{"id":7897,"date":"2021-11-19T10:07:19","date_gmt":"2021-11-19T10:07:19","guid":{"rendered":"https:\/\/heartefact.org\/about-us\/history\/"},"modified":"2026-08-21T09:32:12","modified_gmt":"2026-08-21T09:32:12","slug":"history","status":"publish","type":"page","link":"https:\/\/heartefact.org\/en\/about-us\/history\/","title":{"rendered":"History"},"content":{"rendered":"\t\t
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Heartefact history<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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2025.<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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In 2025, Heartefact\u2019s work was defined by\u00a0continuity, expansion, and a deepened regional presence<\/strong>\u00a0in a context marked by political uncertainty and increasing pressure on independent cultural and civic actors. Across its three pillars, the organization continued to combine artistic production, public engagement, and human rights advocacy.<\/p>\n

Through the\u00a0Heartefact Foundation<\/strong><\/a>, 2025 marked a significant programmatic expansion.\u00a0The Culture for Democracy<\/strong><\/a>\u00a0(CfD) project in Serbia entered its second phase, supporting 22 artistic projects and 4 organizations through Boost Grants, alongside 10 additional grants within the Human Rights Leadership Program. In parallel, Heartefact launched the\u00a0Culture for Development<\/strong>\u00a0<\/a>project in North Macedonia, supported by the\u00a0Swiss Agency for Development and Cooperation (SDC)<\/strong>, introducing a comprehensive support framework that, in its first year, funded 19 artistic projects, 5 institutional grants, and 2 job shadowing initiatives, alongside public events and capacity-building programs across 8 cities.<\/p>\n

Heartefact House<\/strong><\/a>\u00a0reaffirmed its position as a vital space for socially engaged theatre with productions traveling from Belgrade to Sarajevo, Prishtina, Tirana, Milan, Leipzig, Groningen, and New York. The premiere of\u00a0They Are All Gone<\/em><\/strong><\/a>\u00a0(directed by Andrej Nosov, written by Doruntina Basha), created in co-production with SARTR (BiH) and My Balkans (USA, Serbia), in cooperation with La MaMa Experimental Theatre Club (USA), Ibsen Scope (Norway) and Allianz Foundation (Germany), marked one of the central artistic moments of the year, engaging with memory and the legacy of the Srebrenica genocide. The new co-production\u00a0Art&Money<\/strong><\/em><\/a>\u00a0with SWEETS\/PotatoPotato (by Swedish artist Freja Hallberg) explored the tension between artistic creation and economic structures. The repertoire remained highly active with over 80 performances for 7000 audience members. Through the\u00a0Theatre Caravan<\/strong>, performances reached smaller towns in Serbia opening space for dialogue on gender, trauma, and social norms beyond major cultural centers.<\/p>\n

The 14th\u00a0Competition for the Best Contemporary Engaged Drama<\/a><\/strong>\u00a0received record 170 submissions. The award was given to\u00a0Aleksandra Uro\u0161evi\u0107<\/strong>\u00a0for her play\u00a0Female Child<\/strong><\/em>, which thoughtfully and subtly explores existential questions of the female experience. Through European platforms such as\u00a0Fabulamundi<\/strong>\u00a0and\u00a0Playground<\/strong><\/a>, Heartefact supported emerging playwrights through workshops, residencies, and international exchanges, while the newly established\u00a0Sarajevo Theatre Showcase<\/strong>\u00a0<\/a>gathered over 200 professionals and marked itself as a key regional platform for collaboration, industry peaches and networking opportunities.<\/p>\n

HF Institute<\/strong><\/a>\u00a0further strengthened its role as a space for knowledge production and advocacy. Through the\u00a0Human Rights Leadership Program<\/strong>,<\/a>\u00a0Heartefact worked with 40 fellows from 15 cities across Serbia, supporting campaigns addressing gender-based violence, minority rights, social justice\u2026 Advocacy initiatives such as\u00a0\u0106utanje nije zlato<\/strong>\u00a0<\/em>(Silence is not Golden) addressing gender-based violence and\u00a0Ima mesta za sve<\/strong><\/em>(There is a place for everybody) addressing questions of tolerance, translated programmatic work into public interventions, while the regional\u00a0Yes Means Yes<\/strong>\u00a0<\/em>initiative focused on redefining legal and social understandings of sexual violence and consent-based legal frameworks. The\u00a0Serbia-Kosovo Reconnection Program<\/strong><\/a>\u00a0continued through a series of visiting programs and exchanges, engaging more than 30 artists, activists, and professionals in sustained dialogue on gender equality, memory, and post-conflict cooperation.<\/p>\n

With\u00a0active programs in Serbia, Kosovo, and North Macedonia, and sustained partnerships across the Western Balkans and Europe,<\/strong>\u00a0Heartefact continued to act as a connector between disciplines, communities, and social realities.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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2024.<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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In 2024, Heartefact was marked by both continuity and transformation: not only in our programming, but also in how we position ourselves in the region. We continued to strengthen our role through HF Fondation and HF House, while also taking a major step forward by formally establishing a third programmatic pillar:\u00a0HF Institute<\/a>, dedicated to research and the development of new narratives around key social issues. Finally, the end of the year was marked by a crucial regional shift: we formally established offices in\u00a0Prishtina<\/strong>\u00a0and\u00a0Skopje<\/strong>, while further strengthening strategic collaboration in\u00a0Bosnia and Herzegovina<\/strong>, primarily with SARTR (Sarajevo War Theatre).<\/p>\n

In the final year of implementation of Phase I of\u00a0Culture for Democracy<\/a>\u00a0(CfD), the first comprehensive, long-term intervention in the field of culture and art in Serbia supported by the Swiss Government, we supported an additional 19 projects through the Grants for Artistic Expressions scheme, 9 projects through the Art Boost line, and awarded 5 new Job Shadowing supports. The project\u2019s final conference,\u00a0Cultural Nexus<\/strong>, was held in Ni\u0161, bringing together organizations and individuals from Serbia\u2019s independent cultural scene. Through discussions, panels, and group work, we mapped the key outcomes of four years of support as well as strategic directions for the project\u2019s next phase. Over the four years of implementation, we supported a total of\u00a089 projects,<\/strong>\u00a0positioning Culture for Democracy as a cornerstone for the survival of independent culture and art in Serbia over the past period.<\/p>\n

HF HOUSE<\/a>\u00a0produced two new performances while also delivering more than 80 performances across Serbia, the region, and Europe. We premiered\u00a0How I Learned to Drive<\/a>\u00a0(directed by Tara Mani\u0107, written by Paula Vogel) and\u00a0All the Good Barbies<\/a>\u00a0(directed by \u0110or\u0111e Ne\u0161ovi\u0107, based on the novel by Katarina Mitrovi\u0107). We continued staging\u00a0Our Son<\/em>, which also toured to Sarajevo and D\u00fcsseldorf, as well as The\u00a0Finger<\/em>\u00a0and\u00a0A Short History of Burgers and Other Stories<\/em>, performed at the Noorderzon Festival in Groningen. One of the most important ways we expanded audiences and opened conversations on sensitive topics outside major centers in 2024 was through the\u00a0HF Theatre Caravan<\/strong>, reaching cities such as Pirot, Ni\u0161, Ruma, Arilje, U\u017eice, Lazarevac, Aleksandrovac, Po\u017earevac, Be\u010dej, and others. For the sixth year in a row, we contributed to the theatre segment of Belgrade Pride Week by producing the performance\u00a0Boys Just Want To Have Fun<\/strong>\u00a0with the Swedish company Il Dance.\u00a0In the field of contemporary drama, the 13th Contest for the Best Contemporary Engaged Dramatic Text received 117 submissions, and the jury (Ozren Grabari\u0107, Bo\u017eo Koprivica, Biljana Srbljanovi\u0107) awarded first prize to Mirza Skenderagi\u0107 for the play\u00a0Baci je Putine i budi precizan<\/strong>. As part of the European playwright network Fabulamundi, we hosted a major three-day\u00a0network conference<\/a>\u00a0at HF HOUSE, welcoming more than 50 international guests and enabling intensive exchange with the local theatre scene. Together with partners from Italy, France, and Romania, we also launched a new European project supporting emerging playwrights:\u00a0Playground<\/a>\u00a0(2024\u20132026). We continued activities within several other European projects as well: within Poets of Today \u2013 Voices of Tomorrow, the ToolBook was published in five languages; through Slavic Soundwalking, we launched an\u00a0interactive mobile application<\/a>; while\u00a0Eclectic of Otherness<\/a>\u00a0entered its final phase with premieres of three new productions and the realization of Festivities of Otherness in Zagreb, Belgrade, and Paris. As executive producers and co-organizers, we co-organized the exhibition\u00a0UKRAINE: LOVE + WAR (2014\u20132024)<\/strong>, and our podcast Pleasure in Text, hosted by Biljana Srbljanovi\u0107 and Vladimir Ceri\u0107, continued its steady monthly publishing, with a total of 16 episodes released.<\/p>\n

With the establishment of HF INSTITUTE, we made a strategic leap forward: through the\u00a0Human Rights Leadership Program<\/a>, we worked with 23 activists from 14 cities across Serbia, focusing on campaigns capable of generating concrete local change. Through the\u00a0Reconnection<\/a>\u00a0program, we continued creating space for new perspectives and stronger links between Kosovo and Serbian society through two main formats: the\u00a0Fellowship<\/a>\u00a0Program (with 13 published research papers on cooperation and relations) and the Kosovo\u2013Serbia Visiting Program, which included 38 participants.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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2023.<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\n\t\t\t\t\t\t\t\t\tWith the aim of strengthening the independent cultural sector, as part of the\u00a0Culture for Democracy<\/a><\/i><\/b>\u00a0project in 2023, we supported 50 projects of civil society organizations, with a total value of almost 60,000,000 dinars. Project activities take place in more than 60 cities and municipalities in Serbia, continuing the implementation of the first comprehensive and long-term intervention in the field of culture and arts in Serbia supported by the Swiss Government. Among the organizations whose projects are supported are: the association\u00a0Klara i Rosa<\/em>\u00a0from Subotica,\u00a0Reflektor<\/em>\u00a0Gallery from U\u017eice,\u00a0Generator<\/em>\u00a0from Vranje, Independent Film Center\u00a0Film Art<\/em>\u00a0(Interakcija<\/em>) from Po\u017eega,\u00a0Rural Cultural Center Markovac<\/em>,\u00a0Kulturanova<\/em>,\u00a0Reflektor Theater, Association Independent Cultural Scene, Stanica, ULUS,<\/em>\u00a0and many others. Through these projects, Heartefact has supported various cultural and artistic productions, as well as experimental, innovative, and participatory projects that test new models of collaboration, association, and advocacy in culture and art, enabling sustainable and continuous development of the entire independent scene.

In 2023, we celebrated one year of the existence of the Heartefact theater space in the center of Belgrade with over 80 performances of our own, guest, and student plays, with more than 5000 visitors who passed through the Heartefact House. We enriched the repertoire with two new premieres: the author project\u00a0Before We Begin<\/a><\/b><\/i>\u00a0by Jug \u0110or\u0111evi\u0107 and Tijana Grumi\u0107, as well as the author project\u00a0Climax<\/a><\/b><\/i>\u00a0by Patrick Lazi\u0107 and Dunja Mati\u0107.

With special pride, we included our longest-running play,\u00a0Finger<\/i><\/a>, which premiered in 2012 based on the winning text by Doruntina Bashe in the Heartefact drama competition. Last year\u2019s premiere\u00a0Our Son<\/a>\u00a0<\/b><\/i>continued its successful European theater tour, with eight performances at the Dublin festival, guest appearances in Timisoara, Zagreb, Bratislava, and ending the year with an award for best play according to the choice of a young jury at the Fast Forward festival in Dresden.

With several humanitarian performances of the play\u00a0Before We Begin<\/a><\/i><\/b>, we supported Novi Sad Pride Week and the free psychological assistance provided by the \u201cDa se zna!\u201d association to the LGBTI+ community. We also launched a queer caravan where we perform our plays with minority perspectives in smaller towns in Serbia, followed by discussions with the local audience on these sensitive topics.

Traditionally, we participated in organizing this year\u2019s largest and most inclusive Belgrade Pride, where solidarity was shown by many citizens residing in Serbia due to wars in their countries. The theater program during Pride Week was accompanied by guest performances from Pula, Prishtina, domestic plays, and exhibitions, including an emotional presentation of the poetry collection by long-time human rights activist Boban Stojanovi\u0107 and the first meeting of the new European theater network of theaters and organizations dealing with queer and minority perspectives, which we initiated.

A record-breaking 163 entries were received for the 12th Contest for the Best Contemporary Engaged Dramatic Text, and the jury composed of Dubravka Vrgo\u010d, Molina Udovi\u010dki Fotez, and Biljana Srbljanovi\u0107 selected Marija Rako\u010devi\u0107\u2019s text \u201cThe Woman Ties a Ponytail\u201d as the winner. The jury also singled out texts by Aleksandra Glovacki, Sara Radojkovi\u0107, Hana Konse, and Anita \u010ceko. As a continuation of nurturing contemporary dramatic writing, we joined the European network of playwrights Fabulamundi, consisting of 19 playwrights from across Europe, represented by Biljana Srbljanovi\u0107 and Patrick Lazi\u0107 for Serbia and Heartefact.

We also continued activities on the Creative Europe project\u00a0Poets of Today, Voices of Tomorrow<\/a><\/b><\/i>, where we presented 10 of our young poets to the audience through several public events and concluded the year with visits to 16 primary and secondary schools in Serbia by our poetry caravan, introducing contemporary poetry to young people.

We involved twenty-five contemporary Serbian writers in the\u00a0Slavic Soundwalking<\/a><\/i><\/b>\u00a0project, where we developed a mobile application for an interactive tour of Belgrade, Zagreb, and Ljubljana listening to short urban stories, which will be launched in 2024. At the end of next year, three European co-productions developed throughout this year with organizations from Croatia and France as part of the\u00a0Eclectic of Otherness<\/a><\/i><\/b>\u00a0project will be performed in Belgrade, addressing the question of what it means to be different in the context of today\u2019s Europe.

Heartafact\u2019s podcast \u201cPleasure in Text\u201d (srb.\u00a0Zadovoljstvo u tekstu<\/i>) by Biljana Srbljanovi\u0107 and Vladimir Ceri\u0107, which has been broadcast in over 220 episodes.

We continued to tell new stories about the relationship between Kosovar and Serbian society. We continued to work on building good neighborly relations between Serbs and Albanians, believing in the historical opportunity for authorities and both societies to accept reality.

Through two cycles of calls for visiting programs, we enabled 22 people from Serbia and Kosovo to connect and develop (future) cooperation. The selection of the first 7 researchers within the fellowship program, exploring new and constructive narratives on various social, political, and economic topics, was particularly significant. Two online conferences were held to discuss the relationship between Kosovo and Serbia, and we organized 11 educational labs for young people called\u00a0At Second Glance.<\/i><\/b>

We took the audience of Heartefact House to Prishtina to visit the Kosovo Theatre Showcase, where our play\u00a0A Short History of Burgers and Other Stories\u00a0<\/a><\/i><\/b>was performed, and three Kosovar artists presented their work in Belgrade: Fidan Bejtullahu with the exhibition\u00a0Embrace<\/b><\/i>, and Yllka Brada and Tadi collaborated on the costumes and music design for the play\u00a0Climax<\/i><\/b>\u00a0as part of the Reconnection 2.0 project.\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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2022.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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This year was marked by the processes of transformation, on an organizational but also on a programmatic level. Two years ago, we became partners with the\u00a0PeaceNexus foundation\u00a0<\/b>which resulted in new strategic documents and a new systematization. In order to achieve our vision more effectively, we divided our programmatic lines into two parts:\u00a0HF House<\/a>\u00a0and\u00a0HF Foundation<\/a>. We opened our new space,\u00a0Heartefact House<\/a>\u00a0in the center of Belgrade where we had three premieres of new productions:\u00a0Our Son\u00a0<\/a>(author and director: Patrik Lazic),\u00a0A Short History of Burgers and other stories<\/a>\u00a0(project by author: Andrej Nosov) and\u00a0Would be a Shame If the Plants Died<\/a>\u00a0(author and director: Ivor Martinic). During Pride Week, we organized\u00a0the Fourth Pride Theater Festival<\/a>\u00a0held during\u00a0EuroPride 2022,<\/b>\u00a0the biggest European LGBTQ+ event. We opened the House doors for regional guests that can (often) be watched on other Belgrade scenes. Our first guest was from the Sarajevo War Theater and their play\u00a0Visiting Mr Green<\/a>, a project by Alban Ukaj, Miki Trifunov and Nejra Babic. As part of the\u00a0Reconnection 2.0<\/a>\u00a0project, we also organized the performance of the Kosovar play\u00a0Handke Project<\/a>\u00a0at the Biter Theater, and we also performed our play Our Son in\u00a0Prishtina and Gjilan<\/a>\u00a0(where we were the first Serbian play to perform in over 23 years) and we held four artistic residencies of Serbian artists in Prishtina and Kosovar artists in Belgrade. We published the Serbian translation of two new plays of known Kosovar author\u00a0Doruntina Basha<\/b>. On Heartefact\u2019s 11th competition for the best contemporary socially engaged play script, the winning text was\u00a0the Milk Purchase<\/b>\u00a0by an author from Osijek, Davor Spisic. We got the support of the Creative Europe program funded by the European Union for four projects, and in 2022, we started our first activities within the\u00a0Poets of Today \u2013 Voices of Tomorrow<\/i><\/a>\u00a0project that aims for poetry to be regularly implemented within school classrooms in a new and innovative way. During EuroPride 2022, we organized and\/or co-produced around\u00a010 exhibitions<\/b>\u00a0of queer artists, and near the end of the year we took part in the production of a big exhibition by Mrdjan Bajic \u2013\u00a0The Unreliable Narrator<\/b>\u00a0at the Museum of Contemporary Art. We celebrated the\u00a0200th episode<\/b>\u00a0of the podcast Pleasure in the Text by Biljana Srbljanovic and Vladimir Ceric. We were awarded the\u00a0Ibsen Scope Grant<\/b>\u00a0for our project\u00a0They Have Already Gone<\/b>, a play in the making dealing with the Srebrenica genocide. As implementers of the\u00a0Culture for Democracy<\/a>\u00a0(CfD) project, we supported\u00a021 projects<\/b>\u00a0from the field of contemporary art and culture: 13 grants for artistic and cultural projects, 6 partner grants and 2 job shadowing grants. We implemented 3 more\u00a0Kosovo School\u00a0<\/a>cycles for 30 young people from Serbia and Kosovo.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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2021.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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As a special program within the Heartefact Fund, the Foundation was reactivated and, with the support of the Swiss government, the\u00a0Culture for Democracy<\/b><\/a>\u00a0project was launched. Katarina Nikoli\u0107 won the\u00a0competition for a contemporary engaged play<\/b>\u00a0with the play \u201cWindow<\/b>\u201c. The award was given at the\u00a0Heartefact Festival<\/b><\/a>\u00a0held in End\u017eio Hub, and the stage reading was performed by second-year acting students at the Faculty of Dramatic Arts in Belgrade in the class of Marija Milo\u0161evi\u0107. Consultations with\u00a0Peace Nexus Foundation<\/b>\u00a0were held and a new strategic plan for the period 2022-2025 was established. In September, the Pride Theater Festival was organized, featuring Kosovo artist Agon Rexehpi, who was given a residency as part of the\u00a0Reconnection 2.0<\/b><\/a>\u00a0program. Within the same program, the book \u201cNotes of the Worm Smolinski \u201d\u00a0by\u00a0Kosovo author Azem Deliju was translated, published, and promoted at the Heartefact Festival in December. The Leadership Program<\/b>\u00a0was organized for about 20 young leaders from the Western Balkans, and within the\u00a0Forum Europe<\/b><\/a>\u00a0project, 10 debates were organized that dealt with key social problems facing all countries in the region. The organisation of speed dating as a form of networking in virtual space and overcoming physical limitations due to the virus pandemic continued. The realization of the\u00a0Kosovo School\u00a0<\/b><\/a>program continued, through which 33 participants passed during the year, and due to the COVID-19 virus pandemic, one visit to Pristina was organized. The project\u00a0\u201cMedia Voices\u201d<\/b>\u00a0was realized, which aimed to connect young people from Kosovo and Serbia, who created a series of podcasts on various topics that connect the two societies. 32 episodes of the podcast\u00a0\u201cPleasure in the text\u201d\u00a0<\/b>were published and the performances\u00a0\u201cKiddo\u201d, \u201cFinger\u201d, \u201cOctober the 6th\u201d<\/b>\u00a0and\u00a0\u201cUncle Vanya\u201d\u00a0<\/b>continued.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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2020.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Benjamin Bajramovi\u0107 won the competition for contemporary engaged drama with the play \u201cBrothel Eden\u201d<\/b>, and the stage reading was performed by students of the\u00a0Academy of Arts<\/b>\u00a0from Sarajevo in the class of Professor Ermin Bravo. During the year, the realization of the\u00a0\u201cFuture Epics\u201d<\/b>\u00a0project was completed. Despite the difficulties due to the Covid-19 virus pandemic, which started in March, the premiere of the play\u00a0\u201cIntimacy\u201d<\/b>\u00a0was held at the\u00a0\u201cDubrovnik Summer Festival\u201d\u00a0<\/b>starring Leon Lu\u010dev and Jelena Graovac. In cooperation with the National Theater from Ni\u0161, the play by Tisa Mili\u0107,\u00a0\u201cOctober the 6th\u201d\u00a0<\/b>directed by Andrej Nosov, premiered. Although the Covid-19 virus pandemic has made travel difficult, the play\u00a0\u201cKiddo\u201d\u00a0<\/b>visited Pri\u0161tina and Ferizaj.\u00a0Pride Theater Festival<\/b>\u00a0and\u00a0Heartefact Festival\u00a0<\/b>were organized. The online platform Forum Europe has been organized more than 20 times, and\u00a0Speed \u200b\u200bdating<\/b>\u00a0was used as a special interactive form to connect people during a pandemic. All performances produced by Heartefact were available online during the pandemic. Within the\u00a0Kosovo School<\/b>\u00a0program, two seminars were organized, as well as a digital visit and other online events which adapted to the new reality in which we lived. A series of debates and online readings marked the 25th anniversary of the Srebrenica genocide.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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2019.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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The premiere of\u00a0\u201cUncle Vanya\u201d<\/b>\u00a0by Chekhov, directed by Andrej Nosov, was held in Vr\u0161ac, and the performances \u201cThe Ghosts\u201d, \u201cFinger\u201d\u00a0<\/b>and\u00a0\u201cKiddo\u201d<\/b>\u00a0continued. The sculpture for the monument to Zoran Djindjic, the assassinated Prime Minister of the Republic of Serbia, was completed.\u00a0The Heartefact Festival<\/b>\u00a0was organized, as well as the first\u00a0Pride Theater Festival in Belgrade,<\/b>\u00a0which hosted performances from the United States, Great Britain, Kosovo and Serbia. In the competition for contemporary drama, Dino Pe\u0161ut won with the drama\u00a0\u201cThe Last Afterparty\u201d<\/b>. Manfred Beilharz, longtime director and founder of the Biennale\u2019s\u00a0Neue St\u00fccke aus Europa<\/b>, symbolically handed over the legacy of the Biennale to Heartefact, linking the event\u2019s role in Europe to the Belgrade Biennale, which should continue its tradition. Within the\u00a0NEW platform<\/b>, master classes were organized by actress Mirjana Karanovi\u0107 and Dutch composer Vanessa Lann. Heartefact launched the\u00a0Reconnection 2.0<\/b>\u00a0project from Qendra Multimedia and established the\u00a0\u201cKosovo School\u201d<\/b>\u00a0program. Two symposiums were organized with partners from the Dubrovnik Summer Festival and the Tasca organization from Barcelona, \u200b\u200bas well as a master class by Biljana Srbljanovi\u0107. The project\u00a0\u201cPublic\u201d<\/b>\u00a0was also realized, which analyzed and criticized the use of offensive language in the media space.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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2018.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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The plays \u201cKiddo<\/b>\u201d directed by Andrej Nosov and\u00a0\u201cShklovski: Energy of Delusion\u201d\u00a0<\/b>directed by Branislava Stefanovi\u0107 premiered. The plays\u00a0\u201cThe Ghosts\u201d, \u201cFinger\u201d\u00a0<\/b>and the author\u2019s project of Mirjana Karanovi\u0107 \u201cJulija<\/b>\u201d were successfully performed. During the year, the realization of the\u00a0\u00a0Cathexis \u2013\u00a0<\/b>Innovating Theatre as Event: The Spectator as Researcher<\/b>\u00a0project was completed. Another successful\u00a0Heartefact Festival<\/b>\u00a0was organized. The play\u00a0\u201cMuscat Flowers Will Survive It All<\/b>\u201d by Iva Brdar won the competition for the best contemporary engaged play. Together with Heartefact partners, work continued on the\u00a0Future Epics<\/b>\u00a0project. During the year, the\u00a0NEW platform<\/b>\u00a0was launched, and Biljana Srbljanovi\u0107, Tobias Veit (executive director of the Schaubine Theater in Berlin) and Ingrid Trobitz (intendant of the Residenz Theater) held their master classes. The conference \u201cThe Future of Performing Arts in Serbia<\/b>\u00a0\u201d was organized, which gathered representatives of institutions and representatives of the independent scene in one place and opened a mutual dialogue. The program \u201cChildren of the 90s\u2019<\/b>\u00a0\u2018 and the work of the\u00a0Remarker\u00a0<\/b>portal continued.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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2017.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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The\u00a0Remarker\u00a0<\/b><\/a>portal for art and politics was founded; the editorial board of the portal was gathered, podcasts and video materials were created, with the podcast\u00a0\u201cPleasure in the text<\/a><\/b>\u201d by Biljana Srbljanovi\u0107 standing out. Heartefact supported and produced the author\u2019s project of Mirjana Karanovi\u0107 \u201cJulija<\/b>\u201d, which was premiered, and the play \u201cThe Ghosts<\/b>\u201d successfully continued to be performed. Mirko Ili\u0107\u2019s exhibition \u201cTolerance<\/b>\u201d on symbols of tolerance was organized, as well as a regional competition for the logo of tolerance. The project \u201cChildren of the 90s<\/b>\u201d was created and another\u00a0Heartefact Festival\u00a0<\/b>was organized. Sta\u0161a Bajac won the competition for contemporary drama with the play \u201cThis one will be different<\/b>\u201c. The performance \u201c48 hours of Awakeness<\/b>\u201d was performed at the Museum of Modern and Contemporary Art in Rijeka.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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2016.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Mirza Skenderagi\u0107 won the competition for the best contemporary engaged play with the play \u201cWake me up when it\u2019s over<\/b>\u201c. The performance \u201c48 hours of Awakeness<\/b>\u201d continued to be performed, as well as the performances \u201cThis grave is too small for me<\/b>\u201c, \u201cGhosts<\/b>\u201d and \u201cWomen cry too, don\u2019t they?<\/b>\u201c. The \u201cFestival of Tolerance<\/b>\u201d was renamed into the\u00a0Heartefact Festival<\/b>\u00a0and organized in December. In cooperation with the Unstraight Museum in Stockholm, the exhibition \u201cLife through the LGBT Eyes<\/b>\u201d was organized and curated by Nevena Negojevi\u0107. The platform \u201cVoices in Chaos<\/b>\u201d was created and a theatrical music concert by Irena Popovi\u0107 Dragovi\u0107 was organized. \u201cStranger<\/b>\u201d based on the motifs of Camus\u2019 work of the same name and coreographed by Milo\u0161 Isailovi\u0107 was co-produced with the\u00a0National Game Foundation<\/b>. Vuk Bo\u0161kovi\u0107\u2019s drama \u201cThe Remains<\/b>\u201d premiered at the \u201cNine<\/b>\u201d festival.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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2015.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Heartefact started this year with the transformation from a small to a medium-sized organization. Three premieres were held: \u201cWerther: either you have hope or you dont have hope<\/b>\u201d directed by Andrej Nosov; the play by Vesna Peri\u0107 \u201cIt Is Not Her Fault None of It Is Her Fault<\/b>\u201d directed by Andjelka Nikoli\u0107; Ibsen\u2019s \u201cThe Ghosts<\/b>\u201d directed by Andrej Nosov. The plays \u201cThis grave is too small for me<\/b>\u201d based on the text by Biljana Srbaljanovi\u0107, \u201cA Tomb for Boris Davidovich<\/b>\u201d by Danilo Ki\u0161 directed by Ivica Buljan and \u201cHunger<\/b>\u201d by Andrej Nosov were performed. Heartefact participated in the\u00a0Prague Quadrennial\u00a0<\/b>as part of the national selection of exhibitions curated by Mia David, which has been awarded a gold medal for initiating dialogue. Three exhibitions were organized, and\u00a0\u201cSrebrenica Today\u201d<\/b>\u00a0was especially important, marking the 20th anniversary of the Srebrenica genocide. The\u00a0European Task Force<\/b>\u00a0\u2013 a group of experts and activists for the European future of the region \u2013 has been launched. An exhibition of anti-Masonic posters was once again organized. The \u201cIntruders<\/b>\u201d platform, which was launched together with the\u00a0Transpond\u00a0<\/b>organization from Stockholm, continued its work. The book \u201cBetween Us<\/b>\u201d about the history of the LGBT community had its promotion throughout the region. In 2015, 14 grants were awarded and the philanthropic initiative \u201cArt Friendly<\/b>\u201d was conceived. At the end of the year, the documentary \u201cGabriel<\/b>\u201d was made, which follows the life of an African migrant in Serbia. The film was never finished, and Gabriel left Serbia.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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2014.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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The production of the play \u201cThis grave is too small for me<\/b>\u201d based on the play by Biljana Srbljanovi\u0107, and directed by Dino Mustafi\u0107, for which a summer tour was organized, was completed. The play \u201cA Tomb for Boris Davidovich<\/b>\u201d based on the book by Danilo Ki\u0161, and directed by Ivica Buljan, had its premiere in the city of Ciridae in Italy at the \u201cMitellfest<\/b>\u201d festival. The plays \u201cHypermnesia<\/b>\u201d directed by Selma Spahi\u0107, \u201cBent<\/b>\u201d by Andrej Nosov, \u201cWorkers Die Singing<\/b>\u201d directed by Andjelka Nikoli\u0107, \u201cHunger<\/b>\u201d directed by Andrej Nosov and \u201cFinger<\/b>\u201d directed by Ana Tomovi\u0107 continue to be performed. Two exhibitions were held: \u201cAnti-Masonic Posters 1941-1942<\/b>\u201d and \u201cNothing about Anything<\/b>\u201d by Srdjan \u0106e\u0161ic. 12 grants were awarded. The\u00a0Reconnection\u00a0<\/b>platform brought to an end small collaborative projects, and the\u00a0Intruders\u00a0<\/b>platform continued to develop. The first\u00a0Festival of Tolerance<\/b>\u00a0was organized, which later grew into the\u00a0Heartefact Festival.<\/b><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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2013.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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During the year, 31 large grants and 15 small grants were awarded. Selma Spahi\u0107\u2019s \u201cHypemnesia<\/b>\u201c, \u201cWorkers Die Singing<\/b>\u201d based on the text by Olga Dimitrojevi\u0107 and directed by Andjelka Nikoli\u0107, \u201cBent<\/b>\u201d by Andrej Nosov, \u201cFinger<\/b>\u201d by Doruntina Ba\u0161a and directed by Ana Tomovi\u0107, were all performed throughout the region and Europe. The play \u201cHunger<\/b>\u201c, an author\u2019s project by Andrej Nosov and Vuk Bo\u0161kovi\u0107, was premiered. The exhibition \u201cBogujevci \u2013 visual history<\/b>\u201d was organized in cooperation with the Cultural Center of Belgrade. The\u00a0Reconnection\u00a0<\/b>platform actively worked on connecting Kosovo and Serbia.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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2012.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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The premiere of two plays: \u201cFinger<\/b>\u201d by Doruntina Ba\u0161a, directed by Ana Tomovi\u0107 and \u201cScratching or How my grandmother killed herself\u201d<\/b>\u00a0by Tanja \u0160ljivar, directed by Selma Spahi\u0107 in collaboration with Bitef Theater and the Bosnian National Theater in Zenica. Also, the play \u201cBent<\/b>\u201d directed by Andrej Nosov had its premiere at the Bitef Theater. 18 small grants were awarded. The plays \u201cHypermnesia<\/b>\u201d and \u201cWorkers Die Singing<\/b>\u201d continue to be performed and won 7 Sterija Awards, while other Heartefact productions have won over 20 awards at various festivals in the country and across Europe. Together with the Youth Initiative for Human Rights,\u00a0Sarajevo Days<\/b>\u00a0were organized in Belgrade, and the\u00a0Reconnection\u00a0<\/b>program continued to support exchanges between Belgrade and Pristina. The play \u201cHypermnesia<\/b>\u201d was a guest at the Kosovo National Theater as the first play from Serbia after 20 years. Vesna Peri\u0107 won the competition for the best contemporary engaged drama text with the drama \u201cIt Is Not Her Fault None of It Is Her Fault<\/b>\u201c.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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2011.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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The play \u201cHypemnesia<\/b>\u201d directed by Selma Spahi\u0107 premiered. Doruntina Basha won the competition for the best contemporary engaged play with the play \u201cFinger<\/b>\u201d. Heartefact, together with the Youth Initiative for Human Rights, organized the\u00a0Days of Sarajevo<\/b>. Olga Dimitrijevi\u0107\u2019s drama \u201cWorkers Die Singing<\/b>\u201d directed by Andjelka Nikoli\u0107 was premiered. Heartefact has established strategic cooperation with Bitef Theater in order to promote contemporary drama texts. A strategic partnership has been established with the\u00a0Ilija Kolorca Endowment<\/b>. The implementation of the\u00a0Reconnection\u00a0<\/b>program continued, through which about 150 representatives of the media, civil society organizations and artists from the two societies participated in over 10 visits, and Heartefact awarded 15 small grants and organized the first\u00a0Summer production school<\/b>.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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2010.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Heartefact organized the\u00a0Days of Sarajevo<\/b>\u00a0with the Youth Initiative for Human Rights, and the stage readings of the three most successful pieces from the competition whose topic was the relationship between Belgrade and Sarajevo. The first competition for the best contemporary engaged drama text was held, and the winner of the competition was Olga Dimitrijevi\u0107 with the text \u201cWorkers die singing<\/b>\u201c. Heartefact helped the artist Milica Tomi\u0107 in the realization of the author\u2019s project \u201cFour Faces of Omarska<\/b>\u201c. A regional conference on regional cooperation of art organizations was organized within the\u00a0MESS\u00a0<\/b>theater festival. Heartefact awarded the first 8 grants. The\u00a0Reconnection\u00a0<\/b>platform for cooperation between Kosovo and Serbia was established and 12 visits were organized for various actors. For the first time an initiative was launched for a play from the National Theater in Pristina to be performed in Belgrade, in Atelje 212, but due to the impossibility of reaching an agreement on how to present the guests from Pristina, the performance was canceled. Heartefact office opened in Pristina.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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2009.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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In early July 2009, after leaving the Youth Initiative for Human Rights, Andrej Nosov founded the Heartefact Fund as a regional foundation that supports the creation of a common cultural space in the Western Balkans and critical artistic practice. In the first year of its existence, Heartefact supported 5 projects of art organizations and launched its operational work.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Partners<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Donors<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Heartefact history 2025. In 2025, Heartefact\u2019s work was defined by\u00a0continuity, expansion, and a deepened regional presence\u00a0in a context marked by political uncertainty and increasing pressure on independent cultural and civic actors. Across its three pillars, the organization continued to combine artistic production, public engagement, and human rights advocacy. Through the\u00a0Heartefact Foundation, 2025 marked a significant […]<\/p>\n","protected":false},"author":1,"featured_media":9186,"parent":7770,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-7897","page","type-page","status-publish","has-post-thumbnail","hentry"],"yoast_head":"\nHistory - Heartefact<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/heartefact.org\/en\/about-us\/history\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"History - Heartefact\" \/>\n<meta property=\"og:description\" content=\"Heartefact history 2025. In 2025, Heartefact\u2019s work was defined by\u00a0continuity, expansion, and a deepened regional presence\u00a0in a context marked by political uncertainty and increasing pressure on independent cultural and civic actors. Across its three pillars, the organization continued to combine artistic production, public engagement, and human rights advocacy. 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