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WCSCD 2020/21 open call Call Opens: February 6, 2020 Call Closes: March 8, 2020, promptly at 17:00 The 2020 program will run from August 1 to October 29, 2020. WCSCD continues to value and emphasize forms of curatorial practice that are active at the margins of the mainstream art world, yet that contribute to the global perspective. This is accomplished primarily through reflection on the local context and efforts to rethink how to meaningfully contribute to the production of curatorial discourses. This is can also be read as an attempt to de-colonize art and its many discourses more broadly. The program maintains an international purview, while proposing consideration of what it means to be international within the abovementioned theoretical parameters. This is in part accomplished through the invitation of the 2020 mentors for the program, including Ekaterina Degot (Director and Chief Curator of steirischer herbst), Lisa Rosendahl (Associate Professor of Exhibition Studies at Oslo National Academy of the Arts, and Curator of GIBCA – the Gothenburg biennial in 2019 & 2021, Chus Martínez (Director of the Art Institute at the FHNW Academy of Art and Design, Basel, Luca Lo Pinto (Director of MACRO in Rome), Suzana Milevska (Curator and a visual culture theorist), Jelena Vesic (Independent curator, writer, and lecturer – based in Belgrade), Xiang Zairong (Scholar), Nataša Petrešin-Bachelez (Independent curator, editor and writer), and ruangrupa (Artistic directors of Documenta 15) among others. For this iteration, the curatorial program WCSCD2020 will have a specific focus on women curators or directors of institutions with ties to the former Yugoslavian cultural field from the 1970s, which challenged mainstream approaches to art. Program participants will conduct interviews, engage in archival practices around their research into these practitioners, all while thinking about modes of archiving in and of itself and discussing different curatorial histories. Each participants’ research practices will be shared and contextualized through different public forms of expression during the program. s. The research conducted as part of WCSCD 2020 will create an archive around these practices, which will be made accessible through publication and open source online content. The aim will also be to discuss these artists’ contributions towards the creation of an “art system” in the region. As the educational-curatorial platform WCSCD enters its third year, it is of note to point out that the majority of attendees of the program thus far have been women, with enrollment of only 20% men. Similar art educational programs around the world share these experiences, and in university contexts as well—women outnumber men in the study of Art History. This poses an important question on the role of gender in relation to curatorial practices and positions within different institutions of art. By revisiting the historical moments cited above, we intend to contextualize and reflect on the current situation within our working contexts as well.Over the past two years we’ve seen the rise of an international movement, the #metoo campaign, thanks in part to the many brave arts professionals who went public with their experiences of harassment and violence, which is now part of the public domain. Yet, the gender imbalance between different work areas and roles within the art system is still very much present today. These observations, along with many others, have led us to tailor a project that will look at the “notion of the curatorial” through a gendered lens and within the context of the ex-Yugoslavian cultural field. Criteria for consideration: Applicants must be 35 years of age or younger No prior degrees in art or art history are required The course fee is based on the monthly average salary of the country from which you hail, for which you are a passport holder (we use online reference of most recent average salary data of successful applicants) Please note that the fee does not include accommodations or travel costs. International participants will be provided assistance with finding accommodations in Belgrade—such accommodations are approximately 180 EUR per month. The standard course fee also does not cover travel and accommodations for 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-WCSCD 2020 by March 8, 2020: CV/Portfolio Letter of Interest (500 words maximum, explaining your interest in curatorial practices and specific research interests) Description (300 words maximum, the working methodology you propose with regard to the project, taking into consideration the role of archives, ways of designing and testing new methodologies for implementation, and gender-related research) Based on the quality of the submitted documents, up to 15 participants will be selected to attend the course. Selected applicants should plan to arrive in Belgrade no later than August 1, 2020. The final list of participants will be announced the first week of April 2020. The final curriculum of the program will be confirmed in May 2020 and shared with the attending curators at that time. This year WCSCD introduced the possibility for distant education and participation in the mentoring session with price 400 euros for program duration for more information how to apply for it pls write to us with subject WCSCD online program WCSCD is proud to also announce the advisory group who will help us shape the program, the members of which include: Matt Packer, Director of the Eva International Biennial; Ares Shporta, Director of the Lumbardhi Foundation; and Andrea Palasti, a Novi Sad based artist. 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 Austrian Cultural Forum; Institut français de Serbie, Swedish Embassy in Belgrade and Hestia Art Residency & Exhibitions Bureau among others. For more information regarding the application process and/or invited lecturers for the 2020 program, please refer to the website: www.old.wcscd.com . For other queries, please send to the following email address: what.could.curating.do@gmail.com .

< Back This is a Title 01 This is placeholder text. To change this content, double-click on the element and click Change Content. This is placeholder text. To change this content, double-click on the element and click Change Content. Want to view and manage all your collections? Click on the Content Manager button in the Add panel on the left. Here, you can make changes to your content, add new fields, create dynamic pages and more. You can create as many collections as you need. Your collection is already set up for you with fields and content. Add your own, or import content from a CSV file. Add fields for any type of content you want to display, such as rich text, images, videos and more. You can also collect and store information from your site visitors using input elements like custom forms and fields. Be sure to click Sync after making changes in a collection, so visitors can see your newest content on your live site. Preview your site to check that all your elements are displaying content from the right collection fields. Previous Next

< Back Preface 4 Feb 2020 We are pleased to present long term research project As you go… the roads under your feet, towards a new future (If you want to travel, build roads first) . This long term project reflects on the recent Belt and Road Initiative (OBOR), and how it will alter the aesthetics and practices of everyday life in different local contexts. The project invites collaborations with artists, activists, architects, agricultural researchers, and anthropologists in an effort to try and understand the impact of the OBOR on different locales, creating a critical analysis and reflection. The project will be developed in dialogue with different institutions in the parts of the world where OBOR has a great presence, such as in Central Asia, the Balkans, East Africa, who will act as hosts and facilitators of the research to be done in collaboration with local communities. Gathering of partner institutions in Addis Ababa close door sessions and public moment hosted by Guramayne Art Center marks the begging on the project. During this public moment hosted by Guramayne Art Center we publicly announce the project, as well present partner institution of the project WCSCD (Belgrade), Times Museum (Guangzhou), Guramayne Art Center (Addis Ababa), Moderna Galerija (Ljubljana), and ArtEast (Bishkek). For this special occasion few artists work related to topic will be presented. Na China (2019) recently produced film by Marie Voignier as well as A New Silk Road: Algorithm of Survival and Hope , 2007, by Gulnara Kasmaileva and Muratbek Djumaliev. Artist Robel Temesgen new work Addis Newspaper: The Chinese Issue – January 2050 initiated by the project will be also presented. First Phase of the project has been supported by Foundation for Arts InitiativesAdditional grant for first public presentations in Addis Ababa has been received from Soros Foundation – Kyrgyzstan Participants of project public moment in Addis Ababa Robel Temesgen – artist (Addis Ababa) Zdenka Badovinac – director of Moderna Galerija (Ljubljana, Slovenia) Nikita Yingqian Cai – chief curator of Times Museum (GuangZhou, China) Mifte Zeleke – director of Guramayne Art Center (Addis Ababa) Gulnara Kasmaileva and Muratbek Djumailev – artists and founders of ArtEast (Bishkek, Kyrgyzstan) Biljana Ciric – independent curator and founder of What Could Should Curating Do February 4th 2020 Location: Guramayne Art Center Format of public presentation 2:00pm – 2:20pm Introduction by Mifta Zeleke and introduction of Guramayne Art Center Introduction of the project by Biljana Ciric 2:20 – 3:00 Lecture performance by Robel Temesgen 3:00 – 3:20 Zdenka Badovinac 3:20 – 3:40 Nikita Yingqian Cai 3:40 – 4pm Gulnara and Muratbek 4:00 – 4:30 Moderated discussion with partner institutions 4:30 – 4:45 Q&A 4:45 break 5:00 Marie Voignier film screening 7:10-7:25 Q&A 7:30 – 7:45 Screening of the work by Gulnara Kasmaileva and Muratbek Djumaliev 7:45 Q&A 8:00 Closing remarks Previous Next

WCSCD 2020/21 open call Call Opens: February 6, 2020 Call Closes: March 8, 2020, promptly at 17:00 The 2020 program will run from August 1 to October 29, 2020. WCSCD continues to value and emphasize forms of curatorial practice that are active at the margins of the mainstream art world, yet that contribute to the global perspective. This is accomplished primarily through reflection on the local context and efforts to rethink how to meaningfully contribute to the production of curatorial discourses. This is can also be read as an attempt to de-colonize art and its many discourses more broadly. The program maintains an international purview, while proposing consideration of what it means to be international within the abovementioned theoretical parameters. This is in part accomplished through the invitation of the 2020 mentors for the program, including Ekaterina Degot (Director and Chief Curator of steirischer herbst), Lisa Rosendahl (Associate Professor of Exhibition Studies at Oslo National Academy of the Arts, and Curator of GIBCA – the Gothenburg biennial in 2019 & 2021, Chus Martínez (Director of the Art Institute at the FHNW Academy of Art and Design, Basel, Luca Lo Pinto (Director of MACRO in Rome), Suzana Milevska (Curator and a visual culture theorist), Jelena Vesic (Independent curator, writer, and lecturer – based in Belgrade), Xiang Zairong (Scholar), Nataša Petrešin-Bachelez (Independent curator, editor and writer), and ruangrupa (Artistic directors of Documenta 15) among others. For this iteration, the curatorial program WCSCD2020 will have a specific focus on women curators or directors of institutions with ties to the former Yugoslavian cultural field from the 1970s, which challenged mainstream approaches to art. Program participants will conduct interviews, engage in archival practices around their research into these practitioners, all while thinking about modes of archiving in and of itself and discussing different curatorial histories. Each participants’ research practices will be shared and contextualized through different public forms of expression during the program. s. The research conducted as part of WCSCD 2020 will create an archive around these practices, which will be made accessible through publication and open source online content. The aim will also be to discuss these artists’ contributions towards the creation of an “art system” in the region. As the educational-curatorial platform WCSCD enters its third year, it is of note to point out that the majority of attendees of the program thus far have been women, with enrollment of only 20% men. Similar art educational programs around the world share these experiences, and in university contexts as well—women outnumber men in the study of Art History. This poses an important question on the role of gender in relation to curatorial practices and positions within different institutions of art. By revisiting the historical moments cited above, we intend to contextualize and reflect on the current situation within our working contexts as well.Over the past two years we’ve seen the rise of an international movement, the #metoo campaign, thanks in part to the many brave arts professionals who went public with their experiences of harassment and violence, which is now part of the public domain. Yet, the gender imbalance between different work areas and roles within the art system is still very much present today. These observations, along with many others, have led us to tailor a project that will look at the “notion of the curatorial” through a gendered lens and within the context of the ex-Yugoslavian cultural field. Criteria for consideration: Applicants must be 35 years of age or younger No prior degrees in art or art history are required The course fee is based on the monthly average salary of the country from which you hail, for which you are a passport holder (we use online reference of most recent average salary data of successful applicants) Please note that the fee does not include accommodations or travel costs. International participants will be provided assistance with finding accommodations in Belgrade—such accommodations are approximately 180 EUR per month. The standard course fee also does not cover travel and accommodations for 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-WCSCD 2020 by March 8, 2020: CV/Portfolio Letter of Interest (500 words maximum, explaining your interest in curatorial practices and specific research interests) Description (300 words maximum, the working methodology you propose with regard to the project, taking into consideration the role of archives, ways of designing and testing new methodologies for implementation, and gender-related research) Based on the quality of the submitted documents, up to 15 participants will be selected to attend the course. Selected applicants should plan to arrive in Belgrade no later than August 1, 2020. The final list of participants will be announced the first week of April 2020. The final curriculum of the program will be confirmed in May 2020 and shared with the attending curators at that time. This year WCSCD introduced the possibility for distant education and participation in the mentoring session with price 400 euros for program duration for more information how to apply for it pls write to us with subject WCSCD online program WCSCD is proud to also announce the advisory group who will help us shape the program, the members of which include: Matt Packer, Director of the Eva International Biennial; Ares Shporta, Director of the Lumbardhi Foundation; and Andrea Palasti, a Novi Sad based artist. 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 Austrian Cultural Forum; Institut français de Serbie, Swedish Embassy in Belgrade and Hestia Art Residency & Exhibitions Bureau among others. For more information regarding the application process and/or invited lecturers for the 2020 program, please refer to the website: www.old.wcscd.com . For other queries, please send to the following email address: what.could.curating.do@gmail.com .

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BOR ENCOUNTERS AUGUST 1 1, 2022 WCSCD CURAT ORIAL INQUIRIES As you go… roads under your feet, towards the new f uture September 15th –September 19th 2022 www.wcscd.c om www.biblioteka-bor.org.rs Novim putevima u novu budućnost Borski susreti 15–19. septembar 2022. www.wcscd.com www.biblioteka-bor.org.rs Saopštenje domaćina bibliotekara Dragana Stojmenovića Narodna biblioteka Bor Konačno okupljanje učesnika projekta Novim putevima u novu budućnost na Borskim susretima, nadamo se, neće biti i kraj tog putovanja, mada se može učiniti da je Bor negde daleko i na kraju novog Pojasa i puta – kao nekakva bogato ukrašena, zlatna kopča na kaubojskom opasaču ili možda još jedna rupa za zatezanje ili opuštanje tog kaiša. Konačno ćemo se upoznati, družiti, razmatrati šta smo sve radili u prethodnom periodu na promociji zbornika i predstaviti ga najširoj javnosti, pritom, žaliti uništeno prirodno okruženje, tražiti sakrivene priče među zidovima biblioteke, lutati i otkrivati borske arkade – lukove između stubova francuske kolonijalne uprave, socijalističkog baroka i neokolonijalne prakse liberalnog kapitalizma, na kraju zajednički obedovati hranu koju će pripremati gosti/domaćini. Treba još samo da se dogovorimo kako ćemo dalje, koji put ćemo izabrati. Nadamo se da ćemo imati snage da ostanemo i opstanemo tu gde jesmo, dok ne izgradimo svoje puteve, ne očekujući da će nas oni voditi prema predvidljivim i očekivanim odredištima, već ka otkrivalačkim i oslobođenim izražajima bezinteresnog stvaralaštva, kretanja i susretanja. Saopštenje gostiju U momentu kada čitate ovo saopštenje, trebalo bi da je sve već spremno za Borske susrete, koji se odvijaju u sklopu projekta Novim putevima u novu budućnost, te vas očekujemo da zajedno šetamo kroz Bor. Bor je mali grad, pa se ne bih začudila ako niste ni čuli za njega. U njemu se nalazi naš domaćin ovih susreta – Narodna biblioteka Bor. Bor je, takođe, poznat po ležištima bakra i rudarskoj industriji, koja se razvija od početka 20. veka, ali i po tome što je rudarsko-metalurški kompleks nedavno kupio kineski rudarski gigant Ciđin (Zijin). Kinesko investiranje u borsku rudarsku industriju proizvelo je mnoštvo novinskih napisa povodom raseljavanja stanovništva, eksproprijacije zemljišta i zagađenja. Bor je, pored toga, i popularna filmska lokacija. Njegove „ozlede” od rudarenja ogromne su, ali i fotogenične, pa je grad pozadina dešavanja u više filmova. Međutim, mi u Bor ne dolazimo da bismo iskopali još jednu sliku njegovih sve širih rana. Kao deo transnacionalnog istraživačkog tima Novim putevima u novu budućnost, dolazimo da bismo se okupili; da bismo sa ljudima iz Bora išli u šetnje koje će organizovati Jelica Jovanović; da bismo probali hranu koju će nam Hu Jun spremiti sa Ćuom, kineskim kuvarom koji sprema obroke za kineske radnike koji žive i rade u borskom Ciđinu; da bismo sa umetnicom Džesfi Dženg u borskoj biblioteci smestili Priče između zidova i da bismo sa Robelom Temesgenom ožalili mesto. To će biti naš prvi fizički susret od kada smo, u februaru 2020, u Adis Abebi, pokrenuli naše zajedničko istraživanje, iako znamo da nekoliko naših kolega, zbog zatvorenih granica, neće moći da nam se fizički pridruži. Pored toga, tokom Susreta prvi put ćemo javno i u fizičkom prostoru podeliti naš rad. Borski susreti uključuju i promociju publikacije Novim putevima u novu budućnost, koja izbliza prikazuje naš zajednički način rada i istraživanja koji praktikujemo od 2020. Zbornik je objavljen u saradnji sa IK Mus (Milano) i Umetničkim muzejom Rokband (Šangaj), a priredila ga je Biljana Ćirić. Učesnici: Robel Temesgen (umetnik, Adis Abeba), Laris Frožje (direktor Umetničkog muzeja Rokband u Šangaju), Sinkne Ešetu (pisac, Adis Abeba), Ajgerim Kapar (samostalni kustos, Almati, Kazahstan), Jelica Jovanović (arhitektica, Beograd), Hu Jun (umetnik, Beograd/Šangaj/Melburn), Džesfi Dženg (umetnica, Sjamen/Šangaj), Dragan Stojmenović (Narodna biblioteka Bor), simona dvorak (kustoskinja), Vladimir Radivojević (fotograf, Bor), Nebojša Jamasaki (umetnik), dr Visa Tasić (inženjer elektronike), Miloš Božić (član lokalne zajednice Krivelja), Katica Radojković (proizvođač i prodavac sira), Nemanja Stefanović (student) Organizatori: Šta bi kustosiranje moglo / trebalo da bude i Narodna biblioteka Bor Koncepcija: Biljana Ćirić Novim putevima u novu budućnost – Borski susreti Vise o projektu: „Novim putevima u novu budućnost – Borski susreti” jesu prilika da prvi put fizički, u javnom prostoru podelimo ne samo rezultate naših istraživanja već i naš način rada zasnovan na relacionalnosti i uzajamnoj zavisnosti, koji pronosimo dok hodamo jedni sa drugima. „Novim putevima u novu budućnost” dugoročni je projekat i istraživačko ispitivanje kojim se promišlja inicijativa „Pojas i put” i kako će ona izmeniti estetike i prakse svakodnevnog života u različitim lokalnim kontekstima u Etiopiji, Srbiji, Sloveniji, Uzbekistanu, Kini, Kazahstanu. Ustanovili smo šta nam je zajedničko, uključujući nasleđa socijalizma i nesvrstanosti, neogeopolitičko okruženje, ekonomske uticaje (naročito kineskog i arapskog sveta na srodne lokalitete, čak i upošljavanje istih kompanija u različitim regionima), zalaganje za sopstvenu kulturu i nedavnu pandemiju kovida 19, što su nam smernice za istraživanje. Od aprila 2020, zbog pandemije, koristimo strategiju „istražuj tu gde jesi”, sarađujući sa 15 istraživača po Kazahstanu, Uzbekistanu, Etiopiji, Srbiji, Sloveniji i Kini. Istraživačka pitanja razvijamo trudeći se da imamo sluha za lokalne hitne potrebe i da iz njih izvlačimo nauk. Na taj način, formulisane su brojne studije slučaja i sprovedena brojna istraživanja. Borski susreti predstavljaju kulminaciju našeg rada i istraživanja obavljenih u prethodne dve godine, a uključivaće brojne javne događaje. Tačka preseka i uvek mogućih razdvajanja ovog preispitivanja jeste Kina. Istraživanje smo sproveli s kolegama u Kini, ne bežeći od nevolje, kako bi rekla Dona Haravej. Spominjanje Kine nosi svoje breme, ali šta danas znači govoriti o Kini? Trin Minha kaže da ime ne sadrži i ne uokviruje stvarnost. Kada nam se stvarnost obraća, u ovom ovde stvaramo neko drugde, i to smo upravo i pokušavali da učinimo. Naša strategija bila je da ne pričamo o Kini kao Drugom već da govorimo zajedno sa Kinom ili da govorimo sa Borom. Potpuni program dešavanja po danima biće objavljen 1. septembra. Svi događaji su otvoreni za publiku i besplatni, tako da jedva čekamo da hodamo sa vama. Detaljnije o Novim putevima u novu budućnost Novim putevima u novu budućnost inicirala je i koncipirala Biljana Ćirić. U ovom istraživanju učestvuju: Šta bi kustosiranje moglo/trebalo da bude (Beograd), Zdenka Badovinac (Ljubljana), Umetnički muzej Rokband (Šangaj), Muzej Tajms (Guangdžu), ArtCom (Astana), Robel Temesgen i Sinkne Ešetu (Adis Abeba) i Narodna biblioteka Bor. Prvu fazu projekta podržali su: Fondacija za umetničke inicijative (FFAI), CURTAIN (Umetnički muzej Rokband), Austrijski kulturni forum, Kustoska praksa Fakulteta za umetnost, dizajn i arhitekturu Univerziteta Monaš i, putem stipendije, Program za istraživačke obuke Vlade Australije. Borski susreti imaju dodatnu podršku norveške Kancelarije za savremenu umetnost i Fondacija za umetničke inicijative (FFAI)i Monas Univerziteta u Melburnu. Za vise informacija o projektu kontaktirajte: Moniku Husar mokahusar@gmail.com Violetu Stojmenovic sloterdajk@gmail.com Kratke biografije učesnika Sinkne Ešetu (pseudonim: O’Tam Pulto) – pisac i pejzažni arhitekta, strastveni izučavalac kulturnih pejzaža kao kombinovanih učinaka prirode i kulture. Na osnovu svojih istraživanja i tumačenja kulturnih pejzaža, piše romane i priče za decu s ciljem da pomogne da se održe starosedelačke kulture i prirodni ekosistemi. Dragan Stojmenović je diplomirao na Odeljenju za etnologiju i antropologiju Filozofskog fakultet Univerziteta u Beogradu. U Boru živi od 1974, a od 2000. radi u Narodnoj biblioteci Bor; od 2005. kao rukovodilac Zavičajnog odeljenja. Bavi se foto-dokumentacijom. Godine 2021. objavio je knjigu O foto-dokumentaciji Francuskog društva Borskih rudnika. Rođen 1987. u Etiopiji, Robel Temesgen trenutno je na doktorskim studijama na Nacionalnoj akademiji umetnosti u Oslu. Zvanje mastera umetnosti stekao je 2015. na Akademiji savremene umetnosti Univerziteta Tromse u Norveškoj, a osnovne umetničke studije slikarstva završio je 2010. u Školi za umetnost i dizajn „Ale“ Univerziteta u Adis Abebi. Dobio je više stipendija za studijske boravke; stipendirali su ga, između ostalih, Program Junge Akademije umetnosti u Berlinu i Program švedskog međunarodnog komiteta za stipendiranje umetnika u oblasti vizuelnih i primenjenih umetnosti IASPIS u Štokholmu. Njegovi radovi izlažu se na međunarodnim platformama odnosno grupnim i samostalnim izložbama. Ajgerim Kapar je nezavisni kustos, kulturni aktivista, osnivač kreativne platforme Artkom. Rođen 1987. u Kazahstanu, živi i radi u Almatiju i Astani (Nur Sultan). Kustos je i organizator izložbi, umetničkih intervencija u gradskom prostoru, javnih diskusija, predavanja, radionica. Sarađuje sa umetničkim i obrazovnim ustanovama i naučnim grupacijama. U saradnji sa umetničkom zajednicom, 2015. osnovao je Artkom, otvorenu platformu koja povezuje kulturne poslenike, kako bi razmenili iskustva i pronašli kanale za interakciju sa društvom, u cilju razvoja i promocije savremene umetnosti i kulture. Godine 2017, Ajgerim je inicirao i neformalnu školu Umetnički sudarač: kad umetnost sretne nauku. Jelica Jovanović (1983) – arhitektkinja i studentkinja doktorskih studija na Tehnološkom univerzitetu u Beču, nezavisna istraživačica. Diplomirala je na Arhitektonskom fakultetu Univerziteta u Beogradu. Osnivačica je i članica NVO Grupa arhitekata, s kojom radi na nekoliko projekata: Letnja škola arhitekture u Baču i Rogljevu, od 2010; (Ne)primereni spomenici, od 2015; Podizanje zavese, 2014–2016, izloženo na Bijenalu u Veneciji 2014. Hu Jun u svom radu obilazi istorijske momente zarad njihovih alternativnih čitanja, pri čemu u te prakse uključuje i umetničku autorefleksiju vezanu za poreklo i lične veze. Izabrane samostalne izložbe: Slika prirode (Image of Nature, Prirodnjački muzej u Londonu, 2010); Naši preci (Our Ancestors, Institut Gete u Šangaju, 2012), Pažljivo podići i Bolest pripovedanja (Lift with Care, Narration Sickness, obe u AIKE-u u Šangaju, 2013. i 2016), Još jedna diorama (Another Diorama, Muzej Nacionalnog univerziteta u Singapuru, 2019). Radovi su mu izlagani i u Elektrocentrali umetnosti u Šangaju, Centru Pompidu u Parizu, Kulturnom centru Beograda, Parasajtu u Hongkongu i Muzeju Tajms u Guangdžuu. Učestvovao je i na 4. Trijenalu u Guangdžuu 2012, 11. Bijenalu u Kvangdžuu 2016, 6. Bijenalu u Singapuru 2019. i 10. Trijenalu Azija Pacifik. Suosnivač je umetničkog e-časopisa PDF (2012–2013). Laris Frožje je direktor Umetničkog muzeja Rokband u Šangaju od 2012. Od 2013. predsednik je žirija za dodelu Nagrade HUGO BOSS ASIA ART, pri čemu je ovu nagradu, izložbu i istraživački program zamislio kao evoluirajuću platformu koja omogućava da se Aziji pristupi kao konstrukciji koju treba preispitati, a ne kao monolitnoj oblast fiksiranih identiteta. Od 2020, Rokband je deo dugoročnog istraživačkog programa Novim putevima u novu budućnost, koji je zamislila samostalna kustoskinja Biljana Ćirić. Godine 2020. Frožje je, sa Alfijem Čuaom, osnovao duet Ocean & Wavz, koji se bavi produkcijom teksta, zvuka i slike. „Uzimajući u obzir da potičemo sa pacifičkih arhipelaga u Aziji i iz Evrope, razvili smo umetničke projekte na osnovu željenih kombinacija i referenci, prevazilazeći granice i koristeći discipline i puteve koji operišu na više nivoa. Stoga, ni sebe ni svoje radove ne ograničavamo na jednu oblast, jedan identitet, jednu disciplinu, kategoriju ili jedan žanr. Istražujući tradicionalnu i elektronsku muziku, pišući poeziju i eseje, kombinujući predavanja sa vizuelnim izvedbama i di-džej sesijama, negujemo paradokse zarad oslobađanja iskustava i kritičkih perspektiva.“ Vladimir Radivojević je ulični fotograf iz Bora. Ljubav prema fotografskim istraživanjima i fotografsku opremu nasledio je od oca. Aktivno se bavi analognom i digitalnom fotografijom od 2005. Izlagao je svoje radove na grupnim izložbama: „Trajni čas umetnosti – Bor” i „0 km”, kao i u štampanim i elektronskim medijima: Le Monde diplomatique – hrvatsko izdanje, br. 9 (2013) i Borski almanah: ulična fotografija kao zajednička antropologija. Serija fotografija „Borski almanah” rezultat je višegodišnjeg beleženja života pasa lutalica. Njihova svakodnevna borba, lutanje i prepuštenost samima sebi moguća su metafora društva u periodu tranzicije, ovde i sada. simona dvorak – međuzavisna kustoskinja. Razvijam projekte koji se realizuju u regionu Il de Frans (Ile-de-France), ali me interesuju i centralnoevropska i istočnoveropska scena. U praksi me interesuju izvođački formati specifični za određene teritorijalne i vremenske kontekste, uz vrednovanje dugoročnog kolektivnog rada. Preispitujem mogućnosti stvaranja prostora „zajedničkog” u kulturnoj sferi, pre svega kao kustoskinja Inicijative za prakse i vizije radikalne brige (Nataša Petreš Bašle, Elena Sorokina). Radim na stvaranju izložbenih postavki kao „aktivnih prostora” koji nam dozvoljavaju da delimo znanje i anticipiramo moguće budućnosti: antiseksističke, antirasističke, inkluzivne. Te strategije se zasnivaju na učenju i odučavanju kao dekolonijalnoj metodologiji, na metodologijama razvijenim tokom doktorskog istraživačkog paraseminara profesorice umetnosti i teorije Nore Šternfeld na Univerzitetu umetnosti u Hamburgu, u kojem i sama učestvujem, i na praksi kulturnog „otpora” koja se razvija pod vođstvom Joane Varše u Kustoskoj laboratoriji Univerziteta Konstfak u Stokholmu. Iskustava koja sam stekla kao nezavisna kustoskinja produbljivala sam radeći pri kulturnim ustanovama kao što su Nacionalna galerija u Pragu (2015), Nacionalni muzej Pikaso u Parizu (2018) ili Centar Pompidu, gde sam 2018. radila uz Kristin Masel, a 2019. uz Ilariju Konti i Katrin Vir za Kosmopolis #2, zatim odeljenje za kulturni razvoj projekta „Kulture budućnosti“– evropske mreže i inovacionog programa za kulturne stvaraoce sutrašnjice, gde radim od 2021. Trenutno sam stipendista rezidencijalnog programa 15. Dokumente u Kaselu za edukatore u oblasti umetnosti i asistentkinja Biljane Ćirić i Projekta Balkan za javni program Hod sa vodom, koji se održava u Beogradu, a povezan je sa samostalnom izložbom Vladimira Nikolića u sklopu Paviljona Srbije na 59. Bijenalu u Veneciji. Dr Viša Tasić – inženjer elektronike, zaposlen u Institutu za rudarstvo i metalurgiju u Boru. Miloš Božić – član Mesne zajednice Krivelj. Katica Radojković – proizvođačica i prodavačica sira na mlečnoj pijaci u Boru. Nemanja Stefanović – student komunikologije i član pozorišta za mlade u Boru. Nebojša Jamasaki Vukelić rođen je 1986. u Beogradu, gde živi i radi. Završio je master studije slikarstva na Fakultetu likovnih umetnosti u Beogradu 2021. Svoj rad uglavnom bazira na mediju crteža, kroz koji tematizuje pitanje ličnih i kolektivnih kapaciteta za društvenu imaginaciju. Pojam kraja sveta važan je aspekt njegovog rada, kao marker anksioznosti koju pojedinci doživljavaju u savremenom kontekstu, ali i kao izraz otpora postojećim društvenim, ekonomskim i političkim uslovima. Izlagao je na brojnim grupnim izložbama i jednoj samostalnoj – „Unutra sve biće meko i nežno”, u Galeriji X Vitamin. Jedan je od dobitnika nagrade za crtež Fonda „Vladimir Veličković” za 2021. godinu, kao i Nagrade „Miodrag Janjušević – akademski slikar” za istu godinu. Kuvar Ću, koji živi i radi u Boru od 2019, pre dolaska u Bor živeo je i radio u Kambodži. Priprema otvaranje restorana kineske hrane u Boru. Biljana Ćirić je međuzavisna kustoskinja. Kustoskinja je paviljona Republike Srbije na 59. Bijenalu u Veneciji. Osnovala je obrazovnu platformu Šta kustosiranje treba/može da uradi? 2018. godine. Bila je nominovana za Nagradu za kustose „Nezavisna vizija” (Independent Vision Curatorial Award, 2012), koju dodeljuje međunarodno udruženje nezavisnih kustosa ICI. Trenutno razvija dugoročni projekat koji se bavi kineskom inicijativom Pojas i put, naslovljen Novim putevima u novu budućnost. Pohađa praktične doktorske studije kustoskih praksi na Fakultetu za umetnost, dizajn i arhitekturu Univerziteta Monaš u Melburnu. Press statement from Dragan Stojmenovic, librarian, Bor Public Library, partner cell of the inquiry “The long-awaited gathering of the participants of the As you go… roads under your feet, towards the new future project at the Bor Encounters will hopefully not be the end of that journey, although it might be said that Bor is somewhere far away, and at the end of the Belt and Road–like some kind of richly decorated, golden buckle on a cowboy belt, or maybe another hole to tighten or loosen that belt. We will finally get to know each other, socialize, consider what we have done so far to promote our shared work and present it to the widest public, at the same time, we will regret the destroyed natural environment, look for hidden stories among the walls of the library, wander and discover Bor’s arcades–the arches between the columns of the French colonial administration, socialist baroque, and neo-colonial practices of liberal capitalism, in the end, we will eat together the food prepared by the guests-hosts. We just need to agree on how to proceed, what road we will choose. We hope that we will have the strength to stay and survive where we are, until we build our own roads, not expecting them to lead us to predictable and presumed destinations, but to revealing and liberating free expressions of disinterested creativity, movement and encounter.” Statement from us guests and visitors of Bor By the time you read this, most of the preparations for As you go… Bor encounters should be done and we are waiting to walk with you in Bor. Bor is small town and I wouldn’t be surprised if you haven’t heard of it. It is where Public Library Bor, is located and together we will be hosting number of encounters. Bor is also a site known for its copper mining industry, which has existed since the early 20th century, but also for the recent purchase of its mining complex by Chinese mining giant Zijin. Chinese investment in Bor’s mining industry has created many headlines with regards to land disputes, pollution and relocations. Bor is a very popular film location. Its extraction wounds are vast and photogenic and appear as the background in many movies. We are not going to Bor to extract yet another image of its ever-expanding wounds. We are going to Bor to spend time together as part of transnational inquiry As you go…roads under the feet towards the new future; to walk with people in Bor, as organized by Jelica Jovanovic ; to eat meals that Hu Yun will cook with Qiu, a Chinese chef who cooks for Chinese workers living and working in Bor Zijin; to gift with artist Jasphy Zheng situating Stories from the Room in Bor Library and to mourn the place together with Robel Temesgen . This will be our first physical meeting since we launch the enquiry in February 2020 in Addis Ababa, although we know for sure that a few colleagues will not be able to physically attend due to closed borders. In addition, this will be our first moment of sharing with public in physical location. The days in Bor also include launch of publication of inquiry As you go…done in collaboration with Mousse Publishing House and Rockbund Art Museum and edited by Biljana Ciric that looks closely into our mode of working and research done since 2020. Participants Robel Temesgen (artist, Addis Ababa); Larys Frogier (director, Rockbund Art Museum, Shanghai); Sinkneh Eshetu (writer, Addis Ababa); Aigerim Kapar (interdependent curator, Almaty); Jelica Jovanovic (architect, Belgrade) in collaboration with Dr. Visa Tasic (engineer of electronics), Milos Bozic (member of local community in Krivelj), Katica Radojkovic ( producer and seller of cheese), Nemanja Stefanovic ( student), Hu Yun (artist, Belgrade/Shanghai/Melbourne); Jasphy Zheng (artist, Xia Men/Shanghai); Dragan Stojmenovic (Public Library, Bor); Nikita Choi (chief curator, Times Museum, Guangzhou), simona dvorak ( curator), Vladimir Radivojevic (photographer), Nebojsa Yamasaki (artist). Organized by What Could Should Curating Do and the Bor Public Library Conceived by Biljana Ciric As you go…roads under your feet, towards the new future – Bor encounters | Introduction As you go… roads under your feet, towards the new future – Bor encounter is the first physical public moment of sharing not only our research but also our mode of working based on relationality and interdependence that we bring with us as we move forward. As you go… roads under your feet, towards the new future is a long-term project and research inquiry that reflects on the Belt and Road Initiative and how it will alter the aesthetics and practices of everyday life in different local contexts of Ethiopia, Serbia, Slovenia, Uzbekistan, China, Kazakhstan. We have established set commonalities as guidelines of our research including socialism, non-aligned legacies , neo-geopolitical settings, economical influences (especially that of the Chinese and Arab world within localities of similar patterns, that have even employed the same companies through different regions), being an agent of its own culture, and the recent COVID-19 pandemic. Since April 2020, due to the pandemic, we have employed the strategy “dig where you stand”, and have been working with 15 researchers across Kazakhstan, Uzbekistan, Ethiopia, Serbia, Slovenia, and China. The research inquiry has been developed trying to listen to local urgencies and learn from them. From there a number of case studies had been formulated and research conducted. Bor encounters is culmination of our work and research done in last two years and will include, number of public moments. China operates within this inquiry as a point of connection, but always with the potential of separation. We did this research with colleagues in China, staying with the trouble as Donna Haraway says. China’s name carries many burdens but what does it mean to talk about China today? Trinh T. Min-ha states that reality cannot be contained and framed in a name. When reality speaks to us, we create an elsewhere within the here and this is what we have trying to do. This was our strategy—not to talk about China as the other, but to speak with China or to speak with Bor. More about As you go…roads under your feet, towards the new future As you go… roads under your feet, towards the new future is initiated and conceived by Biljana Ciric. The inquiry and research cells include What Could Should Curating Do (Belgrade), Zdenka Badovinac (Ljubljana), Rockbund Art Museum (Shanghai), Guangdong Times Museum (Guangzhou), ArtCom (Astana), Robel Temesgen and Sinkneh Eshetu (Addis Ababa), and The Bor Public Library. The first stage of the project has been supported by the Foundation for Arts Initiatives, CURTAIN (Rockbund Art Museum), Austrian Cultural Forum, Curatorial Practice (Monash University Art, Design and Architecture), and the Australian Government Research Training Program Scholarship. Bor encounters received additional support from Office for Contemporary Art, Norway. As you go… Bor encounters participants biographies: Sinkneh Eshetu (penname: O’Tam Pulto), a published author and landscape architect, is passionate about cultural landscapes – the combined works of culture and nature. He develops his novels and children stories based on his studies and interpretation of cultural landscapes to help preserve indigenous cultures and natural ecosystems. He develops positive youth development and empowerment media products for children and youth f. Among his 9 published works, fiction and non-fiction are ‘Catch Your Thunder: Rendezvous With the End’ (2015, Partridge Africa ), ‘A Thousand Versions of Love: The Tao of the Dusty Foot Philosopher’ (2014, Oland Books), ‘Affordance-Based Conceptual Framework for Landscape Architecture: Dealing With Change in Fixity and Fixity in Change’ (2012, Lap Lambert Academic Publishers). In the process of publishing are his 12 children books, a ‘Fruitycity Series: Appo My Friend’, based on Fruitycity Children’s World that he has created– an imaginary world where children are leaders. He is a founder of a start-up – a social entrepreneurship company called ‘Fruitycity Children’s World, which he currently manages. Dragan Stojmenović graduated in Ethnology and Anthropology from the Faculty of Philosophy (Belgrade, Serbia), and has been living and working in Bor, Serbia since 1974. Since 2000, he has been working at the Bor Public Library; since 2005 as a Local History Department librarian. He is the author and chief manager of Digitization of Non-book Materials, Cultural and Public Activities of the Public Library Bor; and the editor and curator of several cultural programs, exhibitions and public lecture series, as well as the online platform http://digitalnizavicaj.org.rs/ . He has also been an associate of numerous cultural organizations and NGOs, and a co-author of their various projects and programs. His book On French Society of Bor’s Mines photographic documentation was published in 2021. Born in 1987 in Ethiopia, Robel Temesgen is currently a PhD fellow in Artistic Practice at the Oslo National Academy of the Arts. He received MFA from Tromsø Academy of Contemporary Art, University of Tromsø, Norway in 2015, and a BFA with Great distinction in Fine Art (Painting) from Alle School of Fine Arts and Design, Addis Ababa University in 2010. He took part in several fellowships and residencies, Junge Akademie Program of the Akademie der Künste, Berlin, and IASPIS, Stockholm, the Swedish Art Grants Committee’s International Programme for Visual and Applied Art are to mention a few. Temesgen’s work has been widely exhibited in international platforms in solo and group shows including ARoS Museum, Aarhus (2021), Para Site, Hong Kong (2021), Kunsthall Oslo (2019), Circle Art Agency, Nairobi (2019), Addis Foto Fest, Addis Ababa (2018), Modern Art Museum, Addis Ababa (2018), Tiwani Contemporary Art Gallery, London (2018), Hamburger Bahnhof, Berlin (2017), Marabouparken, Stockholm (2017), Nada Art Fair, Miami (2016), Akademie der Künste, Berlin (2016), TromsøKunstforening (2016), Tiwani Contemporary Art Gallery, London (2016), KurantVisningsrom, Tromsø (2015), Lumen Festival, New York (2015), Neue Nationalgalerie, Berlin (2014) and Modern Art Museum/GebreKristos Desta Center, Addis Ababa (2013). Aigerim Kapar is an independent curator, cultural activist, founder of the creative communication platform «Artcom ». Born in 1987 in Kazakhstan, lives and works in Astana. Aigerim curates and organizes exhibitions, city art interventions, discussions, lectures, workshops. Cooperates with art and educational institutions and scientific structures. In 2015, she founded in collaboration with the art community, the open platform “Artcom”. The platform brings together cultural figures to exchange experiences and find channels of interaction with society in order to develop and promote contemporary art and culture. In 2017, Aigerim initiated the Art Collider informal school – when art meets science. Where artists and scientists jointly conduct artistic studies, lectures and discussions on current topics. The results of the school are presented at exhibitions, publications and video materials. Jelica Jovanović (1983) is an architect and PhD student at the University of Technology in Vienna, working as an independent researcher. She graduated with a degree in Architecture from the Faculty of Architecture, University of Belgrade. She is a founder and member of the NGO Grupa arhitekata, within which she has worked on several projects: Summer Schools of Architecture in Bač and Rogljevo (from 2010), (In)appropriate Monuments (ongoing from 2015), Lifting the Curtain (2014–2016, exhibited in Venice Bienale in 2014). She also coordinated the regional project Unfinished Modernisations for Association of Belgrade Architects (2010-2012) and worked as s curatorial assistant for the Museum of Modern Art in New York (MoMA) for the exhibition Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980. She is a twice-elected secretary general of DOCOMOMO Serbia , for which she is also working as a project coordinator and web editor. She is also the coauthor of the book Bogdan Bogdanović Biblioteka Beograd – An Architect’s Library with Wolfgang Thaler and Vladimir Kulić, as well as the coauthor of the web page Arhiva modernizma with LjubicaSlavković. She is also an OeAD One Month Visit scholar (Austria) and SAIA (Slovakia) scholar. Hu Yun is an artist currently based in Shanghai and Belgrade. In his practice, Hu Yun revisits historical moments in order to provide alternative readings, a process that also informs the artist’s self-reflection on his native and personal ties. His selected solo exhibitions include Image of Nature (Natural History Museum, London, 2010); Our Ancestors (Goethe Institute Shanghai, 2012); Lift with Care (2013) and Narration Sickness (2016) at AIKE Shanghai, and Another Diorama (2019, NUS Museum Singapore). His works have also been exhibited at the Power Station of Art (Shanghai), Centre Pompidou (Paris), The Cultural Centre of Belgrade, Para Site (Hong Kong) and Times Museum (Guangzhou). Hu Yun has also participated in the 4th Guangzhou Triennial (2012), 11th Gwangju Biennale (2016), 6th Singapore Biennale (2019) and 10th Asia Pacific Triennial. He is the co-founder of art e-journal PDF (2012-2013). Larys Frogier has been the Director of the Rockbund Art Museum (RAM) in Shanghai since 2012.Since 2013, he has been the Chair of the HUGO BOSS ASIA ART jury and he conceived this new award, exhibition and research program as an evolving platform to question Asia as a construction to investigate rather than a monolithic area or fixed identities. In 2020, he engaged the Rockbund Art Museum in the long term research program conceived by the independent curator Biljana Ciric As You Go… Roads Under Your Feet, Towards A New Future. In 2020, with Alfie Chua, he founded the duo artists Ocean & Wavz engaged in text, sound and image creation. Simona dvorák is an interdependent curator based in Paris. She develops projects on territories as Ile de France or Central and Eastern Europe. In her practice, she employs performative, sound and video formats, specific to the territorial and temporary context with the valorization of long-term collective work. She questions how we can create spaces of “communality” in the cultural sphere, notably as a curator within Initiative for Practices and Visions of Radical Care (founded by Nataša Petresin Bachelez & Elena Sorokina). She works on creating frameworks for “exhibition processes” that allow us to share and generate knowledges to anticipate possible futures: antisexist, anti-racist, inclusive. These strategies are based on learning and unlearning as a decolonial methodology developed collectively in Nora Sternefeld’s doctoral research para-seminar at the HFBK in Hamburg, that she is part, as well as within CuratorLab dealing with practice of cultural “resistance”, a program led by Joanna Warsza at Konstfack in Stockholm. simona dvorák was also recently a fellow of program Art and Education in documenta fifteen in Kassel. She works now as a curatorial assistant on Walking with Water public program imagined by Biljana Ciric and Balkan Projects in relation to the Republic of Serbia Pavilion at the 59th Venice Biennale. Concurrently, she is in charge of programming at the Department of Cultural Development. Vladimir Radivojevic is street photographer from Bor. Passion towards photographic research he inherited from father. He is working with analog and digital photography since 2005. Vladimir participated in number of group exhibitions. Chef Qiu moved from Cambodia to Bor pursuing his ambition to open Chinese restaurant. Dr VišaTasić , engineer of electronics, employee of the Mining and Metallurgy Institute Bor Miloš Božić , member of the local community in Krivelj. Katica Radojković , a producer and seller of cheese at the local market in Bor Nemanja Stefanović , a student of communication and a member of the local youth theatre in Bor Nebojša Yamasaki Vukelić was born in 1986. in Belgrade, where he lives and works. He has received his MA in painting at the Faculty of Fine Arts in Belgrade in 2021. His work is mostly focused on drawing, through which he deals the question of personal and collective capacities for social imagination. The notion of the end of the world is an important aspect in his work, both as a marker of anxieties experienced by individuals in current contexts, and as an expression of resistance to existing social, economic and political conditions. He has exhibited in numerous group shows, as well as a solo show – Inside it will all be soft and tender, at X Vitamin Gallery. He is one of the recipients of the drawing award of the Vladimir Veličković Fund in 2021, as well as the painting award “Miodrag Janjušević – academic painter”, the same year. BILJANA CIRIC is an interdependent curator Ciric is curator of the Pavilion of Republic of Serbia at 59th Venice Biennale in 2022 presenting with Walking with Water Solo exhibition of Vladimir Nikolic . She is conceiving inquiry for first Trans- Southeast Asian Triennial in Guang Zhou Repetition as a Gesture Towards Deep Listening (2021/2022) She was the co-curator of the 3rd Ural Industrial Biennale for Contemporary Art (Yekaterinburg, 2015), curator in residency at Kadist Art Foundation (Paris, 2015), and a research fellow at Henie Onstad Kunstsenter (Høvikodden, 2016). Her recent exhibitions include An Inquiry: Modes of Encounter presented by Times Museum, Guang Zhou (2019); When the Other Meets the Other Other presented by Cultural Center Belgrade (2017); Proposals for Surrender presented by McAM in Shanghai (2016/2017); and This exhibition Will Tell You Everything About FY Art Foundations in FY Art Foundation space in Shen Zhen (2017). In 2013, Ciric initiated the seminar platform From a History of Exhibitions Towards a Future of Exhibition Making with focus on China and Southeast Asia. The assembly platform was hosted by St Paul St Gallery, AUT, New Zealand (2013), Rockbund Art Museum, Shanghai (2018), Times Museum, Guang Zhou (2019). The book with the same name was published by Sternberg Press in 2019 and was awarded best art publication in China in 2020. Her research on artists organized exhibitions in Shanghai was published in the book History in Making; Shanghai: 1979-2006 published by CFCCA; and Life and Deaths of Institutional Critique, co-edited by Nikita Yingqian Cai and published by Black Dog Publishing, among others. In 2018 she established the educa tional platform What Could/Should Curating Do? She was nominated for the ICI Independent Vision Curatorial Award (2012). Currently she is developing a long-term project reflecting on China’s Belt and Road Initiative titled As you go . . . the roads under your feet, towards a new future. She is undertaking practice based PhD in Curatorial Practice at Monash University, Melbourne. For more info please contact us Monika Husar: mokahusar@gmail.com Violeta Stojmenovic: sloterdajk@gmail.com

Alumni 2022 2021 2020 2019 2018 2019 Alumni Aigerim Kapar 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. Ana Roman has a Master’s degree in Human Geography from São Paulo University and is a doctoral student in Art History at the University of Essex. Her current research focuses on contemporary art and curatorship. Previously, she was an assistant curator for Between Construction and Appropriation: Antonio Dias, Geraldo de Barros and Rubens Gerchman in the 60s (SESC Pinheiros, São Paulo, Brazil, 2018), and researcher/assistant curator for Ready Made in Brasil(Centro Cultural Fiesp, São Paulo, Brazil, 2017); Rever_Augusto de Campos (SESC Pompeia, São Paulo, Brazil, 2016); and Lina Grafica (SESC Pompeia, São Paulo , Brazil, 2014), among others. She was the head curator for Whereabouts (Zipper Gallery, 2018) with works by David Almeida; Mirages (Baro Gallery, 2018) with works by Amanda Mei; and Small Formats (Baro Gallery, 2018) with works by Alexandre Wagner, to name a few. She also writes critical texts for different media outlets. Since 2014, she has been a participant in Sem Titulo, s.d., a production and research collective focused on contemporary art with whom she organized the exhibitions What is not performance? (Centro Universitário Maria Antonia, São Paulo, Brazil, 2015) and Tuiuiu, with works by Alice Shintani (ABER, São Paulo, Brazil, 2017). Bermet Borubaeva is a curator, researcher, and artist. She was born in Bishkek, Kyrgyzstan, and gained her Bachelor of Arts in Political Science, and Master’s of Arts focusing on “Political analysis and public policy,” from the High School of Economics in Moscow. She graduated from the Bishkek “Art East” School of Contemporary Art in 2009 and studied at First Moscow Curatorial Summer School for their program “Doing Exhibitions Politically,” initiated by Victor Miziano and V-A-C Foundation. Borubaeva also participated in the curatorial research residency “ReDirecting East” at the Centre for Contemporary Art Ujazdowski Castle, Warsaw. Borubaeva has also taken part in different exhibitions and projects, such as the First Youth Central Asian exhibition of Contemporary Art, ON/OFF; the eco-festival, Trash; and an exchange project in collaboration with Focus-Art Association, titled TET A TET #2 (Vevey, Switzerland). Recent projects include the Education Program for Lingua Franca/франк тили’, the re-exhibition project for the Central Asia Pavilion at the 54th Venice Biennale, done in collaboration with Oxana Kapishnikova and Ukhina Diana (2012); the exhibitions Artists-in-Residence at CCI Fabrika (2014–2016 Moscow); the exhibition PAS DE DEUX—KG. CH. at the Center of Contemporary Art Yverdon-Les-Bains, Switzerland; and the performance Café “Non-seller,” addressing the problem of food waste in conjunction with the documentary film “Eco Cup” (Moscow), as part of the Curatorial Research Program, CPR-2017: Mexico. She has also contributed to several publications in the fields of art, political science, and urban environment. Ewa Borysiewicz studied art history at the University of Warsaw and Freie Universität Berlin. She was a member of the curatorial team for Side by Side: Poland—Germany. A 1000 Years of Art and History (Martin-Gropius-Bau, Berlin), led by Anda Rottenberg. She is the author of Rausz kinetyczny (2013), a book exploring the political and emancipatory aspects of non-camera animation. From 2012–2019, she worked at the Adam Mickiewicz Institute in Warsaw as the curator for visual arts. Her duties included establishing international partnerships, programming the international visitors’ program, facilitating artistic residencies, and enabling presentations of Polish art worldwide. She is presently co-organizing (with galleries Stereo and Wschód) the exhibition Friend of a Friend, a gallery-share initiative in Warsaw that has been taking place since 2018. Borysiewicz has also curated and co-curated exhibitions at the Zachęta National Gallery of Art in Warsaw, the Polish Institute in Düsseldorf, and the Museum Jerke in Recklinghausen. She is the author of many texts and catalogue entries. Mateja Smic is a Dublin-based artist working with coffee, gelatin and other, often non-traditional materials, chosen by principles of association within her subject matter. Her recent subjects range from geopolitics to national identity. Through printmaking, digital collage, video and animation, Smic’s installations combine philosophical and psychological questions around experience, the phenomenon of Othering, and tensions between the real subject and its mediated representations. Consisting of intensive cycles and processes of intuitive and experimental engagement with her materials, which become a metaphor for an intangible subject, Smic’s reflexive and multi-layered art practice parallels with her contextual research and writing. Having graduated from the National College of Art and Design in Fine Print and Critical Cultures, her thesis and professional practice project focused on the creation of the image of the Balkans in the West and the portrayal of the region through various art forms and curatorial activities. Tomek Pawlowski is a curator, and events and meeting producer. In 2018 he participated in the curatorial program at Swimming Pool, Sofia. He is the curator of numerous exhibitions, performances, and projects in collaboration with artists from younger generations, groups, independent galleries, and institutions in Poland. He uses collective practices, critical entertainment, and politics of friendship as his main guiding framework. From 2016–2018 he ran Cycle, a program of micro-residencies and events in the apartments where he lived. In 2017 co-curated (along with Romuald Demidenko and Aurelia Nowak) The Open Triennial: the 8th Young Triennial at the Center for Polish Sculpture in Orońsko. He is also the co-curator (with Magdalena Adameczek and Ola Polerowicz) of Sandra Art Gallery, the nomadic agency associating with and supporting emerging female artists from Poznań. He currently resides between Białystok and Poznań. Shasta Stevic is an artist and curator from Melbourne, Australia. She is the co-founder, co-curator, and creative director of IntraLiminal—an ongoing project that showcases the work of talented young artists from regional Australia. She is passionate about providing opportunities for young artists to share their work publicly and supporting the development of ongoing creative practices in younger generations. Having completed degrees in science and law, she sees art as an important vehicle for the exploration of social issues including the environment and sustainability, civilization and progress, so-called technological and scientific advancement, and the worrying divide between humans and nature. She is particularly interested in using unconventional methods of storytelling and installation to bring about social change. Stevic has studied at the LungA School, an experimental art school in Seydisfjordur, Iceland, and has curated exhibitions for a mid-winter festival in Northern Iceland. Sasha Puchkova is an artist and curator based in Moscow. As an artist, Puchkova works with different media: sound, video, objects, performative communication and experiments. She explores phenomena related to different points of connection and the linking of digital and offline processes, as well as the space between these realms, and the interdependent influence of cyberspace on social norms. Key topics are particular interest to her are the plasticity of the laws of the digital system; the body in online space; new materialism; artificial synesthesia; decolonial pathways; post-cyberfeminist practices; and post-anthropocene practices. The pivot of her curatorial practice revolves around an experimental, expositional approach, which has been realized in such projects as a series of performative actions, ideas around the “exhibition as living space,” long-term laboratories, and the development of theatrical exhibitions-in-real-time, among other things. Her curated projects include Syntax (a series of performances and laboratory); (Im)-possible object (research and exhibition projects); and Capture Map (performative project and communication platform). Puchkova is also a member of the research group “Speculative Practices of Corporal Mutations” (with Katya Pislari and Daria Yuriychuk). Victoria Vargas Downing is a Chilean art historian, heritage researcher and independent curator based Leeds in the UK. She holds a BA in Fine Theory and History of Art at the University of Chile, a Curating Diploma and MA in Arts Management and Heritages studies at Leeds University. Has participated in art projects in Chile, Sao Paulo, Los Angeles CA, Vienna and The UK where she co-curated Imtiaz Dharker Exhibition and participated in the process and management of Chilean Mural restoration at the Leeds Students Union. She has worked as teacher and research assistant in different projects and art organisations in Chile (museums, galleries and non-profit organisations). She is PhD candidate at the School of Fine Art, History of Art and Cultural Studies at Leeds University. Her research verse on the relationship between contemporary art and heritage, particularly, in non-Western cultures. Seda Yıldız is a Hamburg-based artist-curator. Her multidisciplinary practice focuses on exploring the art of shaping (collective) memory, language, and the politics of the city. She is interested in the poetics of politics and frequently uses humor and abstraction as a tool in her artistic practice, working primarily with video, text, installation, and the form of the artist book. Her curatorial practice focuses on exploring the clash and intersection between the local and global, and aims to reach a heterogeneous audience while giving voice to the silenced. She is particularly is interested to take part in process-oriented, open and experimental projects that foster collaboration and exchange. Yıldız has exhibited her work and joined various editorial and curatorial projects internationally. In 2018, she was selected as an emerging curator by PARALLEL Photo Platform, co-funded by the Creative Europe Program of the European Union. Occasionally she writes about design, architecture, and urbanism, and contributed to Brownbook Magazine, MONU Magazine, Kajet Journal, and Freunde von Freunden. Yıldız holds an MA in Contemporary Artistic Practices from Haute école d’art et de design Geneva (2014) and a BA in Communication and Design from Bilkent University (2011). http://yildizseda.com Zulfikar Filandra is a film and theatre-maker based in Sarajevo. Filandra was educated at Griffith College Dublin, the Academy of Performing Arts Sarajevo, and the Faculty of Electrical Engineering Sarajevo. As a collaborator and member of several local and several international art collectives, he has worked with all the relevant mainstream art and cultural institutions in Sarajevo and is also active in Sarajevo’s underground art scene. Aside from directing in film and theatre, and assistant directing, Filandra also works as a screenwriter, lecturer, producer, editor, musician, actor, promoter, event organizer, and photographer. As a member of the youngest generation of Bosnian directors his topics touch on the legacy of war in Bosnia, but through a more intimate view of living in contemporary times and the position of a small culture like Bosnia in a globalizing world. Currently, he is actively collaborating with the Experimental Film Society (based in Dublin, Ireland) and Outline (based in Amsterdam, Netherlands). Filandra completed two short films in 2018 and is currently working on two more short films, while also developing his first feature project, titled Shipbuilding. At the moment, Filandra is in the process of founding and starting the first full-time artist-in-residence program in Sarajevo. Martina Yordanova is a curator, writer, and researcher based in Sofia, Bulgaria. She graduated from the University of Vienna in Publicity and Communication Sciences in 2014. She went on to do her postgraduate studies in Cultural Management and Curatorial Practices at different European educational institutions, including the University of Arts Berlin, Goldsmiths University, Institute for Cultural Concepts Vienna, and The Cultural Academy in Salzburg. Currently, she works in Sofia where in 2016, together with architects Galya Krumova and exhibition designer Petya Krumova, she established a non-profit foundation for contemporary art and media. Since then, Yordanova has been initiating different art events and exhibitions with international and Bulgarian artists, mostly living abroad. She is also the founder and curator of “1m2 of Art”—a project based in Veliko Tarnovo wherein every month a different artist from the local art scene presents their work in a space no bigger than its name. < Participants Educational Program Programs >

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Alumni 2022 2021 2020 2019 2018 2022 Alumni Adelina Luft is an unaffiliated curator whose practice emerged and developed in Yogyakarta (Indonesia) along decolonial lines of thought and modes of working that favor collaboration, processes and interdisciplinarity. Her curatorial projects address trans-local affinities, shared histories, human/nonhuman relations with land, migration and identity. In 2021 she moved to Bucharest where she continues to initiate interdisciplinary and socially-engaged art projects. She collaborates with tranzit.Bucuresti and is a member of the curatorial team for Biennale Jogja Equator 2023, where she previously took on roles as assistant curator in 2017 and residency manager in 2015. Adelina holds a BA from the National University of Political Studies in Bucharest and a MA in Visual Art Studies from Gadjah Mada University in Yogyakarta. She often contributes with translations and texts about Indonesian art, more recently for the book A History of Photography in Indonesia: From the Colonial Era to the Digital Age published by Amsterdam University Press and Afterhours Jakarta. She participated in several curatorial programs: Kuandu Museum of Fine Art in Taipei (2018), ODD in Bucharest (2018), and Curator’s Agenda in Vienna (2016). Anastasia Albokrinova has an education in design and a post-graduate in urban research at Strelka Institute (Moscow). While being a student she and her friends established a self-organisation ‘XI komnat’ which was a studio, exhibition and event space from 2008 to 2011. In 2012 she made a residency at NODE center for curatorial studies. Her work path lead from graphic to exhibition design and brand-design for local museums to working as an assistant curator at Shiryaevo Biennial (2018) and later as a curator of Victoria gallery in Samara (2020-present). There Anastasia is mainly responsible for Victoria Underground space and defines her mission as supporting local artists (from different regions of Russia) and practicing experimental curatorial approaches. Her interest includes, but is not limited to cultural identity and local geography, (post)digital art, performance and contemporary dance, time- and process-based art, artificial intelligence, post-human, hybrid practices. Since 2017 Anastasia joined the team of VolgaFest – an urban culture festival on the Volga embankment in Samara as an art-director. Currently she is in the process of completion of her first book (supported by garage.text grant) ‘Vision hunters: artistic and anomalous experiences on the Volga’ that is based on the exhibition she made in 2020 putting together various cultural and occult practices in local geography. Sabine Wedege (1993, she/her) is a visual artist from Denmark, educated from Jutland Art Academy and Faculty of Fine Arts in Belgrade. Works primarily with sculpture, but also with text, video, and sound – used in parallel and in contrast. Researching how to harmonize concept and material, by putting associations in a new frame of references. Occupied with history versus topicality, to connect the past to contemporary issues and questions. Ginevra Ludovici (Rome, 1992) is an independent curator and a Ph.D. candidate at the IMT School for Advanced Studies Lucca. Graduated in Economics and Management from Bocconi University and in Contemporary Arts History at Ca’ Foscari University, in 2019 she attended CAMPO – course for curators of the Fondazione Sandretto Re Rebaudengo and co-founded the curatorial collective CampoBase. She has carried out collaborations with several institutions, including Carpe Diem Arte and Pesquisa (Lisbon), ASK Research Center – Art, Science, Knowledge (Milan), MoMA – The Museum of Modern Art (New York) and Pushkin Museum (Venice). She deepened her research and training at UNIDEE Academy (Biella), PACT Zollverein (Essen), BAK (Utrecht), SixtyEight Art Institute (Copenhagen), MACBA (Barcelona) and MADRE (Naples). She has published in academic and sector journals, such as PARSE Journal, NERO editions, roots§routes and Made in Mind, and presented her research in different universities, including The University of Arts Belgrade, The Lisbon Consortium and The UK Association for Art History. Her curatorial activity is rooted in collaborative practices, and it develops parallel to her academic research which focuses on radical pedagogy programs, processes of self-institutionalization in the arts, and decolonial theories and practices. She is currently conducting a visiting research period at HDK – Valand, Academy of Art and Design, in Gothenburg, Sweden. Giulia Menegale is an independent curator and editor living in Italy. At the moment, she is a PhD candidate in Analysis and Management of Cultural Heritage at IMT (Lucca, Italy). She investigates transnational solidarity networks as a possible strategy to decentralise and pluriversalize the production and exhibit of arts. In her research, she considers case studies across institutional and non-institutional settings. She holds a BA in Visual Art from IUAV (University of Architecture of Venice) and a MA in Contemporary Art Theory from Goldsmiths, University of London. She has collaborated as a curatorial, editorial and research assistant for Looking Forward C.I.C. (London, UK), Castello di Rivoli – Museum of Contemporary Arts (Turin, IT), Island gallery (Brussels, BE) and Taryn Simon Projects (New York, US). Currently, she is editor-in-chief of a series of books on art and theory produced by Ayiné, a Brazilian publishing house (Belo Horizonte, Brazil). Karlygash Akhmetbek is a Kazakhstani socially engaged artist and creative producer of community-oriented educational projects. She holds a BA in Interior Design from the Savannah College for Arts and Design and has experience studying and working in Atlanta, United States, and Hong Kong. As a spatial designer she researches and creates environmentally sustainable solutions for infrastructures, conceptual and immersive spaces that evoke connection. Currently she works in a core team of Artcom Platform Public Association and curates activities for communities around Balkhash lake ecosystems. She designs projects like Beine in order to engage everyone in a community to explore one’s space, its beauties and challenges, and to find new perspectives to address them. Lera Lerner (b. 1988, Leningrad) is an artist, curator, and mediator from St. Petersburg, Russia. Her practice, which she defines as sociopoetic art, is based on mutually educative and inclusive projects. Lerner is interested in helping different communities to create magic safe spaces for sharing and support. She researches everyday rituals of care and joy. She explores how we can blur or accept boundaries of otherness through performative practices of embodied empathy. She believes in coincidence, miracle, intuition and love. She creates spontaneous communication in public space through performances, installations, and research. Lera graduated from the Pro Arte Program for contemporary artists (2015) and completed the MA program in Biology at the Faculty of Biology of St. Petersburg State University (2012). She had projects with the Manifesta biennale in St. Petersburg, Grafikens Hus and LAVA-Dansproduktion in Sweden, Mattress factory in Pittsburgh, CEC ArtsLink in NY, Ars Electronica in Linz, Pro Helvetia Swiss art consul in Moscow, Red Square Festival in Berlin, Agents of Change: Mediating Minorities in Finland, Kone foundation in Finland, Consulate General of Italy in St. Petersburg, Institut français de Russie in St. Petersburg. Since 2017 Lerner is co-curating the Art Prospect public art festival. Simon Gennard is a writer and curator based in Ngāmotu New Plymouth, Aotearoa New Zealand, where he is Assistant Curator Contemporary Art and Collection at the Govett-Brewster Art Gallery. He has previously worked for Enjoy Contemporary Art Space, Te Whanganui-a-Tara Wellington; The Dowse Art Museum, Te Awakairangi Lower Hutt; and Adam Art Gallery Te Pātaka Toi, Te Whanganui-a-Tara. Previous research has examined queer desire, politics and artmaking in Aotearoa. He holds a Master of Arts in Art History from Te Herenga Waka Victoria University of Wellington (2017). Jelena Andžić is a visual artist from Belgrade, Serbia. She received her MFA in Set Design at the University of Tennessee, Knoxville in 2019 and in 2016 graduated from the Faculty of Applied Arts in Belgrade. She recently finished the Metàfora Studio Arts diploma course in Barcelona and defended her final thesis at The Museum of Contemporary Art in Barcelona (MACBA) in January 2022. Her artistic practice revolves around the static image and the potential it holds in terms of giving and absorbing knowledge. Her main points of interest are the impenetrability and ambiguity painting inherently possesses, as well as the different roles time plays in painting and photography. She recently had her solo exhibition at N.O. Concept Gallery (Belgrade) and took part in group exhibitions in Homesession (Barcelona), àngels barcelona | Espai 2 (Barcelona), Mutuo galería (Barcelona), Cultural Center Pančevo (Pančevo), Museum of Applied Arts (Belgrade). In 2022 she was a resident at Fabra i Coats: Fàbrica de Creació in Barcelona. She is currently based in Belgrade and works in a studio space in Jugošped building. < Participants Educational Program Programs >

Events Lecture Series Participant Activities Program Participant Activities 2024 On WCSCD educational programme | Collective reflections Walking as a Way of Knowing – Belgrade Regenerative living-creating spaces for the multi species co-existence Celebrating Resilience and Solidarity Glossary l(a)unch: a passage between collecting and transforming 2022 Program Participant Activities 2020/21 Series of texts developed by participants of WCSCD 2020/2021 program as a response to Bruno Latour text What protective measures can you think of so we don’t go back to the pre-crisis production model? 2019 To be enjoyed endlessly – a zine final project by WCSCD2019 curators Seda Yıldız and Ewa Borysiewicz Reading of the biggest image in Belgrade The WCSCD 2019 Salary Spreadsheet: Expanding the Conversation Around Salaries in the Arts < Mentors Educational Program How to Apply >