Branislav Dimitrijević is Professor of History and Theory of Art at the College of Art and Design in Belgrade. He teaches and writes mostly on art, cinema and politics of socialist Yugoslavia; on avant-garde art, contemporary art and exhibition histories. His books include: Consumed Socialism - Culture, Consumerism and Social Imagination in Yugoslavia, 1950-1974 (2016), Dušan Makavejev’ s Sweet Movie (2017), Against Art - Goran Djordjević, 1979-1985 (2014), On Normality: Art in Serbia 1989-2001 (2005), and others. Since the mid-1990s he has curated exhibition projects exploring site-specificity and context-specificity. His curatorial projects include Good Life (Geozavod, Belgrade, 2012, w. M. Hannula) and No Network (2011), the first edition of the Time Machine Biennial in the nuclear bunker in Konjic. He curated projects for the Serbian/Yugoslav pavilion at the Venice Biennial in 2003 and 2009. His most recent research interest focuses on the contemporary relevance of Robert Smithson’s “earthworks” and his dialectic of the “site” and the “nonsite”.