27. Međunarodni festival multimedijalne umetnosti - IMAF 2025
27th International Multimedial Art Festival - IMAF 2025
30. 08. - 12. 09. 2025.
Odzaci - Novi Sad

27. IMAF-INTERNACIONALNI FESTIVAL MULTIMEDIJALNE UMETNOSTI
 
Ovogodišnji 27.  IMAF se odvija u posebnim okolnostima izazvanim društveno-političkom krizom u Srbiji. Vezan za kontekst vremena i mesta u kome se realizuje, Festival trpi  posledice nerazumevanja i ignorantskog stava vlasti nenaklonjenoj umetnosti, posebno onoj savremenoj. Prvi put posle 27 godina Festival je ostao bez finansijske podrške, te njegova tradicija i njegov ugled koji ima među internacionalnim umetnicima i srodnim festivalima nisu mogli da utiču na političke odluke zaduženih za finansiranje kulture. U specifičnim okolnostima Festival će se ipak realizovati zahvaljujući podršci umetnika i entuzijazmu organizatora.
Vizura Festivala je, pre svega, na mediju koji se bavi performativnim formama. Performans kao najkomunikativnija umetnička disciplina ostvaruje najneposredniji i najdirektniji način kontakt sa publikom često zahtevajući od nje ne samo posmatranje već i učestvovanje. Tako publika postaje aktivni učesnik i suučesnik događaja, te možda baš zbog toga performans  ima posebnu privlačnost i uzbuđujuću auru. U okviru festivala performansi će se prezentovati na nekoliko načina: izvođenjem umetnika u živo, projekcijom video radova, dokumentarno preko digitalnih fotografija. Festival traje od 30. avgusta do 12. septembra  u Odžacima i Novom Sadu, a ponudiće publici i stručnoj javnosti: 

• Dan zeca-dečja umetnička radionica koju će voditi umetnik iz Velike Britanije Spike Mclarrity ( 30. avgust, Odžaci, Plato sportskog centra),
• Izvođenje performansa u živo (6. i 7. septembar, Novi Sad, Galerija SULUV.a-Saveza udruženja likovnih umetnika Vojvodine),
• izložba  U međuvremenu-U međuprostoru sastavljena od video materijala i digitalnih fotografija radova odabranih na konkursu za on-line prezentaciju ( 6-12. septembar, Novi Sad, Galerija SULUV-a-Saveza udruženja likovnih umetnika Vojvodine)

 
U fokusu Festivala su, pre svega, živa izvođenja performansa koje će realizovati 16 umetnika iz različitih zemalja sveta:
 
Silvia Marcantoni Taddei - AnimaeNoctis (Italija), Massimo Sannelli - AnimaeNoctis (Italija), Carlos Tejo (Španija), Choi Soo Ran (Koreja), Henrike von Dewitz (Nemačka/Slovenija), FranciscoTomsich (Urugvaj/Slovenija), Jolanda Jansen (Holandija), Fausto Grossi (Italija-Španija), Lenka Klodova (Republika Češka), MOON Jae Seon (Koreja), Nenad Bogdanović (Srbija), Saša Denić-Špena (Srbija), Spike Mclarrity (Velika Britanija), Susanna Pruna (Španija), Dvoje studenata iz Republike Češke (Matyáš Dynka i Michal Durda).

U segmentu video prezentacije predstaviće se 27 umetnika sa 23 video rada.
 
Direktor 27. IMAF-a je umetnik Nenad Bogdanović
Stručna saradnica je Svetlana Mladenov, istoričarka umetnosti, umetnička kritičarka i kustoskinja

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27. IMAF-INTERNATIONAL FESTIVAL OF MULTIMEDIA ART
 
This year's 27th IMAF takes place under special circumstances caused by the socio-political crisis in Serbia. Bound to the context of the time and place in which it is realized, the Festival suffers the consequences of misunderstanding and the ignorant attitude of the authorities towards disliked art, especially contemporary art. For the first time after 27 years, the Festival was left without financial support, and it's tradition and it's reputation among international artists and related festivals could not influence the political decisions of those in charge of funding culture. In specific circumstances, the Festival will still be realized thanks to the support of the artists and the enthusiasm of the organizers.
The focus of the Festival is, first of all, on a medium that deals with performative forms. Performance, as the most communicative art discipline, achieves the most immediate and direct way of contact with the audience, often requiring them not only to observe but also to participate. In this way, the audience becomes an active participant and accomplice of the event, and perhaps this is precisely why the performance has a special appeal and an exciting aura. Within the framework of the festival, performances will be presented in several ways: live performances by artists, projection of video works, documentary through digital photos. The festival lasts from August 30 to September 12 in Odžaci and Novi Sad, and will offer the audience and professional public:

• Day of the Rabbit - children's art workshop led by UK artist Spike Mclarrity (August 30, Odzaci, Plateau of the Sports Center),
• Performing a live performances (September 6 and 7, Novi Sad, SULUV  Gallery - Union of Associations of Fine Artists of Vojvodina),
• the exhibition In the meantime - In the interspace composed of video material and digital photographs of works selected in the competition for online presentation (September 6-12, Novi Sad, SULUV Gallery - Union of Associations of Fine Artists of Vojvodina)

 
In the focus of the Festival is, above all, live performances by 16 artists from different countries of the world:
 
Silvia Marcantoni Taddei - AnimaeNoctis (Italy), Massimo Sannelli - AnimaeNoctis (Italy), Carlos Tejo (Spain), Choi Soo Ran (Korea), Henrike von Dewitz (Germany/Slovenia), Francisco Tomsich (Uruguay/Slovenia), Jolanda Jansen (Nederland), Fausto Grossi (Italy-Spain), Lenka Klodova (Czech Republic), Moon Jae Seon (Korea), Nenad Bogdanović (Serbia), Saša Denić-Špena (Serbia), Spike Mclarrity (UK), Susanna Pruna (Spain), Two students from the Czech Republic (Matyáš Dynka and Michal Durda).
 
27 artists with 23 video works will be presented in the video presentation segment.
 
The director of the 27th IMAF is the artist Nenad Bogdanovic
Expert associate is Svetlana Mladenov, art historian, art critic and curator

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IMAF 2025 ONLINE PARTICIPANTS:

Alexandra Holownia (Poland-Germany)
Alina Tofan (Romania) & Oleska Kvitka (Ukraine)
Anand Jaiswal (India)
Anand Kumar Moriya (India)
AnimaeNoctis -Silvia Marcantoni Taddei & Massimo Sannelli (Italy)
Bill Aitchison (UK)
Bowen Wu & Taiyi Zhao (UK)
Craphone Liu (Taiwan)
Dejan Bogojević (Serbia)
Dimple B Shah (India)
Gaby Bila-Günther (Germany)
Janusz Plota (Poland)
Jordina Ros & Pere Estadella (Spain)
Levent Cetin (Turkey)
Maja Skjøth Hegelund (Danmark)
Masafumi Oda (Japan)
Nada Milosevic Ash (Serbia)
Noel Molloy (Ireland)
Satadru Sovan Banduri (India)
Shirley Huang(China) and Yizzy(China)
Snehlata Jangra (India)
Werther Germondari (Italy)


PROGRAM IMAF 2025 UŽIVO / IMAF 2025 LIVE PROGRAM:

27. Međunarodni festival multimedijalne umetnosti - IMAF 2025
27th International Multimedial Art Festival - IMAF 2025
 
- 06. septembra 2025. u 19 časova u galeriji SULUV u Novom Sadu
- September 6th, 2025 at 7 p.m. in the SULUV gallery in Novi Sad
 
Performansi sledećih umetnika / Performances by the following artists:
 
1. Henrike von Dewitz (Nemačka-Slovenija/Germany-Slovenia) – “Videćemo nas sutra” / “We'll see us tomorrow”
 
2. Francisco Tomsich (Urugvaj-Slovenija/Uruguay-Slovenia) – “Sa vodom iz ispranih revolvera” / “With water from washed revolvers”
 
3. Nenad Bogdanovic (Srbija/Serbia) – “Naša stvar” / “Our thing”  
 
4. Jolanda Jansen (Holandija/Nederland) & Fausto Grossi (Italija-Italy/Španija-Spain) – “Istina u šansi kroz razliku” / “Trust in Chance by Difference”
 
5. Saša Denić-Špena (Srbija/Serbia) – “Gaza” / “Gaza”
 
6.  Matyáš Dynka & Michal Durda (Republike Češka/Czech Republic) – “Ti si vibracija, brate. Zapravo... Uvek si bio tu za mene” / “You Are the Vibe Bro In Fact…You Always Were to Me”

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- 07. septembra 2025. u 19 časova u galeriji SULUV u Novom Sadu
- September 7th, 2025 at 7 p.m. in the SULUV gallery in Novi Sad
 
Performansi sledećih umetnika / Performances by the following artists:
 
1. Lenka Klodova (Republika Češka/Check Republic) – “Usta neba“ / “Mouth of Heaven“
 
2. Moon Jae Seon (Koreja/Korea) – “Projekat zove” / “Elderberry Project”
 
3. Susanna Pruna (Španija/Spain) - “Teorija absurdnosti” / “The Theory of Absurdity”
 
4. AnimaeNoctis (Italija/Italy) – “Teže nego što izgleda” / “Harder Than It Seems”
 
5. Choi Soo Ran (Koreja/Korea) – “Morski zid, sa vodom” / “Seawall, With Water”
 
6. Carlos Tejo (Španija/Spain) – “Belo” / “White”
 
7. Spike Mclarrity (Vel. Britanija/UK) – “Praistorijsko Ja” / “The Prehistoric Self”

IMAF 2025 RECENZIJA:

U međuvremenu-U međuprostoru
 
Ovogodišnji 27. IMAF se odvijao u posebnim okolnostima izazvanim društveno-političkom krizom u Srbiji. Vezan za kontekst vremena i mesta u kome se realizuje, Festival je trpeo posledice nerazumevanja i ignorantskog stava vlasti nenaklonjenoj umetnosti, posebno onoj savremenoj. Prvi put posle 27 godina Festival je ostao bez finansijske podrške, te njegova tradicija i njegov ugled koji ima među internacionalnim umetnicima i srodnim festivalima nisu mogli da utiču na političke odluke zaduženih za finansiranje kulture. U specifičnim okolnostima Festival se ipak realizovao zahvaljujući podršci umetnika i entuzijazmu organizatora.
 
Festival privlači veliki broj umetnika iz raznih krajeva sveta iz više razloga, a jedan od njih je ugled koji među kolegama ima Nenad Bogdanović, i sam umetnik, a ujedno inicijator i direktor ovog festivala. Njegovi uspešni nastupi na svetskim festivalima performansa i umetničkih akcija, kao i kontakti koje je tamo ostvario omogućili su veću vidljivost IMAF-a. Takođe ono što je bitno za umetnike je činjenica da im ovaj Festival omogućava da sopstvene ideje i istraživanja realizuju najoptimalnije i bez ograničenja.
 
Vizura IMAF-a je, pre svega, na mediju koji se bavi performativnim formama. Performans kao najkomunikativnija umetnička disciplina ostvaruje najneposredniji i najdirektniji kontakt sa publikom često zahtevajući od nje ne samo posmatranje već i učestvovanje. Tako publika postaje aktivni učesnik i suučesnik događaja, te možda baš zbog toga performans ima posebnu privlačnost i uzbuđujuću auru.
 
Kroz  ovaj Festival su prošli brojni domaći i strani umetnici koji su predstavili svoje umetničke strategije realizovane kroz performanse i umetničke akcije izvedene uživo, ili preko dokumentarnog materijala: video radova I fotografija.
Na ovogodišnjem Festivalu takođe performansi su se prezentovali na nekoliko načina:  izvođenjem umetnika uživo, projekcijom video radova, dokumentarno preko digitalnih fotografija.
 
U fokusu Festivala su, pre svega, bila živa izvođenja performansa koje je realizovalo 16 umetnika iz različitih zemalja sveta:
 
Silvia Marcantoni Taddei - AnimaeNoctis (Italija), Massimo Sannelli - Animae Noctis (Italija), Carlos Tejo (Španija), Choi Soo Ran (Koreja), Henrike von Dewitz (Nemačka/Slovenija), Francisco Tomsich (Urugvaj/Slovenija), Jolanda Jansen (Holandija), Fausto Grossi (Italija/Španija), Lenka Klodova (Republika Češka), Moon Jae Seon (Koreja), Nenad Bogdanović (Srbija), Saša Denić-Špena (Srbija), Spike Mclarrity (Velika Britanija), Susanna Pruna (Španija), dvoje studenata iz Republike Češke: Matyaš Dynka i Michal Durda.
 
U segmentu video prezentacije predstavilo se  27 umetnika sa 23 video rada.
 
27. IMAF se održao u Galeriji SULUV-a u Novom Sadu osim tradicionalne umetničke radionice za decu Dan zeca koja je realizovana u Odžacima, a koju je vodio umetnik Spike Mclarrity iz Velike Britanije.
 
Učesnici Festivala su publici ponudili različite teme, sadržaje i načine prezentacije. Najangažovanije performativne forme su kreirali umetnici iz Srbije: Nenad Bogdanović (Naša stvar) i Saša Denić-Špena (Gaza). Oni nisu ostali imuni na kontekst vremena u kome stvaraju, na lokalna i globalna žarišta društveno-političkih kriza.
 
Većina izvedenih performansa inostranih umetnika se bazirala na univerzalnim temama, posebno onima koje se bave međuljudskim odnosima: emocijama, intimnošću, otuđenjem, zajedništvom, tolerancijom, kao i problemima identiteta, rodnosti, destruktivnog i autodestruktivnog ponašanja, kao i ekolološkim i egzistencijalnim pitanjima.
 
Autentična izvođenja umetnika sopstvenim telom ili ličnom akcijom zahtevala su ponekad više različitih rekvizita kao i pomoćnu tehnologiju za svetlosne i audio efekte, video projekcije i robotske manifestacije: crna i bela tkanina, zemlja, beli prah, karmin, boje, tegovi, cveće, voda, štampani tekstovi na papirnim trakama ili na papirima manjih dimenzija, palica,  šlem sa jedrenjakom, zoknice, rukavice, gips, maska, posuda za vodu, stočić, prskalice, drvene olovke i rezač, lampa, video, zvuk.
 
Međuljudskim odnosima, posebno odnosima među polovima i pitanju rodnosti bavili su se performansi  koje su izveli: Silvia Marcantoni Taddei i Massimo Sannelli, Jolanda Jansen i Fausto Grossi, Matyaš Dynka i Michal Durda.
 
Performans Teže nego što izgleda Silvia Marcantoni Taddei i Massimo Sannelli govori o važnosti ravnopravnosti među različitim polovima, o partnerskom odnosu koji ne konkuriše njihovim međusobnim emocijama.
 
Jolanda Jansen i Fausto Grossi u svom performansu Istina u šansi kroz razliku prednost daju telu i njegovoj mogućnosti transformacije, tražeći njegove krajnje granica samokontrole. Govoreći o odnosima među polovima ukazali su na potrebu svakog pojedinca za ličnim prostorom u kome iste teme i probleme rešavaju na različite i specifične načine. Ta različitost nije hendikep, već naprotiv čini njihov zajednički odnos uzbudljivim, snažnim, nepredvidljivim, privlačnim.
 
Pitanjima identiteta i rodnosti bavili su se Matyaš Dynka i Michal Durda, te su predstavili svoj performans Ti si vibracija, brate. Zapravo... Uvek si bio tu za mene, pun iskrenih emocija, izveden soficistirano i odmereno.
 
Kroz svoj performans Usta neba Lenka Klodova se bavi ljudskim telom kao centralnim motivom istražujući u proširenom polju njegovu višeslojnost, često zanemarujući njegove fizičke granice. Intimno-javno je odnos koji joj je blizak, a subverzivnost i podvrgavanje kritici utvrđenih stereotipa način aktivnog odnosa prema društvenim nepravdama.
 
Telo i intimnost su centralni aspekt umetničkog diskursa Carlos Tejo. Kroz svoj performans Belo naglašava važnost poštovanja ljudskih prava ukazujući na permanentno kršenje principa proklamovanih u deklaraciji o ljudskim pravima i to kako na lokalnom tako i na globalnom planu.
 
Umetnička akcija telom u prostoru za  Susanna Pruna je otvaranje novih polja delovanja prepunih tragova u kojima se ukrštaju sećanja, apatija i otpori. To je nova teritorija u kojoj su suprotstavljeni lično i političko, pasivno i angažovano, prostor u kome se odlučuje o indiferentnosti ili neposlušnosti, o ćutanju ili delovanju. Telo postaje mesto susreta, transformacije i istine. O tome svedoči njeno izvođenje performansa Teorija absurdnosti.
 
Moon Jae Seon u svom performansu Projekat zove kombinuje elemente iz različitih medija i disciplina kao što su savremeni ples, vizuelna umetnost (instalacije), video, nauka, akustika i prevodi ih u jezik performativne forme, stvarajući novu realnost satkanu od zvučnosti i pokreta. Hrabro ulazi u različite eksperimente koji mu omogućavaju da preko fizičkog tela  istraži unutrašnje biće čoveka tragajući za harmoničnošću ova dva antipoda.
 
Choi Soo Ran svoj performans Morski zid, sa vodom bazira na zvuku i pokretu.  U konstrukciji, on  je blizak performativnoj formi umetnika Moon Jae Seon. Pokušavajući da stvori novi pejzaž ličnom intervencijom umetnica se  rukovodi održivim i ekosvesnim delovanjem.
 
Festival je zatvoren interaktivnim performansom Praistorijsko Ja Spike Mclaritty izvedenim kao svojevrsni lični hepening u kome se ukrštaju zvuk, pokret, dizajn kostima, svetlost. Umetnik  ovom akcijom ispisuje odu životu i slavi sva njegova zadovoljstva i uživanja koja često zanemarujemo ili potcenjujemo. Scena spontano režirana od umetnika u kojoj je publika raspoređena u dve kolone, te telima simbolično predstavlja granice ili ograde i umetnik koji se slobodno kreće u tom međuprostoru govori o mogućnosti da se čovek oseća slobodnim i nesputanim u svom konačno osvojenom mikrosvetu ili bar iluziji o njemu.
 
U okviru ovogodišnjeg festivala organizovana je i javna projekcija dva video rada  koja su nam predstavili  autori Henrike Von Dewitz i Francisco Tomsich.
Videćemo nas sutra je kratki dokumentarni film Henrike Von Dewitz koji svedoči o međunarodnom umetničkom pokretu mail art koji se odvijao između Južne Amerike i bivše Jugoslavije i njegovim akterima. Ova komunikacija predstavljena je kroz sećanje urugvajskog umetnika Clemente Padin i njegovu ličnu arhivu. Drugi video Sa vodom iz ispranih revolvera čiji je autor Francisco Tomsich kroz cev vatrenog oružja pokazuje razrušene i oronule urbane pejzaže ratom, krizom i izolovanošću targetirane Srbije devedesetih godina prošlog veka.
 
Ovogodišnji IMAF zahvaljujući raznovrsnom i sadržajnom programu, predstavio je  bogatu aktuelnu produkciju umetničkih istraživanja u oblasti medija performansa, umetničkih akcija i videa, te publici ponudio različite dijaloge, aktivnu komunikaciju i bliskost kroz identifikaciju i saosećanje.
 
Svetlana Mladenov


In the meantime-In the interspace

This year’s 27th IMAF has taken place in special circumstances caused by the socio-political crisis in Serbia. Related to the context of the time and place in which it is realized, the Festival has suffered consequences due to the misunderstanding and ignorant attitude of the government indifferent to art, especially to the contemporary art. For the first time in 27 years, the Festival was left without financial support as its tradition and its reputation among international artists and related festivals were not enough to influence the political decisions of those in charge of culture financing. In such specific circumstances, the Festival was realized thanks to the support of the artists and the enthusiasm of the organizers.
 
The festival attracts a large number of artists from various parts of the world for several reasons, one of them being the reputation of Nenad Bogdanović, an artist himself, and, at the same time, the initiator and director of this festival. His successful performances at world festivals of performance and art actions, as well as the contacts he hence created, provided IMAF with greater visibility. Also, what artists find important is the fact that this Festival allows them to realize their own ideas and research in the most optimal way and without limitations.
 
IMAF’s vision is directed, above all, to a medium that deals with performative forms. Performance, as the most communicative art discipline, achieves the most immediate and direct contact with the audience, often requiring them not only to observe but also to participate. Hence, the audience becomes an active participant and co-participant of the event, and this is, perhaps, the very reason for the performance to have a special appeal and an exciting aura.
 
Numerous local and foreign artists have participated on this Festival presenting their artistic strategies realized through performances and artistic actions carried out live, or through documentary material: video works and photographs. At this year’s Festival too, the performances have been presented in several ways:  as live performance, presentation of video works, or documentary through digital photos.
 
The Festival focused, first of all, on live performances realised by 18 artists from different countries of the world:
Silvia Marcantoni Taddei - AnimaeNoctis (Italy), Massimo Sannelli – AnimaeNoctis (Italy), Carlos Tejo (Spain), Choi Soo Ran (Korea), Henrike von Dewitz (Germany/Slovenia), Francisco Tomsich (Uruguay/Slovenia), Jolanda Jansen (Netherlands), Fausto Grossi (Italy-Spain), Lenka Klodova (Czech Republic), Moon Jae Seon (Korea), Nenad Bogdanović (Serbia), Saša Denić-Špena (Serbia), Spike Mclarrity (UK), Susanna Pruna (Spain), two students from the Czech Republic: Matyáš Dynka and Michal Durda.
Within the segment of the Festival dedicated to video works 27 artists presented 23 video works.
 
All the programmes of 27th IMAF took place at the SULUV Gallery in Novi Sad, except for the traditional children’s art workshop, The Day of the Rabbit, which was held in Odžaci and led by the artist Spike Mclarrity from Great Britain.
 
The participants of the Festival offered the audience different topics, contents and methods of presentation. The most socially engaged performative forms were created by artists from Serbia: Nenad Bogdanović (Our Thing) and Saša Denić-Špena (Gaza). They did not remain immune to the context of the time in which they created, and to local and global hot spots of socio-political crises.
 
Most of the performances created by foreign artists were based on universal themes, especially those dealing with interpersonal relationships: emotions, intimacy, alienation, togetherness, tolerance, as well as problems of identity, gender, destructive and self-destructive behaviour, as well as ecological and existential issues.
 
Some of the authentic performances with the artists using their own body or personal action required a number of different props as well as auxiliary technology for light and audio effects, video projections and robotic manifestations: black and white fabric, soil, white powder, lipstick, paints, weights, flowers, water, printed texts on paper strips or on smaller papers, bat, helmet with a sailboat, socks, gloves, plaster, mask, water bowl, table, sprinklers, wooden pencils and pencil sharpener, lamp, video, and sound.
 
Interpersonal relations, especially relations between the sexes and the question of gender, were dealt with in the performances performed by: Silvia Markantoni Taddei and AnimaeNoctis, Jolanda Jansen and Fausto Grossi, MatyášDynka and Michal Durda
The performance Harder Than It Seems by Silvia Marcantoni Taddei and Massimo Sannelli talks about the importance of equality between different sexes, about a partnership that does not compete with their mutual emotions.
 
In their performance Trust in Chance by Difference, Jolanda Jansen and Fausto Grossi prioritize the body and its ability to transform, searching for its ultimate limits of self-control. Speaking about the relations between the sexes, they pointed out the need of each individual for a personal space in which they can solve the same topics and problems in different and specific ways. This difference is not a handicap, on the contrary, it makes their joint relationship exciting, strong, unpredictable, and attractive.
 
Matyáš Dynka and Michal Durda dealt with issues of identity and gender and presented their performance You Are the Vibe Bro In Fact…You Always Were to Me full of sincere emotions, performed in a sophisticated and measured way.
Through her performance Mouth of Heaven, Lenka Klodova deals with the human body as the central motif, exploring its multi-layeredness in an expanded field, often ignoring its physical boundaries. The intimate-public relation is what is close to her and the subversivness and the criticism of the established stereotypes are her ways of active relating to social injustices.
 
The body and intimacy are central aspects of Carlos Tejo’s artistic discourse. Through his performance White heemphasizes the importance of respecting human rights pointing to the permanent violation of the principles proclaimed in the declaration of human rights, both locally and globally.
 
Artistic action enacted by using her body in space is for Susanna Pruna the opening of new fields of action full of traces where memories, apathy and resistance intersect. It is a new territory in which the personal and the political, the passive and the engaged, are opposed, a space in which a decision is made about indifference or disobedience, about silence or action. The body becomes the place of encounter, transformation and truth. Her performance The Theory of Absurdity testifies to it all.
 
In his performance Elderberry Project, Moon Jae Seon combines elements from different media and disciplines such as contemporary dance, visual art (installations), video, science, and acoustics, and translates all of them into the language of performative form, creating a new reality woven from sonority and movement. He bravely engages in various experiments that enable him to explore the inner being of a human through the physical body, searching for the harmony of these two antipodes.
 
Choi Soo Ran bases her performance Seawall, With Water on sound and movement. Constructionwise, it is close to the performative form of the artist Moon Jae Seon. Trying to create a new landscape through personal intervention, the artist is guided by sustainable and eco-conscious action.
 
The festival was closed with the interactive performance The Prehistoric Self by Spike McClarity, performed as a kind of a personal happening in which sound, movement, costume design, and light intersect. With this action, the artist writes an ode to life and celebrates all its pleasures and enjoyments that we often neglect or underestimate. Directed spontaneously by the artist, and including the audience, divided into two lines, their bodies symbolically representing borders or fences and the artist moving freely within the intermediate space, the scene speaks of the possibility of a person to feel free and unrestrained in his/herultimately conquered microworld, or, at least,in the illusion of it.
 
Also, a public screening of two video works presented by the authors Henrike Von Dewitz and Francisco Tomsich was organized within the framework of this year’s festival."We'll see us tomorrow" is a short documentary film by Henrike Von Dewitz that bears witness to the international mail art movement that was unfolding between South America and the former Yugoslavia and its participants. This communication is presented through the reminiscence of the Uruguayan artist Clemente Padin and his personal archive. The other video,With water from washed revolvers by Francisco Tomsich, shows, through the barrel of a firearm, the ruined and dilapidated urban area landscapes of Serbia that was targeted by war, crisis and isolation in the nineties of the last century.
 
Thanks to its diverse and meaningful program this year’s IMAF has presented a rich current production of artistic research in the field of performance media, artistic actions and videos, and has offered the audience various dialogues, active communication and closeness through identification and compassion.
 
Svetlana Mladenov