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About educational program Introduction of program 2018-2022 2022 2021 2020 2019 2018 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. < Participants Educational Program Programs >

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 >

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 >

Events Lecture Series Participant Activities < Mentors Educational Program Menu >

Events Lecture Series Participant Activities What is The Use? Needs and Means of Making Biennials Under Pandemic | 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 sixth talk in the 2020/21 series is titled: “What is The Use? Needs and Means of Making Biennials Under Pandemic” A talk/walk through Prizren in preparation of Autostrada Biennale with Övül Ö. Durmusoglu and Joanna Warsza Date: February 5, 2020 Time: 12:00 pm Belgrade / 10:00 pm Melbourne / 07:00 pm Shanghai / 6:00 am New York Venue: zoom link Meeting ID: 985 237 3109 Live stream/Facebook link Credit: A research for Autostrada Biennale, National Library of Kosovo, 2020 “The presentation takes form of a walk live from our second research trip to Prizren under continuing lockdown. Times of challenge for humanity’s unsustainable habits, patterns of living and producing on the planet have arrived. In this ongoing pandemic experience, the formats of content production in contemporary art, especially large-scale exhibitions called biennales need to rethink themselves. While art and culture should remain on the life necessities agenda, our questions and claims as curators need to find a down-to-earth resonance with current needs, limits and means. After ‘Die Balkone’, a public art initiative in windows and balconies of Berlin’s Prenzlauer Berg, Övül and Joanna welcomed the invitation by the very young Autostrada Biennial initiated by two artists and an educator in Kosovo. The onsite conversations with artists, writers, cultural producers, activists, politicians lead to projects and stories in need of being heard; which motivated the working question around ‘two ends of the road and mutual needs’. Therefore, the biennale will not be cancelled but rooted locally in what we call ‘intimate infrastructure’. As we take the viewers on a walk “What is The Use?”, we will talk about the concept of biennale as resistance and the upcoming Autostrada Biennale as a journey where tools of care and unpredictability are part of their emergency kit on the road trip to the present, from Berlin to Kosovo and back. Or somewhere in between”. Joanna Warsza and Övül Ö. Durmusoglu co-curate Die Balkone in Berlin in 2020 and 2021, and Autostrada Biennale in Kosovo in summer 2021. Foto: Christian Lohse About Speaker Övül Ö. Durmusoglu is mentor and program co-leader in the Graduate School in University of the Arts in Berlin and a visiting professor for Art and Discourse in University of the Arts Braunschweig. In her multifaceted practice as curator, writer and educator, she researches intersectional forms and narratives of contemporary political subjectivities. Övül was one of the curators for the Steirischer Herbst festival in Graz; curator/director for YAMA public screen in Istanbul; artistic director for the Sofia Contemporary 2013 ‘Near, Closer, Together: Exercises for a Common Ground’. She curated different programs for the 10th, 13th and 14th Istanbul Biennials; coordinated and organized different programs and events at Maybe Education and Public Programs for dOCUMENTA (13). Joanna Warsza is a Program Director of CuratorLab at Konstfack University of Arts in Stockholm, and an independent curator interested in how art functions politically and socially outside the white cubes. She was the Artistic Director of Public Art Munich 2018, curator of the Georgian Pavilion at the 55th Venice Biennale, head of public programs for Manifesta 10 in St. Petersburg and an associate curator of the 7th Berlin Biennale among others. She is an editor of more than ten publications in the areas of public art, politics, performativity and feminist theory. Lately she co-edited with Michele Masucci and Maria Lind, Red Love, a Reader on Alexandra Kollontai (Berlin: Sternberg Press, 2020). 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 >

Alumni 2022 2021 2020 2019 2018 2021 Alumni Devashish Sharma has a BFA in Painting from the Maharaja Sayajirao University, Baroda, and an MFA from the Shiv Nadar University, Greater Noida. After completing his MFA, he joined the Kiran Nadar Museum of Art (KNMA), New Delhi as a trainee, and was part of the team responsible for the physical verification and documentation of the art collection. In 2017, he received the Public Art Grant from the Foundation for Indian Contemporary Art (FICA), New Delhi and was able to pursue his interest in setting up a museum for the children of the villages of Kumharpara and Balengapara, Chattisgarh. The Museum of Questions and Imagined Futures is a space for children to think about the future of history in a rural context. Research on architecture and landscapes is a key part of his practice, and in 2019 through a grant funded by the Max Mueller Bhavan, New Delhi he was able to initiate Road Number Zero, a research project that explores the cusp between rural and urban landscapes within India. His practice revolves around the ideas of bodily experience and movement, and the politics of curating. Devashish is currently based in Bangalore. Beatrice Rubio-Gabriel is an independent curator, writer and performance artist based in Naarm/Melbourne. She finished a double-degree BA in Art History and Theory alongside a BFA from the Monash University School of Art, Design and Architecture, and was the recipient of the BAHCxMUMA Curatorial award at the MADANOW19 exhibition. Centring around a collaborative and experimental practice, she has curated projects that aim to challenge current curatorial and euro-centric modes of exhibiting, and experiments with writing as artform. Her curated projects include /dis/location, MPavilion, Melbourne (2019); The Art of Consumption and The Answers You Need Are Right Where You Are, Intermission Gallery, Melbourne (2019); Revisiting the Quadriennale, CareOf Facility, Milan (2018) and Dwelling Inbetween Here and Some Other Place, Monash Prato Centre, Prato (2018). The former artistic director of Intermission Gallery, she is now currently researching systems of care and intersectional spaces of Resistance Aesthetics. She is also exploring the Baybayin script of the Philippines as a gateway for cultural understanding and re-connection, and how this may be engaged through performance and mark-making. Christophe Barbeau Following a BFA in Quebec City at Université Laval, Christophe Barbeau completed the Master of Visual Studies, Curatorial Studies, at the University of Toronto, Canada, during which his research looked for a political understanding of the position of the “curator” through a specific concept of “authorship”. His projects, as an artist and a curator, have been presented in different group and solo exhibitions in Quebec City, Montreal, Rouyn Noranda, Toronto, Boston, and Nice. Notably : The Die Has Been Cast (2014 Villa Arson, Nice), dans la petite galerie. […] (2014, L’Oeil de Poisson, Quebec City), Dans ce cas-ci (si), […] (2015, Quebec City), Dans le but de décentraliser […] (2016, L’Écart, Rouyn Noranda). In this first stage of projects, the research focused on developing artist’s curated situations of exhibitions where a curatorial strategy was embedded within an artistic practice, specifically through display structures as well as employing strategies of copies, re-makes, re-enactments. Barbeau’s latest exhibitions were entitled : «Qu’avons- nous fait? […] (2019) presented in Toronto; and «and I am the curator of this show1» (2018) presented at the Art Museum University of Toronto in 2018. In this stage of projects, the focus was redirected towards the power relationship specific to the position of the curator, through the use of institutional critique and self-reflexive curatorial gestures, the projects were aiming at deconstructing the conventional and naturalized authorities of the curator, uncovering the political challenges that this figure is facing. < Participants Educational Program Programs >

Events Lecture Series Participant Activities Where is the body of the curator? | WCSCD 2020/21 Annual Lecture Series The curatorial program What Could/Should Curating Do 2020 is proud to continue in 2020 with public program through lecture series The fourth talk in the 2020/21 series is titled: “Where is the body of the curator?” By Lisa Rosendahl Date: January 7, 2021 Time: 12:00 pm Belgrade/ 10:00 pm Melbourne/ 07:00 pm Shanghai/ 6:00 am New York Venue: zoom link Meeting ID: 985 237 3109 Live stream/Facebook link Lisa Tan, Pictures of You (2017) installed at Pontusbadet in Luleå as part of the exhibition. Extracts from a Future History curated by Lisa Rosendahl for Public Art Agency Sweden. “My talk will focus on two curatorial projects: Extracts from a Future History (curated for Public Art Agency Sweden in Luleå in 2017) and The Ghost Ship and the Sea Change (the 11th edition of Göteborg International Biennial for Contemporary Art, forthcoming in 2021). Using these as case studies, I will discuss the exhibition as a site for situated knowledge production and historiography, as well as reflect on curatorial methodology. The title of the talk refers to my ongoing enquiry into the question of curatorial agency and how to understand subjective and embodied acts of narration beyond the frame of individual authorship”. Portrait by Stine Hebert About Speaker Lisa Rosendahl is a Swedish curator and writer based in Berlin. She is Associated Professor of Exhibition Studies at Oslo National Academy of the Arts. In 2018, she was appointed Curator of the 2019 and 2021 editions of GIBCA, the Göteborg International Biennial for Contemporary Art. For the last few years her curatorial practice has been engaged in long term projects researching industrial Modernity in Scandinavia, resulting in exhibitions such as Extracts from a Future History (Public Art Agency Sweden, 2017) The Society Machine (Malmö Konstmuseum, 2016-17) and Rivers of Emotion, Bodies of Ore (Trondheim Kunsthall, 2018). Previous positions include Curator at Public Art Agency Sweden (Stockholm, 2014-17) Director of Iaspis, the Swedish Arts Grants Committee’s international program for visual art, architecture, design and craft (Stockholm, 2011-13) Director of Baltic Art Center (Visby, 2008-10) and Director of Exhibitions at Lisson Gallery (London, 2003-6). 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 >

Alumni 2018 Lecture Series Participant Activities works within the realms of research, writing, discussion, publishing and exhibition making. Her practice reflects on the unstable overlap between material, social and political processes; especially as such relations develop over time. Andreoletti is currently a Postgrad fellow at the Academy of Media Arts Cologne. < Mentors Educational Program Menu >

Open call: What Could Should Curating Do educational program 2023/2024 Duration of the program: two months in 2023 and one month in 2024 Applications for 2023/24 are open now Deadline for submission: April 7th 2023 We will reach shortlisted candidates for interviews between April 10th and April 15th 2023 From 2023/24, we are inviting you to collectively research, think, practice and imagine a format of and art institution that is ethically and economically sustainable. We invite you to discover with us what it means when an art institution becomes the custodian of the land. Canadian indigenous scholar Donald Dwayne reminds us that issues of climate change and sustainability are not problems that science and technology can solve. They are problems of cultural and spiritual origin. We change things not by telling people what they should do but by changing the way they live. The way we live. What Could Should Curating Do from 2023 is starting a self-reflective process developing a model of institution between urban and rural ecologies connected to the plot of land in central Serbia with the question: What does it mean for an art institution to become the custodian of the land? What are the sustainable practices that reflect the practice of caring for the land and caring for culture? These questions will be at the core of this educational program. This self-reflective process will be realised through an educational program and the long-term engagement of the program’s mentors, invited collaborators, educational program participants, local communities, WCSCD and alumni. Our partners and mentors are INLAND (Madrid, Spain), Casa delle Agriculture (Puglia region, Italy), Green Network of Activist groups (ZMAG) [Zagreb, Croatia], Zoma Museum (Addis Ababa, Ethiopia), Madeleine Collie (Food Art Research Network), Manuel Borja-Villel (Museo Reina Sofia), Škart Collective (Belgrade, Serbia), among others. We will be accompanied by Milica Bilatovic (artist, currently based in Tuzla), Jelica Jovanovic (architect, based in Belgrade) and Sergio Montero Bravo (architect, based in Stockholm). The program is designed to explore different ways of inhabiting and interacting with the biosphere and territory, through mechanisms of education, commissions, and community engagement with artists, curators, local youths, and farmers in the process. The first stage of the program will include historical research and mapping practices of cultural workers, who have been developing relationships with the rural as an integral part of their practice, which will later take the form of a publication. The first stage of the program also includes a number of workshops with mentors, community and collaborators. The second stage will focus on practicing situated and embodied knowledge that the place has given to us and creating collective orientations towards the future. We will practice, fail, learn from failures and try again. More info: Serbia after the Second World witnessed a decline in agricultural activities from 3/4 of the population engaged in agriculture to 1/6 nowadays. Central Serbia, which was known as a fertile region for agriculture and where the plot of land is situated, witnessed a decline in farming activities due to the depopulation of villages caused by the land’s devaluation and subsequent activities on it, as well as the climate change that in recent years caused long droughts and lack of food supplies for animals. Political right-wing parties have been using these ecological crises for their own political purposes, further alienating village communities from the rest of the country, while using them for their political causes in their fabrication of nationalistic narratives. Artists, curators, cultural workers, and people with different knowledge backgrounds are welcome to apply. Practical information No prior degrees in art or art history are required in order to apply –The course fee is charged according to your country income (you need to be a passport holder of that country). For lower income countries, the 2023/2024 program fee is 400 euros. For lower and middle-income countries, the 2023/2024 program fee is 700 euros. For middle and upper-income countries, the 2023/2024 program fee is 1.200 euros. For high income countries program fee is 2000 euros Please use this reference for your country income: https://datahelpdesk.worldbank.org/knowledgebase/articles/906519-world-bank-country-and-lending-groups Payments should be done in advance and in instalments if needed. We encourage individuals and institutions to support cultural workers’ education through this program. About your stay: The program fee doesn’t include costs of travel to Belgrade and research trip costs. A part of accommodation will be covered. For the two-month stay in 2023, one third of the program will take place in the countryside on land, while the rest in Belgrade. The accommodation in the village will be covered by WCSCD, while participants will need to cover costs of accommodation in Belgrade, as well as costs of the research trip. In 2024, we will we will spend half of the time in the village (covered by WCSCD) and the rest of time in Belgrade. How to apply Applications should include the following items as a single Word or PDF document, sent by email to what.could.curating.do [at] gmail.com with the subject line: Educational program -WCSCD 2023/24 Please send a letter of interest stating the reasons you apply for the program and your biography CV and portfolio.

Mentors Lecture Series Participant Activities Mentors Mentors of WCSCD program so far included: < Mentors Educational Program Menu >