Graduates 2026

The initiative of the DOTS Gallery and Foundation to create a more sustainable support framework for young artists was launched in 2021 through the Young Art program — a two-year project aimed at connecting emerging artists with the contemporary art scene and curatorial practices in Serbia and abroad.

In 2024, the program took on a new direction through the group exhibition “Graduates”, created from the need to provide continuous support to recently graduated artists as they face the challenges of establishing an independent artistic practice. This new format was designed to enable young authors to make a more secure transition from the academic environment into the contemporary professional context.

Within the first edition of the exhibition, twenty-five finalists were given the opportunity to exhibit in a gallery space for the first time and, in collaboration with the curatorial team, actively participate in the realization of the exhibition. As an additional incentive for further artistic development, three outstanding works were awarded financial support by the DOTS Foundation.

The second edition of the exhibition “Graduates 2026”, continuing the concept of the previous program, will present 29 finalists — recently graduated artists from seven art academies in Serbia: Pandora Andrejević, Aleksa Avramović, Laura Blagojević, Stanislava Blagojević, Jana Božović, Milica Čobanov, Dunja Dimitrijević, Uroš Dmitrović, Dušan Đorđević, Lara Grujin, Katarina Ivanović, Milica Jeličić, Nikola Jeremić, Sara Lazić, Tanja Maksimov, Vuk Mandušić, Pavle Milenković, Ana Miljković, Filip Najdanović, Teodora Nešković, Angelina Pajković, Aleksa Pavković, Jovana Ruvidić, Emilija Sandić, Sara Savić, Anđelija Stančulović, Relja Stevanović, Filip Teletin, and Valentina Ulamović.

During the final week of the exhibition, three winning works will be announced, selected based on clearly developed concepts, the quality of artistic expression, and a high level of execution. The selected works will receive financial awards from the DOTS Foundation.

BIOGRAPHIES Pandora Ada Andrejević (2001, Lisbon, Portugal) completed her Bachelor's degree in Printmaking at the Faculty of Fine Arts, University of Arts in Belgrade, where she is currently pursuing a Master's degree in the same field. She also completed her first year at the Faculty of Architecture, University of Belgrade, and studied at Tehnoart Belgrade – School of Mechanical Engineering and Arts and Crafts, specializing in fashion tailoring. She has exhibited at the May Exhibition of the Graphic Collective, the exhibition Unfolding Materiality במסגרת BINA – Belgrade International Architecture Week, Masterpieces at Gallery U10, the 22nd Serbian Student Printmaking Biennale, the Annual Printmaking Exhibition of the Printmaking Centre, the 51st Exhibition of Drawings and Small Sculpture at the Belgrade Youth Centre, as well as the annual student exhibitions of the Faculty of Fine Arts. She participated in the collaborative project for the permanent exhibition of the Museum of Yugoslavia (2026). Her work also includes illustrations for an Italian language textbook, book cover and theatre poster design, and digital animation for music videos and a short film.

Untitled is part of a broader investigation into the relationship between the body, space, and movement. Starting from photographs taken during walks and travels, the artist employs collage, repetition, and sequential image composition to explore how we perceive space and time. The work examines the relationship between fragment and whole, between the individual moment and the passage of time, treating space not as a fixed entity but as an experience continuously shaped through movement, memory, and perception.

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Aleksa Avramović completed his Bachelor's degree in Painting at the Faculty of Applied Arts, University of Arts in Belgrade, where he is currently pursuing a Master's degree in the same field. He has exhibited in group exhibitions at the Belgrade Cultural Centre, Zvono Gallery, the Yugoslav Film Archive, the Cvijeta Zuzorić Art Pavilion, Studentski Grad Cultural Centre, the Student Cultural Centre, and Eugster II Belgrade Gallery. He is the recipient of the Drawing Study Award (2021), the Painting Study Award (2023), and the Branislav Makeš Award for Printmaking (2023).

Landscape depicts a fragment of Belgrade.

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Laura Blagojević (2023) is a student at the Faculty of Fine Arts, University of Arts in Belgrade. She has exhibited at Masterpieces VIII at Gallery U10 (2026), ARTApstrakt at Art Café Slavoljub (2025), Dynamics of Diversity at the King Peter I House (2024), the 51st and 52nd Exhibitions of Small-Format Drawings and Sculpture by students of the Faculty of Fine Arts (2023, 2024), the Faculty's annual student exhibitions (2022, 2023), and Svaštara at the FLU OpenLab (2023).

Imprints begins with the outlines—and negative spaces—of portraits, treating them as traces of individual existence and the legacy one leaves to future generations. Through a restrained visual language, the artist reconstructs fragmented ancestral narratives, revealing their interconnections and their influence on the formation of historical and social circumstances. The work explores the relationship between personal and collective memory, questioning the ways in which the past shapes our understanding of contemporary reality.

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Stanislava Blagojević (2003, Sochi, Russian Federation) is a fourth-year undergraduate Painting student at the Faculty of Fine Arts, University of Arts in Belgrade, in the class of Professor Biljana Đurđević. She has exhibited at the annual exhibitions of the Faculty of Fine Arts and in a group exhibition at UK Parobrod. She received the Faculty of Fine Arts Award for a large-format colour study painting. Her artistic practice investigates space as a carrier of atmosphere and psychological experience, most often through the absence of the human figure.

The triptych depicts a flat landscape beneath a cloudy sky, reduced to its essential spatial elements. The central panel is defined by two dogs gazing toward something beyond the viewer's field of vision, creating a sense of anticipation and uncertainty. The absence of human figures and the reduction of visual motifs establish an atmosphere of silence, emptiness, and stillness, while the ambiguity of the setting leaves room for multiple interpretations and encourages viewers to project their own meanings onto the work.

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Jana Božović (2001, Belgrade) graduated from the Ceramics Department at the Faculty of Applied Arts, University of Arts in Belgrade (2024), where she is currently pursuing a Master's degree. She received the Ivan Tabaković Award for outstanding achievement in ceramics and was a scholarship recipient of the Serbian Ministry of Education for exceptionally gifted students (2022–2025). Her exhibitions include Bloom, ArtApstrakt 6, Diploma 2024, the International Miniature Art Biennale in Gornji Milanovac, Miniature 7, Miniature 8, Parallel World III, Beginnings, My First Exhibition, Portrait, and the exhibition of selected student works of the Faculty of Applied Arts in Loznica.

She collaborated with Tarkett on the development of a creative design solution and has participated in educational workshops for young people.

Lighting Panel is part of an exploration of the relationship between ceramic form, function, and light. The work consists of modular ceramic elements that can be assembled in different ways to create a spatial composition. Openings within the forms allow light to become an active component of the work, transforming the viewer's perception while connecting its sculptural and functional dimensions. Through the interaction of form and illumination, the work questions the boundary between the unique work of art and the object of applied design.

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Milica Čobanov (2001) graduated from the Department of Textile Design at the Faculty of Applied Arts, University of Arts in Belgrade, where she is currently pursuing a Master's degree in Textiles.Her artistic practice explores the relationship between materials, textiles, and contemporary artistic expression, with a particular interest in spatial installations and experimental approaches to textile media.

The spatial installation Mycelium is inspired by the mycelial network as a natural system of communication, information exchange, and interconnectedness. Drawing an analogy between mycelial and human networks, the work explores the relationship between humanity and nature, as well as the question of belonging to a broader ecosystem. The installation is made from natural materials—jute, raw wool, yarn, and ceramics—emphasizing the ideas of symbiosis and interdependence. Through its organic structure and tactile qualities, the artist reflects on the possibility that, despite the illusion of separation, human beings remain inseparably connected to nature and its processes.

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Dunja Dimitrijević (2000, Niš) graduated from the Secondary School of Arts in Niš, specializing in Textile Design. She completed both her Bachelor's and Master's degrees in Textile Design at the Faculty of Applied Arts, University of Arts in Belgrade. She received a commendation for Best Painting at the Faculty's Annual Exhibition and has exhibited extensively in Serbia and abroad, including Tactile Space, Overview 4, Virtual Threads, Festum, Umfesti, Small Format, Woven–Structural, Women Photographers 2024, Student Days, and Graduates. She participated in the 13th EDU International Student Workshop in Zagreb and has taken part in numerous textile-related projects and workshops. Her artistic practice focuses on textile materials, production processes, and the relationship between form and space, with a particular emphasis on contemporary textile and spatial practices.

Equilibrium explores the concept of balance through an artistic interpretation of the dragonfly motif, realized within an expanded textile medium. Beginning with the symbolism of the dragonfly as a sign of lightness, transformation, and stability, the work considers balance as a physical, psychological, and symbolic state. Through a layered spatial installation made of clear plastic sheets and tracing paper, the artist investigates the interaction of light, shadow, and line while drawing upon principles of textile construction. The overlapping of individual layers creates a unified form, establishing a metaphor for interdependence, harmony, and equilibrium.

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Uroš Dmitrović (2003, Gornji Milanovac) completed his Bachelor's degree in Painting at the Faculty of Fine Arts, University of Arts in Belgrade (2026), in the class of Professor Milivoj Pavlović. His work has been presented at the Exhibition of Award-Winning Student Works of the Faculty of Fine Arts (2023), the 52nd Exhibition of Small-Format Drawings and Sculpture at the Belgrade Youth Centre, Small Print 2024 at the Graphic Collective Gallery, and MiniFormArt at Blok Gallery (2026).

This series explores transformations of urban space and the social mechanisms that shape it. By examining the influence of political, educational, and economic factors on the contemporary environment, the artist questions how these forces affect individuals and their value systems. Inspired by imposed social standards, the series reflects on the cost of pursuing luxury, status, and belonging, as well as what we are willing to sacrifice in order to attain the ideals promoted by contemporary society.

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Dušan Đorđević (2002) is a visual artist from Niš and a Master's student in Graphic Design at the Faculty of Arts in Niš. Drawing is his primary artistic medium, through which he investigates themes of identity, communication, and misunderstanding. He has participated in group exhibitions organized by the Faculty of Arts in Niš, including annual exhibitions marking the Faculty Day (2024, 2026), Black Box within the Mikser Festival, and exhibitions organized by the od-do collective.

Short Term Memory begins with drawing as its primary medium, through which the artist examines relationships between identity, communication, and internal conflict. Through fragmentation, repetition, and the continual reconstruction of portraits, the work investigates the processes of memory, forgetting, and image transformation. It points to the instability of identity and perception while exploring how memories shift and are continually reconstructed depending on time, context, and the viewer.

Lara Grujin (2003, Belgrade) completed her Bachelor's degree in Sculpture at the Faculty of Fine Arts, University of Arts in Belgrade (2026), in the class of Professor Olivera Parlić Karajanković. Her artistic practice spans sculpture, installation, drawing, painting, and performance. She has exhibited widely in Serbia and the region, including the annual exhibitions of the Faculty of Fine Arts, Works in Progress at Gallery 73, Our Sea, New Direction, Dimensions, the FLU student exhibition at the Belgrade Youth Centre, and the photography exhibition Forced Contact at FLU Open Lab. She has participated in the performances Dinner at Neon Gallery, Healing במסגרת the October Salon, and Pressure at the FIST Festival, as well as the Superexposure Summer Campus for Photography and Contemporary Art in Trebinje. She received the Award for Best Ceramic Work (2021).

The sculpture Supta Virasana forms part of an ongoing exploration of inner landscapes and the relationship between personal experience, the inner world, and the surrounding environment. Drawing upon organic and bodily forms, the artist investigates transformation and impermanence, creating a form that appears suspended in the very moment of change. Hovering between reality and imagination, the work invites multiple interpretations and encourages reflection on the complexity of inner experience and its resonance within contemporary life.

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Katarina Ivanović (2002, Belgrade) graduated from the Department of Sculpture at the Faculty of Fine Arts, University of Arts in Belgrade (2025), in the class of Professor Gabriel Glid, where she is currently pursuing a Master's degree. She is the recipient of the Faculty of Fine Arts Grand Award "Rista and Beta Vukanović, Painters", the Stevan Todorović Commendation for the work presented at Works in Progress at Gallery 73 (2026), the Faculty Award for Wood Sculpture (2024), and an informal award for small-format sculpture at the 52nd Exhibition of Small-Format Drawings and Sculpture by FLU students. She has exhibited at Works in Progress, Masterpieces VIII, the Second Biennale of Medals and Plaques, 4 Segments, Individual Practices, Ecolibrium, New Direction, Dynamics of Diversity, Small Format, the 51st and 52nd Exhibitions of Small-Format Drawings and Sculpture, and the Exhibition of Award-Winning FLU Students. She has also participated in the student symposium Terra, the Deliblato Sands Art Colony, and the interdisciplinary event Creative Echo at KC Dorćol.

Comfortable Sleep belongs to a series exploring the home as both a physical and conceptual space. The installation consists of a bed built from bricks and a pillow carved from wood, creating a paradox between the intended function of everyday objects and the inherent qualities of their materials. By transforming familiar objects and their meanings, the work opens a space between reality and imagination, wakefulness and dreaming, questioning ideas of home, protection, belonging, and comfort.

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Milica Jeličić (2002, Belgrade) graduated from Tehnoart Belgrade Secondary School, specializing in sign painting and calligraphy. She earned her Bachelor's degree in Painting from the Faculty of Fine Arts, University of Arts in Belgrade (2025), in the class of Professor Biljana Đurđević, where she is currently pursuing a Master's degree. She has exhibited at the Faculty of Fine Arts Annual Exhibitions (2022, 2023, 2026), Masterpieces VIII at Gallery U10 (2026), ARTApstrakt at Art Café Slavoljub (2025), Dynamics of Diversity at the King Peter I House (2024), the 51st and 52nd Exhibitions of Small-Format Drawings and Sculpture by FLU students, and Svaštara at FLU Open Lab (2023).

Greenhouse (In Vitrum) explores the dual nature of introspection as both a productive and destructive process. Unlimited self-contemplation creates a closed system that isolates the individual from reality, leading to creative paralysis and the loss of self. The greenhouse, as a paradoxical space that offers the illusion of freedom while simultaneously imposing limits, becomes a metaphor for the inner walls of doubt and hesitation. Like plants that, despite ideal conditions, continue to reach toward the light beyond the glass, the work reflects on the relationship between security and freedom, and on the necessity of overcoming the boundaries we impose upon ourselves.

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Nikola Jeremić (2001, Kraljevo) graduated from the Department of Painting at the Faculty of Fine Arts, University of Arts in Belgrade (2024), and completed his Master's degree there in 2025 in the class of Professor Milivoj Pavlović. He is currently pursuing doctoral studies at the same institution. Working primarily in oil painting and dry pastel, he explores psychological spaces, self-portraiture, and contemporary concepts of masculine identity. His work has been exhibited at Follow the White Rabbit (Student Cultural Centre, Rijeka), Masterpieces, HESOYAM, Aliens Are to Blame for Everything, 2001, Someone I Don't Know, Roll the Dice, and the exhibition of students from the Faculty of Fine Arts in Zagreb.

Taxi Driver is the part of the artistic project Clothes Make the Man, which investigates the relationship between identity, the body, and socially constructed codes of masculinity. Using the alter ego as a performative version of the self, the artist examines how masculinity is shaped, learned, and represented through visual conventions, social roles, and stereotypes. Employing irony, parody, and the aesthetics of hypermasculinity, the works expose the tension between outward appearance and inner identity, presenting identity as fluid, performative, and constantly negotiated.

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Sara Lazić (2002, Kraljevo) is a fourth-year undergraduate Painting student at the Faculty of Philology and Arts, University of Kragujevac, in the class of Professor Jelena Šalinić Terzić. She has participated in numerous solo and group exhibitions, including Dream Journal at the Gallery of the Kragujevac Youth Centre, Niš Drawing, the Watercolour Biennale, the Miniature Biennale, and the XXII Student Drawing Biennale.

Archive of Emotions investigates the physiognomy of emotion through the motif of the human figure as a bearer of inner psychological states. Through a series of portraits, the artist examines the capacity of facial expression, gesture, and body language to convey complex emotional experiences. The contrast between transparent watercolor layers and the whiteness of the paper emphasizes the fluidity of thought and emotion, while the absence of narrative or spatial context directs attention entirely toward the expressions and psychological states of the depicted figures. The work invites viewers to engage in introspection and to reflect upon the universality of human emotion.

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Tanja Maksimov (2002, Novi Sad) is a fourth-year Photography student at the Academy of Arts in Novi Sad. Her artistic practice explores themes of death and transience, using long-exposure photography as her primary medium. She has exhibited in exp: fragment (2023), Moment and Light! במסגרת the 25th Novi Sad Jazz Festival (2023), the Photography Students Exhibition at Ordinacija (2022), the Student Theatre Festival Exhibition (2024), and the Fourth-Year Drawing with Technology 8 Exhibition (2026).

In the Midst of Life, We Are in Death explores death as an inseparable aspect of everyday existence, questioning its complexity and relationship to human life. Using long exposure, the artist records the passage of time within a single photograph, transforming reality into a layered, atmospheric image. Photography thus moves beyond its documentary function, becoming a space for contemplating transience, uncertainty, and the energy that continues to exist despite mortality.

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Vuk Mandušić (2001, Belgrade) graduated from the Belgrade School of Commerce, specializing in Interior Design. He earned his Bachelor's degree in New Media at the Faculty of Fine Arts, University of Arts in Belgrade (2025), and completed his Master's degree in 2026 under Professors Zoran Todorović and Vladimir Nikolić. His artistic practice encompasses bioart, video, and spatial installation, exploring the intersections of the personal, political, and biological, with a particular focus on the body, biological processes, and emotion in contemporary society. He was a finalist in ReAktor's BioStart programme (2024), and in the same year was invited by the Faculty of Applied Arts in Belgrade to lead a cyanotype workshop for the Department of Textile Processing.

25 Years Later is based on a VHS cassette given to the artist by his father. One side contains home footage from 1999, documenting everyday family life and gatherings with neighbours during the NATO bombing of Belgrade; the other contains a television recording of a Vienna Philharmonic concert from the same year. The work uses the physical duality of the analogue medium to explore the tension between two worlds: war and culture, chaos and harmony. Both recordings are projected simultaneously, side by side, without narration. It becomes an archive of the past—a fracture between a world that suffers and a world that continues to play.

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Pavle Milenković (2003, Ćuprija) is a fourth-year undergraduate Painting student at the Faculty of Fine Arts, University of Arts in Belgrade, in the class of Professor Zoran Dimovski. His artistic practice focuses primarily on drawing and painting, with particular interest in the self-portrait as a means of exploring identity. Through motifs of the body, movement, and sport, he investigates the relationship between personal experience and collective belonging, as well as the possibility of presenting multiple layers of identity within a single visual space. He has exhibited in group exhibitions at the Faculty of Fine Arts in Belgrade, Gallery of the Belgrade Youth Centre, and the Belgrade Fortress exhibition space.

White Jerseys explores the relationship between the individual and the collective through the motif of solidarity and belonging. The figures, physically close and leaning upon one another, occupy a shared space in which their interconnectedness arises from the necessity of functioning as a whole. Using football as a model of teamwork, role distribution, and interdependence, the artist reflects on support, belonging, and identity, suggesting that personality is formed not only through individual experience but also through relationships with others.

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Ana Miljković (2003, Belgrade) completed her Master's degree in Printmaking at the Faculty of Fine Arts, University of Arts in Belgrade (2026), in the class of Professor Adam Pantić. She earned her Bachelor's degree in Painting at the same faculty (2025), under Professor Milivoj Pavlović. During the 2023/2024 academic year, she participated in an Erasmus+ student exchange at Mimar Sinan Fine Arts University in Istanbul. She is the recipient of the Faculty of Fine Arts Award for Printmaking (2026) and the Faculty Award for a Large-Format Colour Study Painting (2022/2023). Her work has been exhibited at Masterpieces VIII, Process, Impulse, FESTUM, the 51st and 52nd Exhibitions of Small-Format Drawings and Sculpture, the Exhibition of Award-Winning FLU Students, and the exhibition of emerging artists at the mts Hall Gallery. She also participated in the 13th Mladen Srbinović Mosaic Colony in Bela Voda as part of the Belovodska Rozeta festival.

Kedar explores the possibility of shaping environments through natural processes understood as transformative forces that form both material and space. Unlike industrial production methods based on standardization and control, the work relies on living systems, using fermentation and reduction as its primary processes. A bacterial cellulose biofilm produced through kombucha fermentation gradually acquires its final form through water reduction while retaining traces of the microorganisms that contributed to its creation. The final artistic result is achieved through an inverse casting process into a mould, exploring the relationship between positive and negative form.

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Filip Najdanović (2001, Šid) graduated from the Bogdan Šuput School of Design in Novi Sad, specializing in Graphic Design. He earned his Bachelor's degree in Painting from the Academy of Arts in Novi Sad, under Professor Bosiljka Zirojević Lečić, where he is currently pursuing a Master's degree. Alongside painting, he works in sculpture and documentary photography. His work has been presented in numerous solo and group exhibitions in Serbia and abroad, including Centro Pro Arte Contemporane Association (Alexandria, Romania), The Power of Secrets (Salzburg, Austria), the Second Novi Sad Watercolour Biennale, the 20th 30 × 30 Art Salon, the 27th Sremski Karlovci Art Salon, as well as the solo exhibitions Conversations I Don't Like and Within My Four Walls. He received the Little Prince Foundation Award (2026), the Academy of Arts Award for Outstanding Achievement in Painting (2026), the Sremski Karlovci Art Salon Award for Best Young Painter (2025), and the Dositeja Young Talents Scholarship (2025).

Shadow belongs to the series Bathroom Paintings, which explores the bathroom as a place of introspection and confrontation with one's inner psychological states. By abandoning its utilitarian function, the artist transforms the bathroom into a symbol of inner monologue, silence, and self-examination. Through the depiction of an enclosed, intimate space, the work examines the relationship between external surroundings and the inner landscape of the human psyche, suggesting that our deepest internal dialogues emerge precisely in moments of withdrawal and isolation.

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Teodora Nešković (2001, Serbia) completed both her Bachelor's and Master's degrees in Painting at the Faculty of Fine Arts, University of Arts in Belgrade (2025), where she is currently pursuing doctoral artistic studies while working as a research associate. In addition to painting, her artistic practice encompasses printmaking, sculpture, scenography, and environmental installations, exploring the relationship between personal experience, introspection, and visual narrative. She has exhibited extensively in solo and group exhibitions in Serbia and abroad, including Enchanted Suite, Eden Echoes, Where the Wild Roses Grow, Masterpieces, the Youth Biennale, Eccentrics – Triennial, and Follow the White Rabbit. She is the recipient of the Museum of Naïve and Marginal Art Award, and her works are held in museum and private collections.

The Last Song emerges from a painterly investigation in which the painting develops into a layered space of memory, imagination, and personal experience. By intertwining autobiographical, mythological, and symbolic motifs, the artist constructs a visual language in which intimate experience meets universal meaning. Gestural traces, layered surfaces, and the materiality of paint become carriers of meaning, while the work functions as a space of introspection, transformation, and inner landscapes, remaining open to multiple interpretations.

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Angelina Pajković (2004, Belgrade) is a fourth-year undergraduate student in the New Media Department at the Faculty of Fine Arts, University of Arts in Belgrade. Her artistic practice employs performance, photography, and other media to investigate the relationship between personal struggle, social pressure, and self-perception. Through themes of bodily transformation, feminism, consumer society, and ethics, she questions the position of the individual and the possibility of redefining identity and self-worth.

Prey for Me explores the feeling of entrapment under the pressure of social expectations and objectification. Beginning with the image of a body sealed inside a vacuum bag, the artist uses this claustrophobic space as a metaphor for control, helplessness, and the loss of autonomy. The work examines the relationship between the body and the social mechanisms that shape its perception, raising questions of freedom, identity, and resistance to imposed roles.

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Aleksa Pavković (2000, Pančevo) is a fourth-year Sculpture student at the Faculty of Fine Arts, University of Arts in Belgrade, in the class of Professor Radoš Antonijević. He received the Vladeta Petrić Award for Sculpture (2026). His work has been exhibited in numerous group exhibitions, including New Direction, Ecolibrium, the Čukarica Salon, the Salon of Contemporary Art, April Encounters, Works in Progress, the Biennale of Medals and Plaques, and the Exhibition of Award-Winning Students. He has participated in student art colonies in Deliblato Sands and the Jelena Anžujska Art Colony in Raška, as well as numerous projects in the fields of contemporary art and public space.

Do Lies and Deception Create the Dragon? stems from an investigation into materiality and the transformation of meaning in found objects. Working with metal, wood, coal, and other materials, the artist explores how changes of context alter the perception and symbolic value of everyday objects. By stripping them of their original function, these objects become carriers of new meanings, while the ephemeral nature of materials such as coal further emphasizes themes of transience, instability, and the layered character of sculptural expression.

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Jovana Ruvidić (2004, Stara Pazova) graduated from the School of Design (2022) before enrolling in the Painting Department at the Faculty of Fine Arts, University of Arts in Belgrade, where she is currently completing her fourth year under Professor Zoran Dimovski. Her artistic practice investigates the relationship between individuals and space through scenes of everyday life, personal interaction, and urban environments, using vivid colour and a simplified graphic language. She received the Faculty of Fine Arts Award for Small-Format Printmaking (2026). Her work has been presented at the 74th May Printmaking Exhibition, Huk, Pop-up, Plus, and the Faculty's graduate exhibitions, while she also actively participates in festivals, mural projects, and street art initiatives.

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Emilija Sandić (2003, Belgrade) graduated from the School of Design in Belgrade and earned her Bachelor's degree in Photography at the Academy of Arts in Novi Sad (2025), where she is currently pursuing a Master's degree. Her artistic practice focuses on black-and-white analogue photography, darkroom processes, and the materiality of the photographic medium, with a particular interest in process-based experimentation and image transformation. Since 2022, she has been actively involved with the Zrno Festival of Alternative Photographic Processes as both an assistant and lecturer. She has participated in numerous artist residencies, workshops, and exhibitions in Serbia and abroad, including Mitrovica Art Residency Exhibition, Breaking Point, Traces of Presence, 30 × 30, the World Biennial of Student Photography, Analogmania, Open Iris, Sehschaerfenbestimmung, and the 2nd Quanzhou (Huaguang) International Image Biennial.

The works from the Non-Becoming project examine the changing identity of Belgrade through the relationship between urban transformation and the materiality of photographic documentation. Starting from archival photographs of buildings that have already been demolished—or whose demolition has been announced—the artist applies chemical processes that gradually dissolve and transform the photographic emulsion. The destruction of the original image becomes a metaphor for the disappearance of architecture and an entire layer of the city, while the newly created photographs preserve traces of the past, revealing the complex relationship between memory, loss, and transformation.

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Sara Savić (2001, Bor) graduated from the Bogdan Šuput School of Design in Novi Sad and received her Bachelor's degree in Painting from the Academy of Arts in Novi Sad (2025), in the class of Professor Goran Despotovski, where she is currently pursuing a Master's degree. Her artistic practice explores the relationship between space, the human figure, and psychological states through painting, drawing, and mixed media. She is the recipient of the Award for Outstanding Achievement in Painting and the Second Prize at the Novi Pazar Art Salon, and has been nominated for the Little Prince Award. She has exhibited extensively, including at Young Novi Sad Scene, Sterile Touch, Revealed Visions, the Young Artists Salon, ART EXPO, Remember Their Names, You'll Ask Me, and the XXII Serbian Student Drawing Biennale.

Sterile Touch belongs to a series investigating everyday urban environments as places of transience, introspection, and emotional distance. Drawing upon scenes from public transport, stations, and transitional spaces, the artist explores the individual's relationship to both the surrounding environment and other people, highlighting the paradox of contemporary life in which physical proximity does not necessarily produce emotional connection. Through the relationship between figure and environment, the work questions the boundary between public and intimate space while addressing loneliness, belonging, and the individual's place within today's urban landscape.

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Anđelija Stančulović (2003, Niš) is completing her undergraduate studies in Digital Arts at the Faculty of Media and Communications in Belgrade, where she is developing her graduation project under the mentorship of Professors Predrag Terzić and Marina Marković. Her artistic practice investigates corporeality, social norms, and personal experience through performance, photography, digital media, and spatial installation. She received the Digital Arts Department Student of the Year Award for both 2023 and 2024. Her work has been presented in numerous exhibitions and festivals in Serbia and abroad, including Breaking Point, Du bist WOW, Speculum Artium, the Youth Biennale, the World Biennial of Student Photography, Promise Me the Future, and Fields Festival. She also participated in the Superexposure 04 Photography and Contemporary Art Campus and the Mokrin House Art Colony (2026).

dirty addresses shame and the internalized feeling of being "unclean" in relation to the body, while examining the cyclical patterns to which we repeatedly return. Beginning with a performative act, the work uses soap as a symbolic carrier of socially constructed ideas of cleanliness, correctness, and desirability. Through the continuous manipulation of this object—between bodily destruction and systemic deconstruction—the work questions the mechanisms through which individuals internalize and reproduce imposed norms. By inscribing herself into the soap, the artist becomes a foreign body that disrupts the established order of purity. The performative diary documenting the process deliberately avoids the idea of purification or liberation, emphasizing instead the continuous cycle between control, discomfort, and attempted transformation.

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Relja Stevanović (2001, Belgrade) completed both his Bachelor's and Master's degrees in Painting at the Faculty of Fine Arts, University of Arts in Belgrade, under Professor Biljana Đurđević, with whom he is currently pursuing doctoral studies. His artistic practice investigates the relationship between individuals, identity, and lived experience through contemporary painting. He received the Rista and Beta Vukanović Award for Painting (2024), the Faculty Award for a Large-Format Colour Study Painting (2022), and the FSU International Art Contest 2025 Award in Painting. His work has been exhibited in numerous solo and group exhibitions in Serbia and abroad, including Threshold of the Unspeakable, Flow, Masterpieces VII, 4 Segments, L2, Individual Practices, New Direction, Spring Show, and ALU Perspektiva 2.

Theatre investigates one's personal position within life itself, approaching the fragile boundary between an individual's internal performativity and the unconscious continuation of living under the illusion of a singular, coherent identity. The act of questioning personal expression—as an essential aspect of both artistic and human striving—can lead either toward deeper self-understanding and fulfillment or toward the imposition of ideas generated by fear. In the latter case, one's self-image gradually fragments, while fear assumes the role of truth.

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Filip Teletin (2003, Belgrade) graduated from the Tehnoart Secondary School of Arts in Belgrade and is currently a fourth-year Sculpture student at the Faculty of Fine Arts, University of Arts in Belgrade. His artistic practice combines traditional sculpture with contemporary technologies, experimenting with cardboard, plaster, aluminium, digital modelling, and 3D printing. Alongside sculpture and installation, he also works with photography, video art, and stop-motion animation. He has exhibited at the 52nd Exhibition of Small-Format Drawings and Sculpture (Belgrade Youth Centre, 2024), Dynamics of Diversity (King Peter I House, 2024), Works in Progress (Gallery 73, 2026), and participated in the Black Box competition (2024). He also received a Special Commendation in the My World photography competition organized under the patronage of the European Union.

Mind explores the tension between the human inner self and the systems of thought within which it exists. The sculpture poses a fundamental question: To what extent do we truly control our own minds, and to what extent are we merely silent wanderers trapped within the loops of our consciousness? Through a refined geometric vocabulary and an expressive use of colour, the work translates elusive psychological phenomena into a tangible three-dimensional spatial experience.

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Valentina Ulamović (2000, Podgorica, Montenegro) graduated from the Department of Sculpture at the Faculty of Fine Arts, University of Arts in Belgrade (2025), in the class of Professor Gabriel Glid, where she is currently pursuing a Master's degree. She is the recipient of the Faculty of Fine Arts Award for Metal Sculpture (2024, 2026). She has participated in the Deliblato Sands student art colony and the international student symposium Terra, and has exhibited in numerous group exhibitions including Masterpieces VIII, Works in Progress, 4 Segments, Individual Practices, If the Girls Are United, Ecolibrium, New Direction, the Exhibition of Award-Winning Students, the 51st and 52nd Exhibitions of Small-Format Drawings and Sculpture, Ornaments, and Umfesti.

Bite II represents a space of encounter between two entities. Conceived as a dialogue between two unequal yet inseparable masses—a dominant feminine principle and a subtle masculine element—the sculpture investigates the moment at which individual boundaries dissolve in order to create a shared whole. The visible joints and raw quality of the metal emphasize both the weight and inevitability of this union, pointing toward interdependence and the inseparable bond between the two forms.