A mulitmedia artist and curator, Dejan Atanackovic works with contemporary techniques to approach history representations in art. He is the author of Luzitanija, a novel set in Serbia and made of intertwined stories about travels, wanderings, transformations, and disappearances based on the conflict of progress and madness.
Dejan Atanackovic teaches Digital Multimedia, Body Archives, and Art, Mind, & Diversity at SACI. He also teaches Installation Art at Studio Marangoni and Art History at CAPA in Florence, Italy.
A member of the Serbian Association of Fine Arts (ULUS), since 1999, Dejan has collaborated with Belgrade’s Center for Cultural Decontamination. In 2000, his Perfect Future Project received a grant from the government of France for the development of cultural campaigns against political repression in Serbia.
Dejan's multimedia artworks have taken the form of gallery installations, public billboards, posters, and advertisements, and he has accomplished a number of projects dealing with power, nationalism, and violence. He has presented personal mutlimedia exhibitions and curatorial projects since 1994 in Italy, Serbia, USA, Canada, Bosnia, Albania, Slovenia, and has taken part in collective exhibitions in Germany, Switzerland, and Mexico.
Dejan Atanackovic has curated exhibitions of work by artists, students, and mental patients, and works directly with historical museums in Florence such as the Anthropology Museum and the Museum of Natural History, La Specola, to develop contemporary art exhibitions through an ongoing dialogue with the past, in particular, the representation of the body and mind throughout history. He has designed posters for Italian Amnesty International campaigns against capital punishment, and his works have been featured in a number of catalogs.
Dejan Atanackovic has a Laurea Magistrale (MFA) in Painting with High Honors, Accademia di Belle Art, Florence.
Digital technology allows us to develop means and strategies for communicating what often remains obscured by tradition, conventions and political correctness. Making art, among other things, is a process of revealing the stereotypes that imprison the Western culture, language and system of values. My personal position as a teacher is not any different from what I consider to be my responsibility as an artist: there is a project to accomplish and there is a statement to be made. It is essential to work continuously on the development of ideas, to stimulate the creation of the project, and to give students the possibility to understand some real processes in presenting artwork and communicating with a public. Art is a social process that has nothing to do with decorating society, but implies sometimes dealing with unpleasant issues of social, political and cultural relevance. In the process of teaching, this position needs to be both expressed and stimulated to the point where it can become a field of constructive confrontation between the teacher and student.