Belgrade won a award last year for its favourable investment climate. The economy has been flourishing since Serbia opened itself to world trade. This wave of privatization is affecting everyone, not least the art world, which is reacting critically. Artists and artists' groups have initiated various studies into the consequences of these economic changes for the population.

For many years, there was no animation art to be found in museums or other art exhibitions, with the exception of William Kentridge’s social criticisms. Recently, the genre is blooming, in all its manifestations. Paul Chan’s shadow plays at TENT and the Amsterdam Stedelijk Museum, Jan van Nuenen’s videographic experiments at the Centraal Museum in Utrecht and W139, Nathalie Djurberg’s clay characters at locations all over Europe: what is going on here?

Suddenly at the centre of a hype, Markus Schinwald (b. 1973) is not happy with all the attention his work is getting, which goes along with the interest in the essence of man, sex and passion that seems to be cropping up everywhere. This type of art, which nowadays he is sometimes associated with, he calls 'psycho-kitsch', while his own work is of a more conceptual nature. Time to set things right.

Maaike Schoorel paints by touch, slowly scanning the surface. Only here and there is a note taken of something that deserves to be recorded. What she paints is a reduced field of vision, but it is one that sharpens the eye.

The comeback is characterized by a temporary disappearance, after which the return can be celebrated with all due. It is a variation on the resurrection, on rising from the dead, which has a long history and has been translated into countless myths, fairy tales, rituals and artefacts. From Lazarus to Iggy Pop, from Elvis to Martina Hingis, many are acquainted with it. There really is life after death, certainly in art.