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“Medium is the Message”: NÉA TÉCHNI Video Art Festival Took Place in Belgrade https://www.neatechni.com/award-information/na-tchni-award-announces-a-new-video-art-festival-category monthly 0.5 2026-03-10 https://images.squarespace-cdn.com/content/v1/651098954a6d7124b67ba35d/807fb18b-d5df-46f9-adc1-0652eef14f79/shutterstock_2583917457.jpg Award Information - NÉA TÉCHNI Award Announces a New Video Art Festival & Category - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.neatechni.com/award-information/blog-post-one-rktc8-653zw-gzf63 monthly 0.5 2026-01-28 https://images.squarespace-cdn.com/content/v1/651098954a6d7124b67ba35d/05f7c979-f5fc-4dc8-8f47-15e32bf023b7/271727255_3006852779534606_2963642194935139819_n.jpeg Award Information - Μεταμοντέρνα παιχνίδια - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.neatechni.com/award-information/blog-post-one-rktc8-t7z26 monthly 0.5 2023-09-26 https://images.squarespace-cdn.com/content/v1/651098954a6d7124b67ba35d/5c6151fe-3d21-47e5-ad50-fde913c9484b/298501068_3158784391008110_2384313812207819172_n.jpeg Award Information - 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Πώς να Ερευνήσετε Πρακτικές Κοινωνικής Εμπλοκής - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.neatechni.com/categories daily 0.75 2026-07-15 https://www.neatechni.com/rules daily 0.75 2026-01-13 https://www.neatechni.com/home daily 1.0 2026-07-29 https://images.squarespace-cdn.com/content/v1/651098954a6d7124b67ba35d/46a7edbf-f39c-449c-95dc-92a959141d9d/158190652_4079614822082965_3113016917296751808_n.jpeg https://images.squarespace-cdn.com/content/v1/651098954a6d7124b67ba35d/81c3a478-dcde-4cb9-8f4a-1ec256611e0a/291562864_5563259387051827_7570760559737640709_n.jpeg https://www.neatechni.com/privacy daily 0.75 2026-07-15 https://www.neatechni.com/winners daily 0.75 2026-07-03 https://images.squarespace-cdn.com/content/v1/651098954a6d7124b67ba35d/7fc8cd8b-c051-4bbc-9a72-b798cabaff14/306001422_3184274925125723_6567361240556114814_n.jpeg https://www.neatechni.com/jury daily 0.75 2026-07-29 https://images.squarespace-cdn.com/content/v1/651098954a6d7124b67ba35d/6cf9606b-f46f-4141-8ae9-3dc0e637db7d/119c52_733b394fcacc4c4c8d6a2592874c2bbc%7Emv2.png Jury https://images.squarespace-cdn.com/content/v1/651098954a6d7124b67ba35d/910a34be-845e-469d-a3f9-1d3dca08574e/Angelik+Vizcarrondo-Laboy.png Jury https://www.neatechni.com/terms-and-conditions daily 0.75 2026-07-15 https://www.neatechni.com/rules-regulations daily 0.75 2026-07-15 https://www.neatechni.com/videoart-festival-2026 daily 0.75 2026-08-26 https://images.squarespace-cdn.com/content/v1/651098954a6d7124b67ba35d/55a45e92-0cd8-4699-a290-d094b2c662d7/Yichu+Li.jpg Videoart Festival '2026 Yichu Li — YICHU 1.0 (2025) United States · Post-Humanism YICHU 1.0 is a 10-minute experimental art film and audiovisual performance work by multidisciplinary artist and sound designer Yichu Li. Created during her time at Central Saint Martins, the project sits at the cutting edge of digital art, merging machine-generated AI visuals, ritualistic performance, and heavy electronic soundscapes. Rather than painting a standard bleak dystopia or an idealized utopia, Li builds a "protopia" — a living, fluid future where technology and raw human emotion awkwardly but beautifully coexist. The film maps out a surreal rite of passage, detailing how identity, intimacy, and maternal or feminine energy mutate when transferred into a digital network. https://images.squarespace-cdn.com/content/v1/651098954a6d7124b67ba35d/cf0be479-4775-44ae-8855-5a4d09093350/Wenwen+Deng.jpg Videoart Festival '2026 Wenwen Deng — New Travelogue: Mayflys (2025) United Kingdom · Post-Humanism Blending traditional landscape aesthetics with futuristic digital rendering, the film functions as a modern, speculative reimagining of classical travel literature. It uses the biological mythos of the mayfly to explore the fleeting nature of human existence, digital transience, and our rapidly changing relationship with the natural world. In classical literature and biology, the mayfly is the ultimate symbol of fleeting life, often living for only a single day once it reaches maturity. Deng uses this tiny creature to mirror modern human life in a fast-paced, hyper-digital society, suggesting that our trends, digital footprints, and even our individual lives are accelerating into hyper-short, mayfly-like lifespans. New Travelogue: Mayflys stands as a breathtakingly beautiful, melancholic cinematic poem. By turning technological acceleration into a fluid, meditative journey, Wenwen Deng offers a captivating space for viewers to contemplate their own brief, beautiful moment under the sun https://images.squarespace-cdn.com/content/v1/651098954a6d7124b67ba35d/2433ed7c-be2f-4f99-9bfc-15338aca8708/Vita+Plav%C5%A1i%C4%87.jpg Videoart Festival '2026 Vita Plavšić — Herring (2025) "Herring" (2025) is a highly atmospheric, conceptual short art film where the artist, known for her deeply introspective work that blends mundane everyday routines with surreal, dreamlike psychological landscapes, Plavšić uses this piece to dissect the themes of domestic monotony, cultural inheritance, and sensory memory. Herring looks closely at the repetitive, mechanical nature of food preparation and preservation. The film functions like a quiet fever dream. It takes a familiar kitchen setting and slowly distorts it, leaving the viewer with an uneasy feeling that something strange and unsaid is lingering just outside the camera's frame. Ultimately, Herring stands as a quiet yet powerful meditation on the hidden emotional weight trapped within our daily habits, urging the audience to look past the surface of the ordinary to find the strange poetry underneath. https://images.squarespace-cdn.com/content/v1/651098954a6d7124b67ba35d/f3421cbc-8ff2-4271-83bf-3252d7c5a26b/t%C3%A4uelxs%C4%B1z+.jpg Videoart Festival '2026 täuelxsız — aştyq jailağan dala (The Hungry Steppe) (2025) Kazakhstan · Hauntology Premiered internationally in Paris as part of the Projet Betula: Speak Volumes program, the work stands at the forefront of Central Asia's modern art-activism movement. It utilizes physical performance, spoken-word poetry, and digital cinema to confront one of the most devastating and historically suppressed traumas in Kazakh history: the Asharshylyk (the catastrophic, Soviet-engineered famine of 1930–1933). The cinematography treats the immense, sweeping open spaces of the Kazakh landscape with a cold, respectful reverence. The vast emptiness of the modern steppe visually mirrors the tragic void left behind by the loss of over a quarter of the country's population. aştyq jailağan dala functions as both a painful monument to the past and an act of cultural survival. By translating raw historical trauma into cutting-edge contemporary video art, täuelxsız creates an essential space for collective mourning, healing, and national reclamation. https://images.squarespace-cdn.com/content/v1/651098954a6d7124b67ba35d/c116329b-bcb5-403f-9c5e-e38520707f5b/Theo+Macdonald+%282%29.jpg Videoart Festival '2026 Theo Macdonald — The Oshima Gang (2025) New Zealand · Psychogeography "The Oshima Gang" (2025) is a 20-minute experimental documentary which functions as an architectural critique of an environment, inviting viewers to sit with the strange, uneasy displacement of feeling like a foreigner within their own homeland. The heartbeat of the film is a fascinating ghost story from movie history. Back in 1982, the rebellious Japanese filmmaker Nagisa Oshima arrived in Auckland, New Zealand, to shoot his famous World War II movie, Merry Christmas, Mr. Lawrence, starring David Bowie. Instead of traveling to the tropical, sun-soaked island of Java, Indonesia, where the story actually takes place, Oshima used Auckland’s heavy, old colonial buildings as a grand stage, cleverly disguising New Zealand’s architecture to masquerade as an entirely different world. https://images.squarespace-cdn.com/content/v1/651098954a6d7124b67ba35d/595f50fc-1e35-4f89-b146-9214a40735a2/tannelvits.jpg Videoart Festival '2026 tannelvits — Cunticles (2021) Russia · Post-modernism "Cunticles" (2021) is a provocative, boundary-pushing experimental art film and audio-visual exploration by the underground electronic musician and multimedia artist tannelvits. Known for crafting abrasive, raw electronic music tracks and dark, texture-heavy sensory experiences, tannelvits utilizes this video project to challenge traditional ideas surrounding the human body, digital sexuality, and censorship. Borrowing elements from body horror aesthetics and underground queer art, the project pushes the viewer past their comfort zone, transforming taboo themes into a mesmerizing dance of abstract, pulsating shapes and visual noise. Cunticles stands as an uncompromised, hypnotic meditation on the rawest elements of human biology, forcing the audience to look directly at the strange, beautiful, and uncomfortable realities of the physical form. https://images.squarespace-cdn.com/content/v1/651098954a6d7124b67ba35d/5aa48929-a55b-4ec7-b366-272cea8ac726/Ekaterina+Shneider.jpg Videoart Festival '2026 Ekaterina Shneider — Whatami? (2024) Montenegro · Other "Whatami?" (2024) operates at the intersection of philosophy, digital anthropology, and posthumanist critique. It acts as an intimate, thought-provoking examination of identity, agency, and human consciousness during an era increasingly dominated by algorithms and non-human intelligence. The film investigates how human beings define their unique soul, emotions, and memories when machines can now flawlessly replicate human art, speech, and logic. Whatami? is a profound, timely meditation on modern existence. By turning technological anxiety into a fluid piece of video art, Shneider provides a mesmerizing canvas for viewers to ponder their own place in a world where the boundary between "man" and "machine" is rapidly dissolving. https://images.squarespace-cdn.com/content/v1/651098954a6d7124b67ba35d/8e482604-0c36-46d4-9dd5-bd7a124a054c/Emily+Sasmor.jpg Videoart Festival '2026 Emily Sasmor — CLOSE TO YOU ||CHAMBERLAIN|| - PORSHA 911 YOU GOTTA RUN (2026) United States · Hauntology CLOSE TO YOU ||CHAMBERLAIN|| - PORSHA 911 YOU GOTTA RUN" (2026) is a high-octane, narrative-driven experimental art film where the core narrative follows a high-stakes pursuit of freedom, identity, and survival, framed through a sleek, cinematic lens. The film utilizes the concept of a high-speed car chase not just as an action trope, but as a psychological metaphor for running away from structural traps, personal ghosts, or societal expectations. The character is constantly moving, driven by a raw survival instinct. The video editing matches the chaotic heartbeat of a chase. Sasmor weaves in sudden jump cuts, intentional digital glitch frames, and speed ramping (slowing down and speeding up footage rapidly) to heighten the character's internal anxiety and the sheer speed of the vehicle. Ultimately, the project is a sensory exploration of velocity, capturing that desperate, thrilling moment when your only choice left is to run. https://images.squarespace-cdn.com/content/v1/651098954a6d7124b67ba35d/efd52045-8ddf-49a3-91d2-3d19f3d14b47/Guaiwu+Sun.jpg Videoart Festival '2026 Guaiwu Sun — Refractory (2025) China · Meta-modernism "Refractory" (2025) is a 19-minute conceptual art film that functions as a striking visual rebellion, utilizing the language of experimental art to ask what happens when a human soul refuses to break under the compounding heat of modern societal expectations. The artist uses this concept of "resisting pressure" to look at what it is like growing up as a young man in modern China. The film shows the massive pressure society puts on young men to fit into old-school boxes—like being totally emotionless, finding a perfect home, and chasing traditional success. Refractory follows a main character who is seen as the "bad son" because he refuses to let his true self be crushed, changed, or controlled by what his family wants or what modern shopping culture tells him he should be. https://images.squarespace-cdn.com/content/v1/651098954a6d7124b67ba35d/ef4a3ed0-94cf-4726-b9fc-a2fbda85271d/Johannes+Christopher+Gerard++Nathalie+Launay.jpg Videoart Festival '2026 Johannes Christopher Gerard / Nathalie Launay — The Plant (2023) Netherlands · Post-Humanism Operating at the intersection of video art, ecological critique, and psychological abstraction, the film is a mesmerizing sensory study that blurs the boundaries between human perception, nature, and concrete architecture. The film treats the concept of "the plant" not merely as a passive botanical subject, but as an active, living force that observes, reacts, and interacts with its environment. Johannes Christopher Gerard’s camera work heavily favors macro-cinematography, capturing the microscopic details of plant life—the intricate veins of a leaf, the texture of moss, and the play of shadow and light across organic surfaces. Nathalie Launay’s audio composition functions as the emotional and psychological spine of the film. Moving away from traditional melodies, Launay uses an electroacoustic score blended with concrete sounds (processed environmental noises). The Plant is an elegant, evocative audio-visual ecosystem. By elevating the mundane natural world into a striking piece of video art, Gerard and Launay challenge audiences to slow down and listen to the quiet, powerful pulse of the living world around them. https://images.squarespace-cdn.com/content/v1/651098954a6d7124b67ba35d/2b76604b-0ede-4f0a-8d1e-87ed521cf451/Jolene+Mok+.jpg Videoart Festival '2026 Jolene Mok — 180°・78°14’n 15°36’e・2013 (2022) Hong Kong · Hauntology "180°・78°14’n 15°36’e・2013" (2022) is a 22-minute experimental art film and cine-choreographic meditation by Hong Kong-based digital video and celluloid artist Jolene Mok. The enigmatic title serves as a literal logbook entry of the artwork's physical coordinates where 78°14’N 15°36’E: These exact coordinates point to Longyearbyen in the Svalbard archipelago of Norway—one of the world's northernmost inhabited areas, deep within the High Arctic. 2013: The year the raw footage was captured during an Arctic expedition aboard a tall ship sail vessel and 180°: The precise camera movement that dictates the entire structural composition of the film. 180°・78°14’n 15°36’e・2013 strip away traditional cinematic progression to create a pure, contemplative encounter with time and space, inviting the viewer to share in the eerie, beautiful vulnerability of being utterly lost at the edge of the Earth. https://images.squarespace-cdn.com/content/v1/651098954a6d7124b67ba35d/db7a25f4-b54a-4189-8108-adc3aa43a1c1/Maryam+Nazari+%281%29.jpg Videoart Festival '2026 Maryam Nazari — Carpethnography (2024) United Kingdom · Memory studies Carpethnography is a deeply moving, beautifully textured video art piece by Iranian artist Maryam Nazari. It blends art, history, and the hidden stories of women into a single, flowing tapestry. Nazari invites us to look at traditional Persian rugs in a completely new way. Instead of seeing them simply as beautiful home decor, she treats them like living, breathing maps. The film treats the vertical and horizontal threads (the warp and the weft) of a loom as lines of a historical timeline. Every knot represents a moment in time, a specific heartbeat, or a shared secret. It highlights how an entire community's displacement or survival is tightly woven into the geometry of the textile. By reading the intricate knots and patterns of each rug, she shows us how weavers have secretly sewn their own lives, heartbreaks, memories, and survival directly into the fabric of history. And, by transforming a traditional craft into a radical tool for storytelling, Maryam Nazari invites her audience to look closer at the fabric of history, reminding us that the most profound stories are often hidden right beneath our feet. https://images.squarespace-cdn.com/content/v1/651098954a6d7124b67ba35d/6e6c0c54-f1b1-432a-8225-461f12065bb3/PollyT+Sasmor.jpg Videoart Festival '2026 PollyT — Doubles and Doppelgangers (2025) Russia · Post-Humanism "Doubles and Doppelgangers" is a 2025 conceptual video art project by the contemporary multimedia artist and curator PollyT (Polina Krutova). Known for her work exploring "hauntology",i.e., the philosophical concept of how the past persists in the present like a ghost and the digital blurring of human identity, this piece confronts the evolution of the "Other" within ourselves. Historically, the doppelganger in literature and cinema has been treated as a dangerous predator or a parasitic force that threatens the original person's social reality and authenticity. PollyT’s work recontextualizes this age-old fear for the modern, hyper-digital era. The artist argues that the rapid expansion of online personal representation, instant messaging apps, and custom avatars has made the traditional, frightening concept of the doppelganger obsolete. Instead, we have willingly fragmented our identities.