newsletter#001

Why would someone at the time of economic crisis be setting up an independent regional foundation aimed, through alterna-tive sources of financing, production and education, to help bring about changes in the Western Balkans? Who needs yet another organization, a banner, an umbrella for extra-institu-tional projects? That won’t work? These are merely some of the questions and dilemmas we often hear, which are meant to scare us and prevent us from proceeding along our chosen path.Yet fresh space is needed for young authors, those who wish to speak about the subjects our societies find un-comfortable. Many institutions have opened their doors for young people, but few are dedicated to a new and different perspective. Heartefact Fund (HF) was founded with an aim to encourage creative communication regarding difficult sub-jects, while strengthening and gathering new generations. Let’ say we wish to try sing top quality artistic achievements to open Pandora’s boxes.Cultural policies in the region are being constantly defined. Some claim that everything is in order, some say that our problem lies not in nationalism, xenophobia, violence, war crimes, the oppressed and the underprivileged...But very society has those issues. It has those, but it also has adequate or at least some responses to issues related to those

„ostracized, different, incomprehensible...“. People who for the past twenty years have been seeking to learn the fate of their loved ones killed or abducted during conflicts on the territory of the former Yugoslavia are living in our neighbourhood. That is merely one of the issues. And what are we doing? We are keeping silent, for that does not concern us. Or, we are express-ing condemnation for the public transport bus driver who saved a girl from rape, while the packed bus was silently observing violence and criticizing the driver for not moving the bus, but waiting for the police instead. That lack of empathy keeps our societies distant from the values we declaratively advocate and from that resplendent European future. Solidarity. Equality. Justice. Those are merely some of the values we hold. When we are rushing toward Europe, we must be aware that that the road has designated stops, departure time, bus conduct rules and many other rules. Likewise, it has something authentic we will bring to that community, if allowed, something removed from what it is like today, here and now. Neither there, nor here.Heartefact Fund is open for ideas, new projects, new au-thors. So join us, give us your support and advice.

Andrej Nosov

RUSHING TOWARDS EUROPE

Single ex-Yu cultural sphere had hallmarks, visible particularly in administrative centre of the former state – in Belgrade. Each republic was a leader in something. Slovenia was prominent for different theatrical expression, quite simplified, geometric, Croatia for graphic artists, Bosnia for music, Macedonia and Montenegro for expressionism in painting, Serbia for theatre avant-garde and quite relatable TV drama series. The war put a stop to interaction, while the first revival of ties between Belgrade and Zagreb, with the war in Croatia still un-derway, was reflected in cartoons by Predrag Koraksić, which, due to being politically expressive and recognizable, were very well received. The same applies to drawings by Mirko Ilić, a man without a homeland. Literature was being exchanged through personal initiative and couriers, mostly peace activists.The need to revive the region’s cultural sphere stems from the fact that until 1991. that mosaic was ultimately quite a harmonious, almost special phenomenon. It wasn’t hard to present to a foreign visitor Yugoslav art in one place. And there was no need to explain which republic it belonged to.“Hrvatski Faust“ (Croatian Faust) by Slobodan Šnajder had its in-ternational premiere in Belgrade a year after publication of the eponymous book in Zagreb and 11 years prior to its premiere at Vienna’s Burgtheater; “Znamke, nakar še Emilija“ (Stamps, and then Emilia), a play by “Primorsko gledališče” theatre from Kopar, by Dušan Jovanović, a Belgrade-born Slovene director and

theatrologist, was performed in Belgrade for the second time in late April 2010. The play “Znamke, nakar še Emilija“ was first performed in Belgrade more than 40 years ago.As ties among criminals and warriors on the territory of the former Yugoslavia have remained intact, and owing to inter-national sports matches, since the abolishment of sanctions imposed on FRY athletes have been competing, and cultural ties are thus expected to be boosted. Prior to the wars waged in the former Yugoslavia culture was the easiest channel of communication with the world in general. One should not for-get that for almost a decade Serbia had been banished from the international community and isolated from all cultural ac-complishments and it therefore yearns to renew those ties.Heartefact Fund (HF) was founded on July 8, 2009, with a view to helping transform Balkan societies and contributing to cre-ative communication regarding important social topics. Those societies are to be responsible, solidary, just and tolerant.HF encourages, educates, promotes and connects talented, creative, young and often marginalized people, encourages critical thought and establishment of responsible elite.HF supports critical art projects which contribute to societal dialogue and changes; programs designed to directly help vic-tims of discrimination and corruption in the Western Balkans. HF is organized into three program units: grants, production and education.

Tamara Kaliterna

PRELUDE TO EUROPEAN CULTURE

DEMINED, NON-IDEOLOGIZEDArtists of different profiles from the region define for HF what “the region’s cultural sphere” means to them:

Borka Pavićević, dramaturge from BelgradeArea signifies merely a nameless territory, and we have, I hope, had enough of wars over territories. Region implies borders as well. Namely, it is about incorporating time into space, or perceiving space in time. What we are creating today are cultural monuments of the future, or hallmarks of the region. From the Moon you can see the Great Wall of China, but you can also see Dubrovnik. Therefore, those of us who did not want a more beautiful and better Dubrovnik, but rather the one all of us together, beyond the “region” are recognizable for even from the Moon, can at least try to give countries of the “Western Bal-kans” some other name. And that naming is a matter of culture and art. Thus, after so much destruction comes creation. That is what the “region’s” cultural sphere means.

Bojan Munjin, theatre critic from ZagrebFor me the region’s cultural sphere is a field of relations

and recognition of a similar life effort, a creative reflex and intercultural energy. This region’s cultural sphere has

its hallmarks so I will just name those important to me: a myriad of cultural details, whimsical and unpredictable

energy of personal or social action and wide and balanced field of activity which often neutralizes the difference

between the so-called high and low culture. That cultural sphere of the region had one meaning in the days of Yugo-slavia and another in the wars that followed. What we can see today is awakening of sorts and revival of ties in that

sphere, which proves that irrespective of various state (and antagonized) communities, the region’s cultural sphere is

thriving like a vital multifaceted organism.

Damir Imamović, Sarajevan musician Cultural regional sphere is defined by shared language, as well as shared history. For this very reason, even today it is continuously being created as a field of exchange, thus surviving in spite of different state apparatuses. It exists: in literature, both local and translated one, in films, theatre, music...

Darko Cvijetić, actor from Prijedor

I deem that cultural regional networking will be shadowed by political discourse for quite some time.

Culture has been replaced by religious indoctrination of the worst kind, the need for culture got drowned in folkloriza-

tion of nations and the stage has been taken over by made-up face of “reconciliation of everyone with everything and

everyone” – a phrase from political vocabulary in all its empti-ness. As long as politics rules the region’s cultural sphere, the XXI century culturological achievements will be impossible to

attain. For that sphere to be culturally homogenous, toler-ance is not enough, but raising true awareness of values and

affirmation of will, rather than a proclamation, are needed. The coming generations are yet to resist the banality of sub-cul-

ture imposed by war and post-war period, they are to redefine cultural regional sphere and rid it of the premises of tribalism.

Jeton Neziraj, playwright from Prishtina

Cultural sphere is a place de-mined, de-militarized, de-ideologized, de-clicheized, de-…! In other words, “cultural sphere” is a ‘place’ in which there is no need for “Crvenkapica u minskom polju” (Little Red Riding Hood in Mine Field), where there is no need for the book “Život damo, oružje ne damo” (We’ll Give Our Lives Rather than Our Weapons), where exhibitions displaying the painting

Jovan Ćirilov, BITEF selector

For me the region’s cultural sphere has been a sphere of my exceptional interest for several decades now, regardless of

historical circumstances, and often in spite of them. I believe that all artists and cultural workers of Serbia should be feeling as legitimate successors of those who in the past felt this region as

a sphere of their broader action and their noble duties. The very best from our region were founding theatres for one another, presenting dramas, sending actors, writing about one another

and following one another’s work and creations. We are also connected through what we have in common in terms of temper,

temperament, knowledge, feelings and historical legacy. What differs nations and citizens in the region is on the other hand a

never-ending opportunity for our mutual enrichment. There is no need for nostalgia for state unity, far richer is the opportunity for free unity in art with preserved individuality of every community, of every individual even. Unity in a future membership of modern structure Europe will boost all forms of cooperation and result in even greater respect for cultural and art differences in that new

community, in which every generation from this region, unlike thus far, likely won’t experience at least two wars. Ahead of us is flourishing of cultures and all other values inherent to the region,

worthy of civilizational level which corresponds to high level development of the XXI century science and technology.

Ana Isaković

“Mic Sokolji puffs up his chest in front of enemy cannon” are not organized; and it is a place where small theatre windows do not reflect dark windows of a multi-storey government building.

Nenad Veličković, Sarajevan writer

TEvery man defines that sphere for himself, in two ways. One way is to adjust to collective definition of that sphere imposed

from outside. The other is to dismiss it and resist it. From the first one (imposed when, being a child, I had no choice) I

am moving towards the second one. I believe it to be a good direction of growing up. My cultural regional sphere is rapidly expanding. :-) From mother tongue towards universal values.

Slobodan Šnajder, dramaturge from Zagreb

Cultural sphere is a niche constantly giving way, that which remains once capital is satisfied and “false needs” are met, as Herbert Marcuse called them. That niche serves to put away icons no one believes in anymore, books hardly anyone reads, plays which do not need audience, as well as other paraphernalia for funeral to culture which has dragged on beyond any measure. That niche is hopelessly elitist. We are the clergy putting away those icons and writing those unread books, and we at the same time think that “everything that exists deserves to perish”, a reference to Ni-etzsche. However, it appears that we are the only ones perishing.

It has been more than a decade since armed conflicts eded on the territory of the former Yugoslavia. Borders were opened, former enemies once again looked each other in the eyes, without pointing weapons. Political scene was refreshed with faces which, not so long ago, fought for de-mocracy, freedom and justice. But when we turn to culture, we do not find haven there. We leave the theatre still hungry and we exit the cinema cheated. As if in the chaos marked by lack of parameters and values even authors themselves are unable to determine their artistic action. And if an author happens to come around, his attempt disappears through silent censorship – denial of funds. HF is primarily an initiative aimed at initially, through as-sistance to culture and art, defining a new cultural sphere encompassing the entire region, thus establishing a new creative critical mass. HF shall be striving to connect societ-ies in the region through live communication, primarily among youth. Thus it will be creating responsible elites in the region, which will be an actor of its transformation. HF shall be help-ing transform the region: developing critical thought, culture of dialogue, promoting cooperation, fighting against discrimi-nation, advocating creation of responsible institutions, critical discussion regarding traumas and malign remnants of recent conflicts, helping victims. HF uses elastic, diverse and, above all, creative forms and methods, focusing on support to art exercised by minority or discriminated groups, fighters against

corruption, granting stipends to young people and artists from minority groups. For example, HF film initiative strives for better quality, independent film production, while it is against production-related obstacles and corruption and in favour of fresh approach to film work and current film topics, organiza-tion of youth education, education of youth and artists at ArtAction (school of “alternative” education).HF aspires towards youth, marginalized groups and responsibility.By investing in young people HF also invests in its own development. Young authors in the domains of film, the-atre and visual arts will be granted HF’s support. Support methodology is reflected in educative programs, workshops, co-productions and grants. The first HF project concerned with young people is organization of a workshop of engaged film to last from late summer to early 2011. HF’s cooperation with people from marginalized groups through organization of educational programs has a view to empowering authors originating from these groups.When it comes to “responsibility”, HF defines it as individual responsibility, as well as collective responsibility held by citizens of democratic society towards people around them, towards law and justice, respecting equality and tolerance. The term “responsibility” also pertains to responsibility towards the past.

Staša Tomić

CULTURE AS HAVEN

FOR CRACKING COCOONED CULTURAL POLICIES

HF focuses its activity on encouraging communication on the territory of the Western Balkans suspended during the wars waged in the final decade of the twentieth century and creat-ing opportunities to openly speak about traumas and prob-lems brought by wars and new historical circumstances. Artistic engagement and meetings of authors are particularly favourable for realization of these objectives. Stressing topics of current social interest, problems related to dealing with the past and reconciliation in the region will additionally con-tribute to normalization and improve the quality of relations among successors of the former Yugoslavia. HF’s activity is to crack hermetic national cultural scenes, en-able artists to act on a larger, more diverse “art market”, boost competition, open a window for exchange of ideas and reduce corruption in local communities.This is why towards end of year HF will set up a group dubbed REGION, comprised of some thirty actors from politics, civil society, art and other domains which are contributing to normalization and the quality of relations among countries that succeeded the former Yugoslavia. The group’s efforts will be supported by publishing and theatrical activity, meet-ings and debates among young people from different social and cultural domains, assistance given particularly to young, unestablished authors and strengthening their critical

awareness; advocating creation of responsible institutions, solving problems of minorities, victims of discrimination, advo-cating promotion of relations between Belgrade and Prishtina greatly strained through lack of understanding, xenophobia, almost bereft of communication.

HF seeks to avoid conventional modes of work. It will be using language which will not succumb to institutionalized, entrenched way of thinking. It will be pointing to problems directly, striving to win over creative people from the region towards uncompromisingly solving them. HF rightfully expects to be gaining ever stronger and more creative impulses with time.

Ana Isaković

FROM CONTEMPORARY DRAMA TO FACING THE PAST

HF theatre has announced a competition for engaged dramatic text. The Call for Applications is open by the end of August 2010. and the Selection Panel comprised of Biljana Srbljanović (playwright), Slobodan Obradović (theatre critic) and Miloš Lolić (stage director) will select the best dramatic text. It will be rewarded with EUR 5,000, while authors of second-ranked and third-ranked texts will launch their texts at HF theatre’s workshops and public readings. This year HF theatre’s documentary section will be con-cerned with the Srebrenica genocide. Theatrical perfor-mance will be preceded by exploration in which artists of different profiles from the region will partake.

In the second half of 2010. HF theatre will announce a regional competition for contemporary text, open for play-wrights from the countries emerged on the territory of the former Yugoslavia and Albania. The awarded text will be staged.

HF shall enter production of a new piece by Milica Tomić, which examines the genre of “cinéma vérité” and its ability to speak about Omarska, the object which served different purposes but is remembered as a concentration camp in the latest war waged in B&H. Ms. Tomić addresses denial and revision of crimes perpetrated in Bosnia in the nineties. HF Committee has short-listed projects competing for “small grants”. Selected were organizations concerned with engaged art or discrimination, corruption and position of mi-norities. Up to 15 grants ranging from USD 3,000 to 5,000 will be awarded this year. HF coproduces a play in scope of the project “Risk” by the Centre for Cultural Decontamination from Belgrade. This project is comprised of a series of theat-rical performances critical of cultural and political situation in the region. HF has granted support to the latest play from this project, based on a drama by Milutin Bojić, directed by Zlatko Paković, premiered on May 7.

Filip Vujošević

HF ProJECTS

CHAOS OF PEACE FOLLOWING CHAOS OF WAR In scope of the “Days of Sarajevo” Festival held from the 19th to the 23rd of May, HF theatre, in cooperation with the Youth Initia-tive for Human Rights (YIHR) and Sarajevo Theatre Festival MESS, organized dramatic readings of the most successful dramas awarded at the regional competition for a dramatic text about relations between Belgrade and Sarajevo. The repertoire was comprised of dramatic texts by Davor Marjanović ‘’Mogu tramvaji i bez nas’’ (Trams Can Go without Us), Ninoslav Šćepanović ‘’Happy end ne stanuje ovde’’ (Happy End Does Not Live Here) and Vahid Duraković ‘’Boja krvi i ilovače’’ (The Colour of Blood and Clay). Ac-tors from Sarajevo and Belgrade took part in it. These three one-act plays were short-listed in the competition for contemporary dramatic text in a South Slavic language, announced in January by Belgrade-based YIHR and Sarajevan MESS.One of the terms of the competition was that texts promote optimism of the new generation in relations between Belgrade and Sarajevo, reexamine prejudices in an engaged and critical manner, deal with recent past, as well as offer hope that better relations between these two cities and the entire region are pos-sible. The Selection Panel was comprised of Borka Pavićević (dra-maturge and Director of the Belgrade-based Centre for Cultural

Decontamination), Ana Tomović (director from Belgrade) and Dino Mustafić (director from Sarajevo and Director of MESS Festival). On the first Festival day drama ‘’Boja krvi i ilovače’’ (The Colour of Blood and Clay), produced by HF and directed by Ana Tomović, was read at the Yugoslav Drama Theatre Studio. It tells a story of a former soldier who suffers from post-traumatic stress disorder (PTSD) and cannot resume a normal life after the war. Since HF is concerned with engaged and critical reexamination of prejudices and facing the recent past, dramatic reading as a form which uses reduced stage arrangement tools directly pointed to the problems. By making use of reduced stage language the director succeeded in conveying the main character’s anxiety and inability to commu-nicate with the outside world, as well as in highlighting the problem of war returnees who become “invisible” in societies in the region. Mehmed Porča, Jelena Velkovski, Vedran Đekić, Milica Stefanović and Aleksandar Đinđić took part in the dramatic reading.‘’Mogu tramvaji i bez nas’’ (Trams Can Go without Us), directed by Bojan Đorđev, is a dark humour drama about a family in post-war Sarajevo. Father and two sons are living in a tiny one-room

THrEE DrAMATIC rEADINGS

apartment. The entire drama is packed in a room between the TV set and the mess. Participants’ claustrophobia is emphasized, while the outer world reaches them through murmurs and the TV set. Director Đorđev set, in his own words, a “sketch” of this text into a square marked on the floor, 1m by 1.5 m, in which, while reading the text from the video beam, all five actors stood. Such a micro-stage arrangement concept stressed the absurdity of situations, at the same time pointing to deviations of not only families, but of contemporary man in the region too. Acceptance of death, claustrophobia of spirit indicate numbness of critical thought. The text was read by Milica Stefanović, Mirna Kreso, Slobodan Pavelkić, Miloš Timotijević and Amar Selimović.On the final Festival day drama ‘’Happy end ne stanuje ovde’’ (Happy End Does Not Live Here), directed by Milan Nešković, was read at the Yugoslav Drama Theatre Studio. The text addresses everyday crime, chaos of peace emerged from the chaos of war. Nešković stressed maladies of the individual by reminiscing about degradation of the 1990s, critical not only of our political milieu, but also of theatre audience which is increasingly becoming a part of “the society of the spectacle”, agreeing to manipulation through illusion. It was performed by Nemanja Oliverić, Irma Alimanović, Sa-bina Bambur, Andrej Daničić, Marina Vodeničar and Tinja Došen.Considering the topics permeating dramatic texts, on this oc-casion dramatic readings have proven to be a form which suc-cessfully points to acute societal problems, sometimes more influential than full-length play. Joint endeavour by actors from Belgrade and Sarajevo, exchange of experience and crit-ical consideration of these two societies are also significant.

Ana Isaković

ABOUT USStaff Hartefakt Fonda čine:

ANDREJ NOSOVLawyer with experience with human rights organizations. Founded Youth Initiative for Human Rights (YIHR), a regional organization aimed at overcoming the past and establishing new relations in the region. Studies drama, formally and informally. Cooks superbly. When he was little he wanted to become a priest, but he lost his faith in church early on. He is well-organized, diligent and on a diet.

MILICA STEFANOVIĆActress, graduated from the Academy of Arts in Belgrade, performed in plays “Radni naslov” (Working Title), “Osvrni se u gnevu” (Look Back in Anger) and “Analfabeta” (Analphabet). Starred in a dozen or so student films. At-tended workshops in contemporary theatre. Practices boxing occasionally, but as her most important leisure activity states her tendency to buying old, unopened letters, postcards, books, pocket ashtrays and other antiques. For Milica, a day isn’t complete without visiting the Kalenić marketplace. Concerned with art, which here today is being insidiously conditioned and stifled, she realized that she shares objectives with Heartefact Fund.

STAŠA TOMIĆInstead of becoming a professional jazz musician, he earned a degree in philosophy and made documentary films. Earned his living as a ski in-structor, bicycle mechanic, farmer, herdsman, postman, cinema operator, carpenter, photographer. Worked in the advertizing industry for a while, but he ran away from as fast as his legs could carry him in order to make a film. Through making films he realized that he also wanted to engage in some other, socially useful activities. There is nothing he can’t fix. He still tells his daughter that, if she drinks coffee or coca-cola, she’ll grow a tail.

FILIP VUJOŠEVIĆDramaturge and playwright, author of dramas staged in professional Belgrade theatres (Atelje 212, National Theatre, Terazije Theatre, Bitef Theatre). Organizer and mentor in scope of youth workshops in drama and screenplay. Worked as a rescuer on ski lift. That one-day trip into the unknown ended in dismissal and minor injuries sustained by one unfor-tunate child. Excellent at adding and deducting sums without a calcula-tor, although people will seldom accept this as a legitimate skill. Under coercion worked for advertizing agencies. Father of a juvenile delinquent.

TAMARA KALITERNASociologist with exclusively journalistic service and experience in peace activism. Quite bluff, finds driving soothing, will not give up on constant quest for truth. Likes like-minded people. Cannot stand primitives. Wishes for all war criminals to languish in prison for as long as possible, as true repenters. The most important thing she brings to Heartefact Fund is her impishness.

ANA ISAKOVIĆArt historian, theatre critic for the daily “Danas” and web portal “E-no-vine”, selector of “Showcase” supporting program, 44th BITEF and PR of Roma theatre “Suno e Rromengo”. Also worked as sales manager for “Dragačevac promet“ firm, which trades in berries. Dreamed of becom-ing a veterinarian, marrying a veterinarian and having lots of animals. This didn’t work out so she took on a job at Heartefact Fund, where she keeps demonstrating her passion for engaged, conceptual arts, theo-retical knowledge and consistency. Never gives up on her goals.

IVAN BUNČIĆEconomist, student of master’s studies in Luxembourg in scope of Mas-ter in Entrepreneurship and Innovation program. System administra-tor and computer maintenance technician with five years’ experience. Began his career at his uncle’s carburetor repair shop. Admits to be-ing a chatterbox, a bore and a “sucker”. He is fascinated by all types of

technological innovations emerging on the market which can boost productivity. He will either implement and operationalize them at Heartefact Fund, or die trying.

NIKOLA MILENKOVIĆGraphic design student who, when he was little, wanted to become an aunt when he grows up. Admits to having somewhat succeeded in it. Since 2006. He has been working for the Youth Initiative for Human Rights. At Heartefact Fund everyone appreciates his perfectionism and creativity. He is prone to endless silence and sees himself as pretty fair. Lives with the one he loves.

MILICA MILIĆFinishing her studies at the Faculty of Philosophy in Belgrade, Depart-ment of Ethnology and Anthropology. Worked at the Youth Initiative for Human Rights’ Regional Office. Used to be engaged in youth education in the domains of transitional justice mechanisms and facing wartime past, as well as in passing on practical skills to youth in the region. Or-ganizer who owns every possible contact and address, even if you need whitewashing, a massage or a therapist. Dreamed of becoming an astro-naut, but didn’t like to eat carrots essential for keen eyesight. Analytical, dedicated, persevering and expeditious. She would like to see a monu-ment in Belgrade in memory of Srebrenica victims.

GROZDA NIKOLIĆHeartefact Fund lawyer with professional experience in comprehen-sive systems and a law office. Seriously and responsibly performs her assignments. Knows from experience that everything can be learned and everything can be changed, no matter how impossible it some-times seems. As a child she used to chase rainbow for miles, since she heard that there would be a miracle if she managed to run beneath it. She has yet to accomplish this.

STEERING COMMITTEEAs of April 14, 2010, Steering Committee (SC) is concerned with HF policy. SC members are:

NADEŽDA MILENKOVIĆPedagogue for delinquents, formerly engaged as a substitute mother at UNICEF’s Children’s Village, author of the book “Kako da najlakše up-ropastite sopstveno dete” (Easiest Way to Spoil Your Own Child), author of the column “Pun kufer marketinga” (Suitcase Full of Marketing) pub-lished in the Belgrade weekly “Vreme”, creative director of advertising campaigns, particularly proud of socially engaged ones. Awarded at in-ternational advertising festivals. Dreamed of becoming a long-legged blonde with steel gaze, but soon gave up on this. Doesn’t like to social-ize much. Persistent smoker.

BILJANA SRBLJANOVIĆ, SC ChairPlaywright, author of a dozen or so dramas translated into 25 languages, staged in theatres in Serbia and abroad. Winner of most local and several highly acclaimed international awards. Mentor for graduate projects at the Faculty of Dramatic Arts in Belgrade. Did not fulfill her youthful ambi-tion of becoming the lady who sells “Zabavnik” and other newspapers on the kiosk. Has a dog, takes up cooking seriously, thinks she is reckless, as well as that nothing in the world is worthy of bullheaded spite.

GORAN MILETIĆHuman rights defender with experience with Humanitarian Law Centre and Civil Rights Defenders, where he works as a legal adviser. Master of Arts in the field of democracy and human rights who wanted to be-come a biologist or a parachutist. With him everything is so transparent that there isn’t a single secret he could reveal to the public. Has never had an alcoholic drink. Honest and open, seeks to contribute to HF with his experience. Believes in world peace.

NEVEN MARINOVIĆProducer by vocation (graduated from the Faculty of Dramatic Arts in Bel-grade, Department of Management in Culture, Theatre and Radio), as a boy dreamed of becoming a super secret agent who saves his class from evil kidnappers. Since he is an excellent driver, he started his NGO career as a driver, ending up as the founder of Smart Kolektiv, an organization which brings business and society together. Never passes on a coffee break. Has been trying to get out of the red on his bank account for years.

MARKO KARADŽIĆMaster of Arts in the field of international human rights, State Secre-tary at the Serbian Ministry of Human and Minority Rights who believes that things could be changing faster. When as a first-grader in primary school he set his locker on fire, his pioneer cap and scarf were confis-cated and children were forbidden to speak to him. Persistently fights for justice and truth. He will contribute to HF with his creativity. His secret plan is to become the owner of a farm which has everything required for living, including the wildest of disco clubs.

Impressum

Newsletter #001, Heartefact Fund publication,

11000 Beograd

Edited by Tamara KaliternaContributors: Ana Isaković, Staša Tomić, Filip Vujošević

Layout: Nikola Milenkovićwww.heartefact.org

Index:HF-06-0133-2010.06.08