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Online Learning This program is developed for artists, curators and cultural workers who want to look at themselves deep in the eye and ask: What is that I care? Why I do things the way I do? What is my relationship to colonial difference? How I relate to the world in most tangible way? Through mainstream education we rarely recognise importance of contact with what is actually within ourselves or to understanding structure from within ourselves out. We understand these questions as fundamental when thinking and practising education. Through this program we provide tools and enable processes to look at these questions and practice them. The program is developed as a set of prerecorded manuals and exercises leading you through number of questions we find crucial for our work: positioning, caring, vernacular gestures and embodied knowledge, slowing down and poetic thinking, acting from and with margins. Although the program is organised as set of prerecorded manuals, we are proposing two online sessions for sharing your thoughts and ideas. You can engage in the program at any time, and work through it on your own pace, whenever you need it. If you make effort devoting time as daily practice you will be able to finish it within 10 days. For a slower pace you can take a week for each topic. For specific exercises we have created platform to share your thoughts and ideas with other participants engaged in the program. Conceptually the course takes point of departure the WCSCD 2022 educational program and some of the exercises practiced during the offline-course. For occasion of making this program we have invited a friend and collaborator, writer Toby Upson (UK) and an artist collective Skart (Serbia) to create manuals for specific sections and we are really grateful to their contribution. Program and instructions are developed with a lot of care in collaboration with WCSCD founder Biljana Ciric and curator Anastasia Albokrinova, WCSCD 2022 program participant. Program Content The structure of BLOCKS 1-5 is mainly two-part. In the first, we are questioning and triggering the proposed topic. In the second, we explore authentic and creative ways to approach it. For each section, we have an introduction from the tutor, and an individual or collective task. To better merge with the topic, we also provide some additional materials (articles, videos, podcasts) and a set of questions for self-feedback. BLOCK 1 includes the option of sharing collectively personal presentations through Zoom platform in groups of 10 people maximum. BLOCK 6 is offered as a collective practice to wrap up the educational experience and is to be conducted in groups of 10 people maximum. Fee: The fee for the course is 110€ . We have considered the lowest possible rate, to make it accessible to as many people as possible, while still being able to pay our invited guests and people who produced the program. Register Sign in

Events Lecture Series Participant Activities The first talk in the 2019 series is titled: Exhibition as language/space/agency for contradicting ideas, forms, and experiences By Luca Lo Pinto Date: September 5, 2019 Time: 18:00 Venue: Salon of the Museum of Contemporary Art (14 Pariska Street) The curatorial course What Could/Should Curating Do is proud to announce that we continue collaboration with the Museum of Contemporary Art in the presentation of a series of public talks as part of 2019 program. For this talk, Lo Pinto will discuss his curatorial practice, focusing on a number of key exhibitions he has organized inside and outside of institutional contexts. Lo Pinto’s practice involves the various roles of curating, writing, researching, making exhibitions, and making books. His work takes different forms by maintaining an openness through the employment of different tools and modes all according to what each project requires. Making exhibitions is a way to develop a situation that can have multiple points of entry both visually and conceptually, offering the viewer a wide range of possibilities and allowing the existence of various narratives. Lo Pinto approaches the curatorial process as a way of questioning different works in relation to each other, in order to see what happens. The same attitude informed his activity as a publisher. This dimension of in-between-ness across disciplines also shaped his education. For this presentation, he will focus on a number of projects which embraces his ongoing interest in house museums, the investigation between the original and copy, the exhibition as a living object, and will also touch upon a number of editorial projects. About Speaker: Luca Lo Pinto (1981) is the curator of Kunsthalle Wien. He is the co-founder of the magazine and publishing house NERO . At Kunsthalle Wien he organized solo exhibitions of Nathalie du Pasquier, Camille Henrot, Olaf Nicolai, Pierre Bismuth, Babette Mangolte, Charlemagne Palestine and the group exhibitions Publishing as an artistic toolbox: 1989-2017; More than just words; One, No One and One Hundred Thousand; Individual Stories e Function Follows Vision, Vision Follows Reality. Other curatorial projects include Io, Luca Vitone (PAC),16th Art Quadriennale (Palazzo delle Esposizioni), Le Regole del Gioco (Achille Castiglioni Studio-Museum); Trapped in the closet (Carnegie Library/FRAC Champagne Ardenne), Antigrazioso (Palais de Toyko); Luigi Ontani (H.C. Andersen Museum); D’après Giorgio (Giorgio de Chirico Foundation); Olaf Nicolai-Conversation Pieces (Mario Praz Museum). He has contributed to many catalogues and international magazines. He edited the book Documenta 1955-2012. The endless story of two lovers. In 2014 he released a time capsule publication titled 2014. The event is free and open to the public. The WCSCD curatorial course and series of public lectures have been initiated and organized by Biljana Ciric. The lecture by Luca Lo Pinto is made possible with the help of the Austrian Cultural Forum Belgrade. < Mentors Educational Program How to Apply >

Art and the Post-Pandemic Condition – an online curatorial program and support grant for art practitioners Open call: May 15th 2020 End of the open call June 15th 2020 Start of the program July 15th 2020 Practical information related to the program: Fee for the workshop is 450 euros Maximum number of applicants 20 WCSCD is launching a one-month online program from July 15th to August 15th reflecting on the post-pandemic condition that we are slowly entering into. This one month program hopes to provoke thinking, reflection and solidarity but also to serve as a collective annotation for our new reality. Through a series of workshops, the curatorial program will open discussions on how our work as artists and curators will be affected. What are some of the fundamental changes that we could address at this very moment to initiate that change? We are hoping to learn from Indigenous knowledge, small scale institutions, different species, notions of care and ways of staying connected from the past, the present and the future, finding gaps from where new relationships and encounters could emerge. While economic pressure forces nation-states to re-open we would like to pose urgent questions addressing the modes of working within the sphere of art that is deeply informed by neoliberal mechanisms. Amid fear of others, suffering and loss of lives, the pandemic has made us pause and to rethink our place in the world and our relationship to other human beings and species. We are hoping to initiate a series of workshops on how to facilitate different modes of working within the sphere of art from individual standpoints but also from a sense of belonging to a community. How can we organize ourselves and discuss different values publicly? How do we deal with the digitalized world imposed on us? Where is it still possible to find cracks for touch and proximity within a highly sanitized world? Many cultural producers are already familiar with different forms of insecurity and precarity. We will look at existing ways of working which are characterized by agility and resilience. A case in question is how small-scale visual arts organisations across the planet have developed methodologies which made it possible to keep running under the neoliberal economic regime. Another case is artists who have developed and maintained a practice without reverting to high production value. This is a good moment to explore unconventional sites and infrastructure that is in place and how they can be activated concerning art, from beaches and forests to libraries and schools. We see the post-pandemic condition as the beginning of a new struggle. It is a common struggle traversing the borders of nation-states, involving practitioners working with contemporary art having a variety of backgrounds. As online program practitioners from all geographies are welcome to apply. The mentors leading the program are Maria Lind, Natasa Petresin Bachelez and Biljana Ciric. Practical information related to the program: Fee for the workshop is 450 euros Maximum number of applicants 20 Application procedure Please send your bio or CV and a short reflection or statement related to the post-pandemic conditions from your perspective. The online sessions will be organized through Zoom and will require preparation, including the readings and different forms of exercises, both physical (what does that imply) and conceptual. There will be approximately three workshops led by the mentors per week and the duration of each session will be two hours. Besides fees for the mentors, part of the budget of the program will be distributed as a grant for three artists as a form of community support. Artists will be reached through the open call while selection panel will consist of program participants and mentors for grant Artists based in any former Yugoslav country are eligible to apply Support fund for artists is 500 euros. what.could.curating.do@gmail.com

(LAST) THINGS As a final gesture to wrap up the program we propose an online collective session. Its aim is to share some of the individual writing or exercises and receive feedback from tutors and colleagues, as well as to collectively create a poetic text based on the main topics and questions aroused during the course. The meeting is a recurring event with a limitation of 10 participants. Estimated duration: around 2 hrs. To take part subscribe for a proposed time in the table below. Form: Date/ Time (GMT)/ Number of places left/ (organizer provides nearest time/date options and limits the number of attendants) Empty text field: Enter an email to receive a zoom link for the meeting. (user receives a zoom link for a set time) If by any reason you decide to not take part in the online meeting, we can provide you with instructions for individual work. Empty text field: Enter an email to receive an individual task. Online session content: (LAST) THINGS TO BE SAID This session will be led by program initiator Biljana Ciric. Meeting duration: 1 hr. Please prepare and send your selected task from any Block of the program via email wcscd.online@gmail.com . It can be a pdf/word file or a link to video or any multimedia file. A folder with participant’s presentations will be sent to your email for preliminary review. During the session you will have 5 minutes to present and 5 minutes for collective feedback. (LAST) THINGS TO BE WRITTEN This session will be led by Anastasia Albokrinova. Meeting duration: 1 hr. This session will be dedicated to writing a collective poem in relation to educational practice. You don’t need any prior experience in poetry, but be ready to brainstorm and improvise. Please have your tasks done previously for the program nearby. They may be needed.

About educational program Introduction of program 2018-2022 Due to the lack of formal education related to curatorial and artistic work in the Balkan region (while in the former West there has been a proliferation of MA and PhD programmes in curating and artistic research), WCSCD was initiated with the goal of fostering the new generation of curators and artists as well as to raise awareness of the importance of curatorial and artistic knowledge and positions when thinking of art institutions and their role within the larger social context. The intention is to bring together key international and local figures engaged in decolonizing curatorial and artistic discourse, who are specifically able to offer diverse knowledges to the program participants. Through the program, we invite mentors from non-western contexts, local practitioners and also colleagues from the former West. In the last three years our participants were young practitioners from different parts of the world including the Balkans, EU, Asia, Central Asia, Russia, Australia, New Zealand, Latin America making it a unique program in Europe. Due to very limited funding structures for the arts within Serbia, funding of the program was dependent on the support of cultural institutions. The program has also charged a participation fee in line with the monthly salary of the country from which the participants is a passport holder. This was an attempt to generate more equal access to participation for everyone who applied. We also offer special grants for colleagues in need and in 2022 we have granted program access to the colleagues from Russia. Furthermore, in collaboration with Kadist Foundation in 2022 we have enable grant for practitioners from the region in order to participate in the program. The program is intensive, with daily programs of workshops, writing sessions, studio visits, and research trips in the region. Some of the research trips we have done so far include: Kosovo, Bosnia, Romania, Slovenia and Austria. Every year the program would accept up to 15 participants. Besides closed-door workshops for participants, all invited mentors would present public lectures to the larger cultural sector, sharing their ways of working and instituting. From 2023 educational program will be biennial and spread across two years in order to facilitate deeper and longer research of program participants. < Educational Program Participants >

Events Lecture Series Participant Activities Precarious Improvisation: The Past and The Present, maybe The Future | WCSCD 2020/21 Annual Lecture Series The curatorial program What Could/Should Curating Do is proud to be continued in 2021 with public program through lecture series The eighth talk in the 2020/21 series is titled: Precarious Improvisation: The Past and The Present, maybe The Future by Zairong Xiang Date: March 17, 2021 Time: 12:00 pm Belgrade / 10:00 pm Melbourne / 07:00 pm Shanghai / 6:00 am New York Registration: Link One of the most widely used tools for survival by the improvised majority of the world is that of the quick-fix or make-shift, be it jugaad in India, gambiarra in Brazil, or to some extent shanzhai in China. These are at once embedded in traditional space-time and specific to the condition created by neoliberal global capitalism. Not merely a socioeconomic and anthropological phenomenon of improvisation, quick-fix methods across the world emerge from an onto-epistemology of profound connectivity of things and an ethics of pervasive permissibility. In this lecture, we will look at different registers of improvisation anchored in artistic practices and critical and curatorial reflections, from quotidian knowledge to ingenious improvisation, from communitarian politics to capitalist appropriation; and discuss what lessons can be learnt (both from and against) these theory-practices, especially in the context of an all-exposing pandemic. About Speaker Zairong XIang is Assistant Professor of Comparative Literature and Associate Director of Artat Duke Kunshan University. He is author of Queer Ancient Way: A Decolonial Exploration (punctum books, 2018). Chief curator of the “minor cosmopolitan weekend” at the HKW Haus der Kulturen der Welt (2018), he is also the editor of its catalogue minor cosmopolitan: Thinking Art, Politics and the Universe Together Otherwise (Diaphanes 2020). He is co-curating the 2021 Guangzhou Image Triennial tougher with the Hyperimage Group and is working on two projects, respectively dealing with the concepts of “transdualism” and “counterfeit” in the Global South especially Latin America and China. He was Fellow at the ICI-Berlin Institute for Cultural Inquiry (2014 – 2016) and postdoctoral researcher of the DFG Research Training Group minor cosmopolitanisms at Potsdam University(2016-2020). All his writings could be read here: www.xiangzairong.com The lecture is hosted by KHiO in collaboration with the curatorial program WCSCD. WHAT COULD/SHOULD CURATING DO? (WCSCD) WHAT COULD/SHOULD CURATING DO? (WCSCD) was initiated and funded in 2018 in Belgrade as an educational platform around notions of curatorial. From 2020 WCSCD started to initiate its own curatorial inquiries and projects that should unpack above -mentioned complexities keeping educational component as a core to the WCSCD. The WCSCD curatorial program and series of public lectures have been initiated and organized by Biljana Ciric. WCSCD 2020/2021 public program series has been done in collaboration with Division of Arts and Humanities, Duke Kunshan University and they co-stream all public lectures. Strategic media collaboration is done with Seecult and they will co-host all public lecture series. Project Partners Media Partner For more information about the program, please refer to www.wcscd.com Project contacts: what.could.curating.do@gmail.com Follow us: FB: @whatcscdo Instagram: @whatcouldshouldcuratingdo < Mentors Educational Program How to Apply >

Program Participant Activities Tonight we invite you to encounter a collective archive of the 2022 What could/should curating do educational programme, which took place in Belgrade and other locations around the Post-Yugoslav region, between September and December this year. The departure point for this archive is a proposal by Biljana Ćirić, program curator and facilitator, to consider the means by which the discussions, events, inquiries and relationships developed during this time might be recorded or documented. Archiving is never neutral. Determinations are always made—by individuals, by collectives, by collecting institutions—about what knowledge is worth saving, the means by which knowledge is indexed, housed and cared for, who has access and on what terms. Within the framework of an alternative educational platform—with a loose and evolving curriculum, and no formalised method of assessment or grading—this exercise presents an opportunity to consider what alternative measures we might allow ourselves for the production of knowledge when freed from institutional modes of transmission and circulation. As such, these archives—both individually and collectively—do not simply record a series of shared (and at times differing) experiences. They include questions around how the embodied, linguistic, political, intimate, relational nature of experience and remembering, ranging in scope from the personal, to the national. Each contribution is informed by the “baggage” we carried with us, as a group of individuals from many different geographic and cultural contexts, many of whom had little relationship with Belgrade, Serbia or the Balkan region prior to this course. This “baggage” includes our different relationships to contemporary art’s infrastructures; our different fields of knowledge and networks of relationships; cultural and linguistic differences; differing relations to histories of colonialism, resource extraction and capitalist exploitation; and varying habits of thought, modes of making, inhabiting and formulating questions about the world. Through differing strategies of presentation and circulation, we hope to open up questions about what we have in common, as well as what separates us; what of ourselves is dispersed, and what is withheld. But the physical “archive” we share with you tonight is only a part of a wider set of relationships, experiences, idea exchanges, occasional encounters, gossip and experimenting. Tonight we celebrate the beauty and fragility of these moments. Be our guests at the two tables. Read silently. Read aloud. Whisper. Describe what you see. Share what you feel. Eat. Drink. Embrace. This archive is staged as something living, developing and transformational, ever evolving as our moments with you. Thank you for sharing this journey with us. We hope it’s not the end, but only a stop on the way. WC/SCD 2022 Adelina, Anastasia, Ginevra, Giuglia, Jelena, Karly, Lera, Sabine, Simon < Educational Program Participants >

Alumni 2019 Lecture Series Participant Activities Alumni is an independent curator, cultural activist, and founder of the creative communication platform Artcom. She was born in 1987 in Kazakhstan and continues to live and work in Astana. Kapar curates and organizes exhibitions, urban art interventions, discussions, lectures, and workshops. To accomplish such wide-ranging initiatives she often collaborates closely with art and educational institutions, as well as scientific apparatuses. In 2015, she founded the open online platform Artcom in conjunction with the local art community. The platform brings together different cultural figures to share experiences and discover channels for greater interaction within society in order to develop and promote contemporary art and culture. In 2017, Aigerim initiated the Art Collider informal school—when art meets science. Through this initiative artists and scientists jointly conduct research and present lectures and discussions related to current issues. The results of the school are presented through exhibitions, publications, and audio-visual materials. < Mentors Educational Program Menu >

Call for applications: “WHAT COULD/SHOULD CURATING DO?” curatorial course 2019 We are pleased to announce the second edition of the curatorial program, What Could/Should Curating Do?, hosted in the city of Belgrade. August 26–November 26, 2019 Application deadline: March 18 What Could/Should Curating Do? Belgrade, Serbia WCSCD was launched in 2018 as an international curatorial course situated in a specific, local context framed by its Post-Yugoslav identity, the Balkans. After the inaugural pilot year program, we continue to contribute to the thinking and doing around the curatorial field with an intense, three-month long program that draws upon the unique local and regional context as a critical source of knowledge. Simultaneously, this program also intends to provide insights into the wider international framework related to exhibition-making practices on both a theoretical and practical level. The curriculum for the course includes weekly writing assignments, presentations, studio visits, institutional visits, lectures, and mentoring sessions with local and international practitioners. As part of the program for 2019 a research visit to a different part of the Balkan region is also being planned. During the course, participants will develop and propose a collective exhibition project that will be presented the last month of the program—or later—depending on the nature of the project. The course offers participants the opportunity to meet and learn from many leading professionals in the field of contemporary curating. The primary mentors for the course include Luca Lo Pinto (Kunshtalle Wien, Vienna); Charles Esche (Van Abbemuseum, Eindhoven); Zdenka Badovinac (Moderna Galerija, Ljubljana); Nikita Yingqian Cai (Times Museum, Guangzhou); Ares Shporta (Lumbardhi Foundation, Prizren); Dan Cameron (New York); Matt Packer (EVA International, Limerick); Carolyn Christov-Bakargiev (Castello di Rivoli, Turin); and others. Patrick D. Flores, Artistic Director of the 2019 Singapore Biennial will give a kick-off lecture in May of 2019, titled Singapore Biennial 2019: Some Political Inspirations. The presentation speaks to the method and conceptual impulse to convene a biennial in Singapore, noting the lively milieu of contemporary art in Southeast Asia and the ethical demands involved in evoking this liveliness. Application requirements: Applicants must be 35 years of age or younger No prior degrees in art or art history are required The course fee is 350 EUR. The fee does not include accommodations or travel costs. International participants will be assisted with finding accommodations in Belgrade—accommodations are approximately 180 EUR per month. The standard course fee also does not cover travel and accommodations on research trips. Successful applicants should prepare an allowance of approximately 300 EUR to cover these additional costs. How to apply: Applications should include the following items as a single Word or PDF document, sent by email to what.could.curating.do@gmail.com with the subject line: Curatorial-Course-Belgrade by March 18, 2019: CV/Portfolio Letter of Interest (500 words maximum, explaining your interest in curatorial practices) Project Description (300 words maximum, an urgent project you would like to develop) Based on the quality of the submitted documents, 15 participants will be selected to attend the course. Selected applicants should plan to arrive in Belgrade no later than August 25, 2019. The final list of participants will be announced in May 2019. The final curriculum of the program will be confirmed in June 2019 and shared with the attending curators at that time. The WCSCD curatorial course is a long term project initiated by Biljana Ćirić, with the support and collaboration of the following partner institutions: The Museum of Contemporary Art Belgrade; EVA International—Ireland’s Biennial of Contemporary Art; and Zepter Museum, among others. The project is supported by the Istituto Italiano di Cultura Belgrado; the Embassy of the Kingdom of the Netherlands in Belgrade; the Austrian Cultural Forum; Heinrich Boell Stiftung; and Hestia Art Residency & Exhibitions Bureau among others. Project contacts: what.could.curating.do@gmail.com Tjaša Pogačar (tutor of WCSCD 2019): pogacartjasa.contact@gmail.com Ana Anakijev (coordinator): anaanakijev@gmail.com Visual identity by Saša Tkačenko