Is Belgrade’s Art Market an Ornament for Urban Rebranding?

Since the late 2010s, a metamorphosis has taken hold of Belgrade’s contemporary art scene. It is most visible in the proliferation of new galleries clustered within the city’s historical centre and its more affluent neighborhoods, such as Dorćol and Vračar.

This is no mere coincidence: it is a byproduct of a calculated pivot in the ruling government’s cultural policy. Moving away from traditional state patronage, the administration has embraced a ‘creative city’ approach, funnelling investment into creative industries as a companion to the country’s burgeoning IT sector.

This strategy mirrors the urban and political facelift seen in Tirana, Albania, during Edi Rama’s tenure as mayor and later as prime minister. In both cases, there is an explicit attempt to rebrand an ex-socialist, war-weary nation into a modern, vibrant European hub.

By polishing the city’s cultural exterior, the state signals to the international community that the country is open for business, using art as a sophisticated tool for soft power and attracting foreign investment. However, this glossy veneer often masks deep-seated structural issues that continue to plague the local art scene.

Historically, Belgrade’s art infrastructure has been – and largely remains – centralised around a public museum-gallery complex and state-funded universities. The vast majority of artists are still groomed within faculties of the city’s University of Arts in Belgrade, which despite their prestige, remain relatively conservative institutions. Their curricula are often strictly partitioned by traditional media – painting, sculpture, printmaking – and struggle to keep pace with the fluid, interdisciplinary currents of global art making.

In sharp contrast, the Faculty for Media and Communications at Singidunum University has emerged as a hub for more radical, contemporary thought. Its digital art seminars have cultivated a generation of artists who are significantly more attuned to new media, postinternet aesthetics and current global movements. Beyond fine artists, this private institution has also shaped a cohort of competent designers who navigate the intersection of commerce and culture with far more agility than their counterparts in public academies. The scene is also peppered with architects and self-educated polymaths who bypass these formal structures entirely, contributing to a more eclectic, if fragmented, ecosystem.

Museum of Contemporary Art Belgrade, 2024. Courtesy kallerna, Wikimedia Commons

For the fresh graduate, the transition from the academy to the public arena is often jarring. Many enter a phase of manic exhibiting, driven by the pressure to build a resume and secure visibility. This frantic pace frequently leads to premature burnout or profound personal crises when artists realise that their labour is essentially uncompensated. In the public museum-gallery complex – anchored by the Museum of Contemporary Art (MoCAB) and the Cultural Center of Belgrade (KCB) – fees are rare. Artists are often lucky if the institution covers basic transportation or minimal production costs.

This is where the invisible hand of social class becomes the deciding factor in an artist’s longevity. Within a few years of graduation, a significant portion of the precariat class of artists stops producing work because it is simply not financially sustainable. Those who persist usually fall into two categories: those who secure postgraduate stipends or PhD positions, often supplemented by parental support or low-stakes side jobs; and those with family wealth who can afford to maintain a studio and produce work without the immediate pressure of sales.

A substantial brain drain also persists. Many of Belgrade’s most promising talents leave for European capitals like Vienna, Berlin, Paris or London, seeking the stability of Western institutional support and the reach of larger diasporic Balkan communities.

Exhibiting in the city’s newer private galleries, such as Novembar, Eugster || Belgrade or X Vitamin, offers a different dynamic. These spaces operate with a more commercial mindset, attempting to stimulate a local market that has long been stagnant. However, the number of local collectors remains extremely limited. The Serbian middle and upper classes don’t have a tradition of contemporary art patronage, often preferring safer or more traditional decorative works over challenging conceptual or digital pieces.

Consequently, artists often rely on a community-based economy, selling works to colleagues, friends and local supporters at ‘friend prices’ just to keep their practice alive. Interestingly, a new variable entered this equation following the 2022 invasion of Ukraine. The massive influx of Russian immigrants to Belgrade has brought a wave of small, service-based businesses: boutique cafes, hair salons and specialty bars. These entrepreneurs have introduced a culture of tighter integration between small business and local art, commissioning murals and purchasing works to define their brand identities. This ‘Russian effect’ has provided a much-needed, albeit niche financial injection into a scene that was previously starved of private commissions.

Edita Kadiric, Balsam, 2025 (installation view, X VITAMIN, Belgrade). Photo: Marijana Jankovic. © X Vitamin. Courtesy the artist and X Vitamin, Belgrade

The atmosphere has shifted once again in the wake of massive, student-led protests over the past year. This anti-corruption movement has forced a politicisation of the art world that had been dormant or cynical for some time. We are seeing a move away from the isolation of the white cube towards a more socially engaged practice. Art is increasingly being used as a tool for protest, with posters, performances and street interventions becoming the primary modes of expression for a generation of artists that feels sidelined by both the state’s creative city narrative and the traditional gallery system.

As Belgrade continues to oscillate between its socialist past and a neoliberal, tech-driven future, its artists remain the primary chroniclers of this tension. The question remains whether the new infrastructure of private galleries and creative hubs will eventually provide a sustainable floor for these artists, or if they will remain mere ornaments in a larger game of urban rebranding.

Lav Mrenović is an independent art writer and curator based in Belgrade, Serbia. He is an art historian by education with BA from Faculty of Philosophy, University of Belgrade, where he is currently finishing up his MA. He has been active as an editor of magazines and exhibition catalogues, a journalist for online media, a curator of group and solo shows, as well as an organizer in art worker's initiatives.