the underlying rules that dictate how culture is produced, distributed, and perceived in a digital age.’ We have of course been living in a digital age since the end of the 20th century. What this exhibition implicitly posits is that we are now at the dawn of the age of the Protocol. As such, we face a choice: submit to these strange rules as they quietly govern our perception and behavior, or learn to write protocols ourselves. Because resistance means reclaiming the terms of cultural production, human connection, and environmental care.

Read the full text

Protocols are never neutral. As writers such as Shoshana Zuboff (‘The Age of Surveillance Capitalism’) and Kate Crawford (‘Atlas of AI’) have argued, contemporary computational systems are entangled with extractive economies, asymmetries of power, militarized infrastructures, and regimes of behavioral control. We are often presented with the futuristic PR vision of artificial intelligence as an immaterial or autonomous mind, but in reality it is a vast material apparatus together with the social relations it produces – an apparatus built from exploited human labor and mineral extraction.

Because the digital age made the general public aware of just how much our lives are entwined with machines, often at the expense of the natural world, this age is now primed for a renewed era of ecological thinking and action. And because the praxis of ‘critical analysis’ plus ‘critical action’ can take many forms, artists, experts and practitioners have a vital role to play in shaping both how we direct our energies and how we define the boundaries of our collective imaginary. One such novel engagement with our unique times could be to begin contemplating what are the autonomous ecologies that are being produced by these machines, and how we can ensure they are a net positive to an interspecies commons.

If ‘Protocol Art’ is to become more than an aestheticisation of networked systems, it must also confront the economic and political conditions from which protocols emerge: platform capitalism, techno-imperialism, labor exploitation, and ecological degradation. To write or intervene in protocols today also means to question who owns them, who benefits from them, whose labor sustains them, what futures they make (im)possible.

Art, traditionally playing a vital role in stimulating the imagination, now more than ever is needed to stir the mind. We would argue that what is needed now are new and benevolent ecologies – as much as critiquing dubious effects on existing ecologies. While ecosystems erode and the line between man and machine is being increasingly blurred it is the perfect time to work to understand, and ultimately intervene, in these strange rules of the existential games that we play.

Keynote

Vladan Joler

Prof. Dr Vladan Joler is an academic, researcher and artist whose work blends critical and system design, data investigations, counter-cartography, data visualisation, and numerous other disciplines. He explores and visualises different technical and social aspects of algorithmic transparency, digital labour exploitation, invisible infrastructures and many other contemporary phenomena at the intersection of technology and society.

Read the full biography

In 2023, in collaboration with Kate Crawford, he published Calculating Empires, a large-scale research visualization exploring how technical and social structures have co-evolved over five centuries. In 2018, also with Kate Crawford, he published Anatomy of an AI System, a large-scale map and long-form essay investigating the human labor, data and planetary resources required to build and operate an Amazon Echo device.

As co-founder and director of the SHARE Foundation – one of the leading expert and activist organizations in the field of digital rights in Southeast Europe – Vladan has played an active role in organizing, researching, creating, and advocating for public policies at the national, regional, and European levels. His earlier study Facebook Algorithmic Factory included deep forensic investigations and visual mapping of the algorithmic processes and forms of exploitation behind the world’s largest social network. Other studies he authored, published in recent years by the independent research collective SHARE Lab, have examined information warfare, metadata analysis, browsing history exploitation, surveillance, and Internet architecture.

He has curated and organized numerous events and gatherings of Internet activists, artists and investigators, including SHARE events in Belgrade and Beirut. His artistic pre-history is rooted in media activism and game hacking. He has received numerous awards, including the Silver Lion at the 2025 Venice Architettura Biennale, the S+T+ARTS 2024 Grand Prize of the European Commission, the 2019 Design of the Year Award by the Design Museum in London. Joler’s work is included in the permanent collections of the Museum of Modern Art in New York, the Victoria and Albert Museum Design Museum in London, and the Rijksmuseum in Twenthe, and also in the permanent exhibition of the Ars Electronica Center. His work has been exhibited in more than a hundred international exhibitions.

Schedule

Friday, 30 October

  1. 18.30

    Opening

    • Keynote by Vladan Joler

    • Discussion with Vladan Joler, moderated by Uroš Krčadinac

Saturday, 31 October

  1. 9.30

    Coffee + croissants

  2. 10.00

    Panel #1

    • Anna BoualiUtrecht University

      Engagement and Protocol: Notes on Exhibition History

    • Boško ProstranArtist, Belgrade

      Record of the Termite Landscape

    • Tijana JevrićArtist, Novi Sad

      I Think, Therefore I Am Generated: A Theoretical and Artistic Investigation of Identity, Archive, and Surveillance in the Digital Age

  3. 11.45

    Panel #2

    • Katarina PopovićArtist, Belgrade

      The Aesthetics of Oppression in Technofeudalism

    • Jacques LarocheCenter for Digital Curiosity, Belgrade

      Beyond an Imperial Tool: The Structural Prerequisites for Revolutionary AI

    • Mansoor AdayfiArtist, Belgrade

      Constrained Play: Guantánamo as a Prison Ecology

  4. 13.30

    Lunch

  5. 14.45

    Panel #3

    • Uroš KrčadinacCenter for Digital Curiosity, Belgrade

      Gaitless: Dance Against the Protocol

    • Nađa PavlicaFaculty of Media and Communications, Belgrade

      Who Gets to Draw the World? Comics as Counter-Protocol

  6. 16.00

    Closing discussion

Venues

In the center of Belgrade

Venue

Institut français de Serbie

Knez Mihailova 31
11000 Belgrade

Open in Maps

Venue

Europa House

Corner of Knez Mihailova and Zmaj Jovina
11000 Belgrade

Open in Maps

Organisers

Organisers

Center for Digital Curiosity

Center for Digital Curiosity is a dynamic transdisciplinary laboratory and digital art studio nestled within the vibrant ecosystem of art galleries, makerspaces and science promoters in Belgrade, Serbia.

digitalcuriosity.center

Kinopravda Institute

Kinopravda Institute is dedicated to exploring the various horizons of the cinematic arts in the 21st century. Through a multidisciplinary programme, the Institute develops and presents creative work for audiences both offline and online.

kinopravda-institute.org

French Pulse

Digital Art Week Belgrade is part of French Pulse, a flagship event in autumn 2026 dedicated to the intersection of technological innovation, digital creation, and contemporary artistic practices. Organised by Institut français de Serbie, French Pulse brings together artists, researchers, developers, studios, students, and general audiences to explore how artificial intelligence, digital art, virtual reality, and video games are reshaping our relationships with reality and imagination.

Contact

Questions about the programme, press or partnerships

office@kinopravda.institute

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