Navigating through this system you will be able to get acquainted with the artworks of Belgrade’s kings and queens. Reading about the particular artists or artworks you should get a general overview of the development of Belgrade’s graffiti and street art scene. SABG long term researcher and curator, Ljiljana Radošević, will take you through this history overview.
Since the unofficial beginning of graffiti culture in Belgrade in 1995 there has been a relatively small number of active graffiti writers and street artist. The capital city in which population is approaching 2 million people the number of active graffiti writers and street artists moves between 20-30 individuals. Since the scene is relatively small it is compact and functional. There are problems on the scene, like in any other city, but they seem to be of personal nature and more often than not they do not impact the functioning of the scene in general. There are other active scenes in Serbia, but everyone come to do art in Belgrade, and some of the artist even stay. This means that the local Belgrade scene is actually constantly being strengthened by the extraordinary artists that come from other cities or the artists from abroad that come to do their art and sometimes stay.

Virtual Reality exhibitions are imagined as an alternative to walking the streets and seeing and experiencing the artworks in their natural habitat. Appreciating graffiti and street art is not only about understanding the artistry and idea behind it but also understanding the context in which they were created. This meant that one needs to understand the city noise, crowd, traffic jams, neglected spaces, old industrial area or a regular residential neighbourhood. That would be the main reason why graffiti and street art do not “translate” well in institutional setting. Virtual Reality gives us the opportunity and possibility to create space in which one can walk by the art piece and experience it in real dimensions, in detail, documented within its surroundings. In the future we will be able to add sounds, smells and other sensory input. We strive to create open spaces in VR and put in them 3D walls that look and feel as real as possible while contextualizing them within exhibitions made out of archival materials. And our cutator Ljiljana Radošević is well versed in creating exhibitions that are up to institutional standards but that follow the ethics of the streets and treat these ephemeral art pieces as precious intangible heritage.