Bojana Mladenović, AD HOC LOM AD HOC LOM : Blanko II (Trbuhom za kruhom ) (2001)

Stemming from Katarina Stojkov Slijepčević's troup, initiated and established in collaboration with Ljubiša Ristić through KPGT in second half of the 1990s, dancers and choreographers Bojana Mladenović, Isidora Stanišić, Dušan Murić and Čarni Đerić formed their own independent dance company Ad Hoc Lom (non-officially since 1998, officially since 2001). This formation marks one of the significant moments in the local dance history in Serbia, in which this generation of dancers matured into well-crafted authors oriented towards the contemporary dance vocabulary. All of the mentioned artists went through a variety of dance scholarships and programmes in Europe and US at the turn of the millennium, crafting the contemporary dance techniques and choreographic tools for authorship (Elevator, blanco II, Topography of the extreme, Next step etc). The company was known for its experimental and interdisciplinary approach, combining elements of contemporary dance, physical theater, and multimedia. Their performances were characterized by raw energy, intense physicality, exploring themes related to identity, social and political issues, and the body as a site of both personal and collective expression. Such was the performance blanko II trbuhom za kruhom premiered in 2001 in Bitef theater, where the four artists performed as well, together with one more dancer - Marija Milanović. The works of Ad Hoc Lom resonated with the broader shifts in Serbian society, reflecting the complexities and challenges of its cultural and political transformation, particularly in the aftermath of the 1990s conflicts and the fall of Slobodan Milošević's regime. This company was one of several dance troupes (like DDT, ErgStatus dance, Madlenianum, Ister theatre, Mimart Theatre etc) and of individual works (Dalija Aćin Thelander, Ivana Tabori and Milica Perović, and many more, which altogether played a significant role in establishing the independent contemporary dance scene in Belgrade, contributing to the broader cultural discourse and pushing the limits of what dance and performance could achieve in a post-war, post-socialist context.