Videomedeja is an alternative cultural manifestation that offers a genuine reflection of social statuses and individuals in relation to governing systems and global politics through contemporary art forms created by authors from around the world. It is a festival of diverse perceptions, customs, and primarily avant-garde social culture, showcased through a variety of new artistic practices.

Within the competitive selection, artworks that challenge political, social and cultural constructs are prevalent. These works represent critical and subversive activities through avant-garde forms that react to official ideological doctrines. Videomedeja seeks out artists who perceive hidden alternate realities, cultures and art forms. These artists reveal diverse possibilities by highlighting differences and questioning ethical and aesthetic values.

The aim of Videomedeja is to promote a change in individual and social conscience, as well as to recognize the contributions of alternative creators in the fields of culture and art. We strive to foster an interest in critical thinking and counter the notion that artistic works should be solely driven by profit. Such a profit-driven approach often disconnects works of art from their creators, rendering them devoid of artistic essence. Video and newer technologies play a decisive role in creating a new mass culture, operating outside traditional cultural frameworks. Video quickly emerged as an alternative to television, countering mass media, which is often supported by capitalists or leading political parties that promote sexism, nationalism, racism and homophobia. Video is considered a medium for introducing new narratives and challenging societal identities.

Video has emerged not only from institutions but also from our screens. Video operates independently from institutions, unlike film, which is bound by its institutional framework, including cinema theatres and established film language. In contrast, video is open to a wide variety of experimentation without limitations or the need to follow strict rules. Video is accessible to everyone, and anyone can create video content.

Video can function autonomously while also serving as a component of cinema, mass media, ambiance, facades, various situations, or even as an element within other art forms. It possesses the versatility to be projected and seamlessly integrated anywhere, serving as an effective tool for conveying messages or evoking emotions. Analog video has been replaced by digital video not too long ago.

Is it time for a fresh start? Is video still part of the new media landscape, or has it evolved beyond that? Does technology play a crucial role in shaping the content of artwork and imposing the artist's expression and form? Are there clear boundaries between art forms and genres, or can an author's work transcend categorization? Video was once considered a new medium, but is it now considered vintage? Does video have a future, and has it evolved beyond a mere technological transformation from analog to digital, acquiring a new essence in the process? Will video continue to function as an independent medium, or will it become integrated into new digital art forms and platforms, potentially losing some of its freedom? Is video already obsolete? What about cinema? We eagerly anticipated the emergence of digital technology, embracing its various forms, convenient manipulation, and enhanced communication. We continue to adapt to this digital landscape, still undergoing digitalization. Yet, we also gaze ahead, pondering the post-digital era and the potential new media that will emerge to take precedence. What will endure, and what will become relegated to the past? Perhaps some of these questions will be answered by the publication that lies before our readers.