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Our Team Founding Director Biljana Ciric what.could.curating.do@gmail.com Coordinator Ana Dragic ana.wcscd@gmail.com Design Toby Tam tobytam06@163.com WCSCD previous team members: Sasa Tkacenko, Katarina Kostandinovic, Ana Anakijev, Aigierim Kapar.

Events Lecture Series Participant Activities Walking as a Way of Knowing – Belgrade For the fall we announce new and revisited existing series of walks as a proposal for artistic interventions to think and practice history and knowledge through entangled encounters. ​ From September onwards, we invite you to join the "Walking as a Way of Knowing – Belgrade", a series of walks within the city, which will be presented each season. These unique explorations are led by local artists, curators, architects, scholars designed through their own research interests, providing different pulses of Belgrade. While drafting these walks, we had in mind Donna Haraway's thinking that only a partial perspective promises an objective vision. (Haraway, Situated Knowledges) ​ These walks are designed to showcase the multifaceted Belgrade, revealing its marginalized histories, and vibrant multicultural identity through the senses and insights. As Australian thinker Stephen Muecke argues that there is a need to study specific, local places in order to “put things more on the scale of everyday living.” [1] ​ Hence, our second season of walking together will start in september and it will be possible to walk with us until the end of October . Each walk will have its own unique focus on the diverse and ever-changing city landscape and show how we can experience it through different senses. Based on her award-winning book Singing Belgrade: Urban Identity and Music Videos Irena Šentevska takes you to a tour of Belgrade which explores some landmarks of the city’s music life since the beginnings of its exposure to influences from the global pop culture. ​ In 2019 The Museum of Modern Art in New York opened an exhibition named Toward a Concrete Utopia and included the original plans and drawings of the building settlement Cerak Vinogradi. Around the same time, Cerak Vinogradi was granted the status of cultural landmark by the state, thus being the first modern neighborhood in this part of Europe and one of three in the rest of the continent with such privilege. Artists Jelena Andzic in collaboration with Kulturni Cerak explores importance of this settlement. ​ With artist Dunja Karanovic we continue feminist walks uncovering histories of the woman and their presence in the public sphere. ​ [1] Muecke, Benterrak and Roe, Reading the Country, 21. ​ Singing Belgrade Walk by Irena Sentevska September 7th 4pm Meeting Point: Pobednik Monument, Kalemegdan Fortress Language: English Duration: two to three hours Based on her award-winning book Singing Belgrade: Urban Identity and Music Videos Irena Šentevska takes you to a tour of Belgrade which explores some landmarks of the city’s music life since the beginnings of its exposure to influences from the global pop culture. We start at the Kalemegdan Fortress where we talk about the beginnings of rock ’n’ roll in Belgrade and the culture of lively dance parties (igranke) often held in open air venues. We also talk about neo- folk and the urban-rural divide in Serbia’s popular music. Then we use your smartphones to watch some videos from various music genres, all of them set in Kalemegdan. The tour then takes us to the Students’ Cultural Center (SKC), the unofficial headquarters of Belgrade’s punk and new wave scenes in the 1980s. After some consideration of the importance of SKC for Serbia’s hip-hop and segments of the contemporary underground music scene we take a long ride to ‘South Central Kotež’, Belgrade’s remote northern suburb and home to Serbia’s most famous rappers. If we are lucky, some of them might join us to discuss their rise to stardom. About Irena Sentevska Irena Šentevska received her PhD from the department of arts and media theory of the University of Arts in Belgrade. She is author of two books in Serbian, The Swinging 90s: theatre and social reality of Serbia (2016), and Singing Belgrade: urban identity and music videos (2023), which received the Belgrade City Assembly’s annual award for social sciences and humanities. Her articles have been published by leading academic presses in Europe and the US (Routledge, Palgrave, Taylor and Francis, Peter Lang, Indiana UP, De Gruyter, Berghahn Books, Bloomsbury Academic etc.) She was member of the regional research teams for the project Unfinished Modernisations: Between Utopia and Pragmatism (2012) and exhibition Toward a Concrete Utopia: Architecture in Yugoslavia 1948-1980 held in the Museum of Modern Art (MoMA) in New York (2018). Irena lectured at the interdisciplinary doctoral studies of the University of Arts in Belgrade and received lecture invitations from various university departments and cultural institutions based in Belgrade, Novi Sad, Ljubljana, Rijeka, Prague, Graz, Zürich, Karlsruhe, Tel Aviv etc. In her spare time she enjoys Nordic walking. September 21st 11am Walk by Jelena Andzic and Kulturni Cerak Language: English Meeting point: In front of entrance of Vojno Medicinski Center Duration: two to three hours In 1981 a new building settlement was erected on the outskirts of Belgrade, called Cerak Vinogradi. The author team consisted of architects Milenija and Darko Marušić together with Nedeljko Borovnica. At the time of its construction Cerak Vinogradi represented the peak of modern residential architecture. In 2019 it became the first modern neighborhood in this part of Europe and one of three in the rest of the continent, which was granted the status of cultural asset. Furthermore, the architects' plans and drawings were included in the exhibition Concrete Utopia at the Museum of Modern Art in New York. After the exhibition ended it was selected for the museum’s permanent collection, being one of only two works from Serbia that had the honor of being included in it. The uniqueness of the settlement is, beyond doubt, the fact that it was constructed around the idea of walking. Unlike many architectural projects today, whose main aim is to extract any additional square meter, Cerak Vinogradi was built in harmony with its surroundings, not in spite of it. As the terrain on which the settlement was constructed is steep, the walking paths were built along the idea of isolines - lines that connect same altitude points. This allows the residents to walk easily through the neighborhood, encountering many spots designed for socializing and public use. These are called micro-ambients that take many forms - small amphitheaters, isolated bench nooks, etc. They were carefully designed with intent for the pedestrian to slow down, which is something that we are growing unaccustomed to in this ever-accelerating world. Furthermore, these public spaces are a rarity in today's Belgrade, attesting to their occupation by restaurants and cafes. On the other hand, the public spaces that are decentralized are still open to public use, however due to this very fact, their maintenance is constantly being neglected. The walk will be led in cooperation with Kulturni Cerak, an organization whose main aim is the preservation of the settlement's cultural identity. It consists of architects that have been working closely with Milenija Marušić over the years. It is thanks to their constant effort that the settlement hasn't been overlooked and forgotten, which has sadly been the fate of many past projects of architectural importance. The walk will also feature a private/public reading of the artist's publication Poems for The Little Town on Top of the Hill, a book of collaged poems which she has done as a response to the state's neglect of Cerak Vinogradi ​ About Jelena Andzic 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 spent two years at the Metàfora Studio Arts program in Barcelona and defended her final thesis at 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 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 was a participant in the 2022 WC/SCD educational program. She is currently based in Belgrade. ​ About Kulturni Cerak Tamara Nikolić Prodić Born in 1997 in Belgrade. I have completed both undergraduate and graduate studies at the Faculty of Architecture, University of Belgrade. Volunteered at the Belgrade Architecture Week and participated in several international architectural congresses and competitions. Currently engaged on architectural and cultural heritage revitalisation projects in private practice. The president and one of the founders of the "Cultural Cerak" association. ​ Nađa Vujović Born in Belgrade in 1997. I have completed both undergraduate and graduate studies at the Faculty of Architecture, University of Belgrade. Currently working in private practice in the field of urban planning. I studied the topic of citizen participation in the development of strategies for the implementation of sustainable development goals, as well as the return of biodiversity to cities. I am one of the founders of the "Cultural Cerak" association. ​ Olivera Gaborov Lazić Born in 1968 in Zrenjanin. I obtained the title of Graduate Engineer of Architecture from the Faculty of Architecture, University of Belgrade. Employed in the field of urban planning. As a resident of the Cerak Vinogradi settlement, I have been actively engaged in activism and the protection of the settlement as a cultural asset within my professional domain since 2015. I have been an active member of the association "Cultural Cerak'' since its foundation. ​ As an expert team within our association, we focus on designing and implementing projects in architecture, urban planning, cultural heritage preservation, and environmental protection. Our key projects include: ​ Monitoring planning documents for the Cerak Vinogradi area and Belgrade city; Participating in the preparation of urban and planning documents; Conducting research, preservation and digitization of archival materials related to our locality; Renovating the local green areas by planting specific types of trees as per horticulture and landscaping projects; Organizing urban culture workshops tailored for different age groups. ​ Painter. Poet. National Hero September 28th 11am Walk by Dunja Karanovic Language: English Duration: two to three hours The names and faces we pass on our daily commutes and wanderings are rarely reflected upon, and sometimes they even seem arbitrary, but the ways in which our public spaces are organized are highly political and shape our cultural and collective identities. In Belgrade, only 4.37% of streets are named after women, many of whom are not even historical figures but mythical heroines and metaphors. Out of the 115 streets whose names commemorate women, 73% are among the smallest, and 26.1% are so-called ‘dead end’ streets. What this speaks to is the implicit gendering of public spaces and the century-long division between the private and public spheres as inherently masculine and feminine. In order to see beyond the systematic exclusion of women from public spaces, we have to look not only at what little is there, but at what’s invisible and hidden within the margins. In the second edition of our feminist walks, we will be (re)discovering the streets, monuments, and artistic interventions in public space that tell the history of Belgrade from the perspective of women. Join us from September to learn more about the women artists, authors, heroines, and peace activists who left their mark on the city from the 19th century to the 1990s. ​ Dunja Karanović is a visual artist and journalist based in Belgrade, Serbia. She holds an MA degree from the UNESCO Chair in Cultural Policy and Management at the University of Arts in Belgrade and an MFA from the China Academy of Arts. In her practice, she explores ways of bridging cultural policy, theory, and practice through interdisciplinary and collaborative approaches that foster radical friendship and collective care. Her research is focused on mainstreaming care in cultural institutions and reimagining them as slower, softer, and more inclusive spaces. She is a regular contributor of Liceulice magazine. She is passionate about feminist art histories, embroidery, the small, and the marginal. ​ Please arrive 15 minutes prior to your walk. Pre-booking is required via email or instagram Send us your full name and title of a walk Please note that all group walks have limited capacity Price tickets: 1,760 dinars We do not accept debit or credit cards < Mentors Educational Program How to Apply >

Search Results 256 items found WCSCD team Our Team Founding Director Biljana Ciric what.could.curating.do@gmail.com Coordinator Ana Dragic ana.wcscd@gmail.com Design Toby Tam tobytam06@163.com WCSCD previous team members: Sasa Tkacenko, Katarina Kostandinovic, Ana Anakijev, Aigierim Kapar. Events Program Participant Activities 2022 2021 2020 2019 2018 ​ ​ 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 ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ < Participants Educational Program Programs > About Alumni 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 > The Sustainable Museum < Back The Sustainable Museum Ljubljana 12 Apr 2020 Zdenka Badovinac Drawing by Nika Ham In September 2018, I wrote “My Post-Catastrophic Glossary” ( [ My Post-catastrophic Glossary , 305–326]), which was in essence a kind of glossary of memory relating to my professional work. At the time, I never dreamed that, a year or so later, a pandemic would force museums into a situation not unlike what I was describing in my glossary. The key questions that stand behind the entries in the glossary, which were illustrated by the artist (and Moderna galerija museum guard) Nika Ham, are: How should museums function in times of extreme limitations? and, How can we create fairer and more equal cultural exchanges on the global scale? The impact of the pandemic is already apparent: museums all over the world are reporting enormous losses. The world’s major museums are facing huge drops in revenues, in some cases as much as several hundred thousand euros a week. Big international exhibitions are being cancelled, because, given insurance issues, the redistribution of public funds, and scheduling conflicts, preparations are too risky for these times. A museum’s revenue losses are nominally proportional to its financial strength: institutions with an annual budget of €10 million or more are seeing losses of several millions, while the Moderna galerija, which receives €2 million annually, foresees in one month “only” some €18,000 less than in “normal” times. Despite these numbers, institutions with smaller budgets will draw the short straw. Not only are museum activities affected, but, everywhere, so are the people who work at museums, both salaried employees and, most severely, their external co-workers, who almost overnight are finding themselves out of work. Small-budget institutions, which themselves are barely able to breathe, cannot do very much to help such workers. But at the Moderna galerija, we are at least drawing attention to the ever more precarious position of our external co-workers through the project Several Flies at One Blow , in which we have continued to employ a number of our museum guards/students for a while longer by having them deliver food and other necessities to artists infected with the coronavirus and our pensioners. Also, like many other museums, we quickly developed several online projects, most of which link to our collections and archives but there are some that also respond to the current situation. Of course, everyone is wondering how long the pandemic will last and what its long-term consequences will be. Museums will undoubtedly have to operate under greatly altered conditions. It will be probably be some time before we are again able to go to openings, greet each other with friendly hugs, and exchange our impressions face to face. And almost certainly, we will be working under worse conditions than we did before; even now our funders are advising us to focus primarily on our collections and archives, in other words, what we have under our own roof. And what about artists? How in the future will we be able to support them and other threatened groups – not only professionals such as writers, translators, and designers, but also refugees, the homeless, and other marginalized communities? For a long time now, museums have been more than just places for housing and presenting art; they have become important sites for critical discourse, social sensitivity and solidarity, and the imagining of a better future. Certainly, the catastrophe in which we now find ourselves is also an opportunity to think about an even stronger social role for the museum. At a time when public space is reduced to balconies and windows and we are increasingly becoming captives of the virtual world, museums should be contemplating an even more active social role for themselves. The fact that the economic aspect of our work will only become more difficult obliges us to think about and propose an alternative economy, an economy of solidarity, one that is based not primarily on a market economy but on the direct exchange of services and the results of work, as well as donations. Museum associations throughout the world are warning governments that funds must be made available for the revitalization of museums after the present crisis. Italy’s museums, for example, have recently asked the Italian government to establish a National Fund for Culture. It is also incumbent on us to refocus the priorities within our existing programmes. Living artists must come first; we must develop acquisition funds intended primarily for working artists and in this way help them to survive. It is necessary to respect our resources, not just in terms of our collections and archives but also in terms of people – everyone with whom we collaborate and together produce meaning for our work. For the most part, these are people from our own environment, from the environment in which our museum is situated, but also from the environments of our “trans-situatedness”, by which I mean all the spaces where people work with whom we join in the effort to respond to the dilemmas of the global world. Through our “trans-situatedness” we can develop more equitable exchanges of ideas on the global level. All these things are conditions of the “sustainable museum”, which, indeed, is one of the entries in “My Post-Catastrophic Glossary”. But I first wrote about the sustainable museum in connection with the exhibition Low-Budget Utopias , which was drawn from the Moderna galerija’s own collections. Among other things, I presented a diagram showing four museum models (besides the sustainable museum, there was also the universal museum, the global museum, and the meta-museum). The essence of the sustainable museum is that it actively operates within the framework of a certain community and does this by working with others – with artists, various kinds of stakeholders, and socially engaged groups, individuals, and organizations – people who, in the L’Internationale confederation of museums, we refer to as “constituencies”. The constituencies of a museum are those resources without whom the museum, as a museum of its time, could no longer survive today. It goes without saying that the sustainable museum is also a “green” museum, but more than this, it is first and foremost a museum of its constituencies, for whom and with whom it is continually transforming. The sustainable museum, therefore, lives the same life as its community, who are shaped by a multitude of constantly changing relationships and interests. The sustainable museum is grounded in the resources of its environment, in people and their work, and in nature, and as such it connects with other environments. It does not address its public from any exalted position of expertise with only the “weapons” of its collections and archives; on the contrary, it is open to interaction. In “My Post-Catastrophic Glossary” I describe a situation in which all museums have been destroyed, along with their collections and archives. Only people and their memories remain. And these are not just the memories of the experts, but also those of museum guards, visitors, and everyone else. Maybe one of the priorities of the post-pandemic museum should be work on developing a future collective memory that will include all of the museum’s constituencies. Translated by Rawley Grau Click to read Slovenian version Zdenka Badovinac is a curator and writer, who has served since 1993 as Director of the Moderna galerija in Ljubljana. Previous Next Notes on respiration < Back Notes on respiration ​ 15 July 2021 Teodora Jeremić Breath underwater Last night I had a strange dream, although not the first one of this kind during the last year and a half. Living in the time of pandemic means living in the world of altered reality where the only constant is change, where time and space are shifting and diverging, habits are disappearing and being replaced faster than we ever thought possible. With that amount of instability, insecurity, doubtfulness in our conscious lives, one of the first things that experienced a sudden change was our subconscious, and consequently our sleep. Many suffered pandemic-induced insomnia, as a by-product of a state where we tend to stay awake as long as possible or not be able to fall asleep at all, due to irrational fear that sleeping might mean losing an important piece in the flow of information, which was difficult to follow anyway. Luckily, I belonged in the second group, the one with deep sleepers whose regular sleeping hours are not disturbed even by looming apocalypse, although the quality of my sleep was indeed changed to some extent by extremely vivid dreams imbued with modified fragments of the new reality. Last night, I dreamt that the world was coming to an end in a rather peculiar way. In the light of impending doom whole humanity was supposed to move and settle underwater. Beneath seas, lakes and oceans new cities were sprouting. Along the coral reefs new settlements were established, new kinships were made, new way of life was flourishing. Our nonhuman-human relationships were thriving in this new space of confinement and safety, blurring the line between one world and another, smudging the differences between guests and habitants. The ones who were living under water for a longer time even physically adapted to the new circumstances and appropriated some of the characteristics of sea world creatures. It could be said that a new hybrid species were on the way. In my dream, I was still completely human, just surprisingly light. I was capable of smoothly moving around, sliding through water, walking and swimming, and I was doing all of that with an utter freedom, completely relieved from earthly worries, when a giant, shimmering but quite ordinary looking, and pretty impolite dentex got into my way and reminded me that I don’t know how to breath “down here”. Suddenly, I realized that he must be right, because I really didn’t have any branchiae, and all of a sudden I couldn’t take a breath. I am breathing fire and a bit too busy to help * As I’m writing this, I can’t be sure if things would have been different, even if we didn’t have the year of pandemic behind us. Maybe it would have been just the same either way. But I believe that perhaps my continual presence in the moment and being mostly in the company of myself (since I obviously didn’t have anywhere else to be and anyone to be with except occasional nostalgic episodes of daydreamy ping-pongsbetween past and future) was pretty much pandemic-specific and has provided me a great insight of learning how to listen to my body. I didn’t become a guru, or mastered meditation which I hoped to, but I gained some insight of how my body functions and what it needs, and during the last year, air and breathing became very relevant fields of exploration for me. Like many others I was looking for my personal haven, different ways of keeping my sanity under control and my optimism high as well as options for practicing self-care, and I was privileged enough to be able to do so. Even in the world where pandemic has begun to break down engrained divisions between collective care and self-care, not everyone yet had the possibilities to practice it, but the word “care” did become probably the most used (and borderline exploited) term. The notion of “care” got its high position in almost every circle, with cultural practitioners and institutions particularly focused on discussing ways to offer better care. The only difference is that there were those who are calling for care and awareness for a long time, considering it as the primary tool for fighting against oppression and injustice, and the others who just now recognized (or were made to recognize?) the need for care. Despite some questionable motives, the fact that we needed to start taking care and practice healing many years ago remains crucial, so I’m glad we finally did. No matter the circumstances. Speaking about self-care is impossible without at least mentioning breathing as it is being considered a number one remedy for relaxation, stress management, calming down, anxiety relief and everything else we need in this day and age, and in the light of pandemic I gave a try to mindful breathing. My technique of conducting it is still not praiseworthy but it helped me a lot in understanding that thinking respiration, being aware of it, living according to it, actually represents a synonym for the changes we need. Slowing down, paying attention, listening carefully, interchange. We got too scattered, too busy, too repressed by the ideas of greater goals, usefulness, purposefulness and productivity, that it was needed to find our way to the “pause” button for the whole system and enough strength to push it without fear of the potential failure. When we did, when the button was pushed to the end, and as Latour said, we slowed down the system we were told it was impossible to stop, we all got newly conquered spaces for breathing. In that new space, what was needed was to make a proper inhale and exhale, and begin the process of unlearning everything we know, especially regarding this constantly present distress over productivity. To acknowledge that we cannot be productive or creative all the time and that we are not less worthy because of it. But, along with it another question was imposed. Where do we go after the break? What do we do next? Where does that new inhale-exhale dynamic bring us to? Breath me in, breath me out Breathing is the process of moving air through the body, facilitating gas exchange with the internal environment, mostly to flush out carbon dioxide and bring in oxygen; to dismiss detrimental and toxic, and take and consume what is beneficial and vital for us. That process is, besides being substantial for living creatures, also a good reminder that already in the very basic concept of life, lies the natural predisposition of the humankind to not only survive, but also distinguish right from wrong, and get rid of the latter, even through the most basic needs. That being said, even though breathing does have some healing and soothing effects, in the face of air pollution and climate change caused by extractive capitalism, when it’s getting harder and harder to breath not just on ecological but also political level, it is difficult to pretend air is not also the territory of constant struggle. As according to Mbembe, it is certain that the air we breathe will become more and more full of dust, toxic gases, substances and waste, particles and granulations, in short, all kinds of emanation in the time that is yet to come, but it is also even more sure that asphyxiation that is brought to us, comes in many forms making “breathlessness” the permanent contemporary condition. “There is no air in megalopolises which are suffocating in pollution, in precarious working conditions which exploit workers, in the ubiquitous fear of violence, war, aggression” [1] . Breath is precious source of life, and in the moment in which Berardi`s “breathlessness” is more present than ever, the question of respiration becomes not only the question imposed on an individual, but rather deeply collective, asking what brings us all to the state of being deprived of air and how do we confront it? Winter 2020/21, Belgrade was one of the most polluted cities in the world, even first place holder on that top chart for some time. One of the rare situations when No 1 status is not to be bragged about. After months and months of the government ignoring the problem and bouncing the questions from ministry to ministry, on the 10th of April several thousand people decided to go out on the streets, and protest in front of the Serbian parliament against the lack of government action to prevent water, land and air pollution by industries. The protest was dubbed the “Ecological Uprising” , it was organized by environmental activists and protestors demanding the introduction of a moratorium on the construction of small hydroelectric power plants, the suspension of deforestation in Serbia, as well as a more intensive afforestation. They called for an end to the misuse of money for ecology, for authorities to stop ignoring environmental impact studies, such as the construction of mini-hydropower plants on the environment, and for citizens to be better informed about environmental issues. Borjan Grujić [translation: knowledge and talent that’s fine, but what about the desire for change?] The Defend the Rivers of Mt. Stara Planina (Odbranimo reke Stare planine – ORSP) movement was the main protest organizer, but the gathering was supported by many organizations and associations from all over Serbia, a total of 45, including Pravo na vodu, Eko straža, Građanski preokret, Tvrđava, Trash Hero Serbia. Activists from region, especially Bosnia and Herzegovina, joined the protest as well, saying that everyone in the region shares the same concerns and problems, or as Lejla Kusturica from the Coalition for the Protection of the Rivers of Bosnia and Herzegovina put it well: “we are here today with you because we share the same problems: unjust, imperious governments, total neglect of local communities for the benefit of some powerful individuals” [2] . Representatives of 45 organizations agreed on dozens of demands including implementation of the constitution and environmental protection law, information and education on environmental protection at all levels, suspension of construction and revision of harmful SHPPs project, participation of citizens in environmental issues etc. “Uprising” happened as an answer to years and years of unfair dealing and wrong ruling when it comes to nature. Ecological problems in the region differ from “micro” (local) to “macro” (regional) but based on the same exploiting principles of neo-liberal capitalism that people around the world are struggling with, which at the end it all come to: extraction of common goods, unfair ruling and non-transparent processes behind it, exploitation of nature and destroying nature ecosystem. Very same principle is recognizable both in “small scale” project such as one of many intentions of investors like “Avala Studios” (now 70% held by Cezch company “Sebre”, 30 % Chinese company “Filmax Hong Kong”) to cut 40 hectares of forest and greenery in Košutnjak in Belgrade in order to build residential complex, or equally careless larger scale projects, such as Anglo-Australian mining giant Rio Tinto that is examining the possibility to start mining jadarite, a lithium and boron mineral unique to western Serbia, around the river Jadar. If Rio Tinto starts to extract lithium, arsenic will be deposited in the tailings and the entire area will be unfit for agriculture, threatening people’s health, as well as 140 species with extinction. Those are just some of many examples, followed by constant growth of the small hydropower plants in Western Balkan. From the middle of the 2000s onwards, some of the Western Balkans’ countries – notably Albania, Serbia and Bosnia and Herzegovina – started issuing concessions for small hydropower plants. “The EU had set targets in 1997 for the share of renewable energy by 2010, so it was clear there was going to be increased interest by investors in this sector in the future and the reason why the Western Balkans’ targets seem quite high compared to the overall EU target of 20 per cent is that the Balkan countries had quite high levels of renewable energy to start with” [3] . Overall goal of the renewable energy targets to help Europe move away from a fossil-fuel based energy system seems like positive intention, but what is problematic is that indeed the EU does allow some potentially harmful forms of renewable energy to be incentivised as well as that besides contributing to environmental damage, initiatives for hydropower in the Western Balkans are often criticized for benefiting wealthy business for people who are close to or part of region’s governments. In Serbia for example, companies connected to Nikola Petrović, the best man ( kum ) of President Aleksandar Vučić, are among the top beneficiaries of hydropower support [4] . Borjan Grujić [translation faster, stronger, better! * /slow, strong, good] *This is the political slogan of Serbian president used during the election campaign and afterwards Reading the reports and thinking from perspective of someone who is not part of European Union, but whose resources are being exploited for the sake of better and more sustainable life in EU, it is impossible not to think about the work “Naked Freedom” by Marina Gržinić and the parallels and remarks Kwame Nimako made on the attitude Western Europe has towards Africa and Eastern Europe. At the same time, it is very easy to become aware that the other side of “exploitation” coin, belongs to substantially self-exploitative practices that favour particular private interests of few who are not really familiar with the word “common”, no matter the price. With all of this in mind, from the position of government, “Ecological uprising” was of course read as an act of opposition (a typical “if you are not with me you are against me” kind of rhetoric) and Prime minister in usual manner minimized the problem by responding as “This topic shows jobs and pensions are no longer a priority in Serbia because when you start dealing with the environment, you are dealing with the problems of the first world” [5] . In well-practiced and masterly spinning, it is interesting how fast we came from “we are fighting for basic living conditions (plus you are exploiting our common goods)” to “you are just being too spoiled and living too good when you start to protest about this”. It is even more interesting that anyone who knows average salary in Serbia [6] would even dare to make such remark and comparison between “first world” and the world we are living in, whichever number it is, but concept of “good life” is a changing context I guess, especially when you are misusing information. Still, the most interesting part is how the exact same type of rhetoric is being used by every contemporary autocrat, new type of “democratic” parents of nations, self-proclaimed saviors of the people. Those who exploited crises so many times and in so many ways that the burst of protests and uprisings during this and last year was a common thread that connected many countries, proving that people all over the world are tired of being repressed and used, but also boiling with an accumulated discontent, ready to burst. Along with protests against rampant corruption in Bulgaria, the ones against president Maduro in Venezuela, or tens of thousands of protesters who took the streets in Sudanese cities despite a lockdown to demand a transition towards democracy, global rise of anti-lockdown (actually anti-government) protests was noticeable. There was a similar perception in many countries that political leaders were misusing restrictions for political purposes. Leaders of countries such as Bolivia, Israel, Serbia, Uganda, Brazil shared the irresponsible, inadequate approach to the pandemic, laughing it off at the beginning, but is also worth mentioning how similar is their attitude of minimizing the significance of planetary problems, environmental crisis and climate change, manipulating the information, misusing the trust of the people. Serbia is not any exception to that, with last year and this year protests as a proof. Slavica Obradović, digital art Still, seeing so many people in the street this time felt much different than standing on the same pavement in front of the building of Parliament last year. We have chanted, we have marched, we have asked for answers to the most urgent question for this and next and any generation that comes after. We have expressed worries, ideas, suggestions, warnings, hopes, desires. We were together, peaceful, united and powerful. Unlike the protest in July 2020. “Ecological Uprising” didn’t turn to violent, and was not even necessarily just of political opponents as much as comrades in the fight for commons: common sense, common goods, and common future, standing shoulder-to-shoulder in solidarity, and that gave me hope. A sense of mutual solidarity and honest concern that was prevailing. Standing there, in the midst of banners reading “Cut corruption and crime, not forests!” or “Water is life” and “Plant a tree!”, I was holding my borrowed protest sign saying “In rivers we trust!”, which I obtained after losing mine somewhere in the crowd. I was surrounded by different profiles of people, people from different cities and villages, with different backgrounds and socio-economic conditions, little children, old people, students, parents, friends, well known public personalities. It felt very empowering and like everyone is being aware that the reason for being there is much bigger than them. Much bigger than this government, or next, or previous. It resonated with what Zdenka Badovinac beautifully wrote that “the lesson of Covid for the entire world, and not just for our leaders, is that the interests of capital have interfered too greatly with nature.” [7] and that tampering with nature was the final straw in an endless sequence of exploitation which is not to be tolerated anymore. Because the story of planet and nature exploitation goes hand in hand with every other tale of exploitation we are familiar with. Slavica Obradović, digital art And it is not just about capital, but also sexism, racism, classism, speciesism, androcentrism, any other systems of oppression we could possibly remember that reinforce each other and lead to the degradation of life and the destruction of nature. It is constant, ever-lasting, tenacious tendency to put all oppressed groups (women, colonized people, marginalized communities) on an equal level to nature, abusively labeled “as part of nature”, meaning something outside the sphere of reason and history. There is some kind of inherent or even structural connection between the patriarchal domination of women (and, in the view of some theorists, other socially oppressed groups) and the ecologically destructive exploitation of the earth, and something predominantly masculin in emphasizing that “human” and “nature” are separate categories. Patriarchal exploitation of female bodies, and the capitalist exploitation of workers and planetary resources are rooted in the very same worldview where is important and possible to own things, and in which all that is not human and is not male is devalued. Going back to Franco “Bifo” Berardi, and his megalopolises suffocating in pollution, as well as workers in precarious working conditions and exploitation, or women fighting the hundred-headed beast of inequality treatment, his “breathlessness” parallel works very well as a reminder for how many different oppression we might feel in our contemporary lives, and how “being left breathless” is not always as romantic as it might seem. It is not new that we are suffocating in the unjust, exploitation, inequality for a long time and it is a text written back in 1974. when Francoise d’Eaubonne called upon feminists to wed their cause to that of the environment and lead the way into a post-patriarchal, genuinely ‘humanist’ and ecologically sustainable future [8] , which is something to be reconsidered. Therefore, having an “Ecological Uprising” meant something more than just having a protest. It was not an ecological protest, even though it was the biggest one so far, nor just a political one, but rather an outburst of pure activism that is offering a way to “post-patriarchal” society, through the means of resistance and renovation, linking struggles against environmental degradation with the endeavour to overcome social domination, on all the basis. Street and sidewalks in front of the Serbian Parliament turned to meeting space where the opposites met. People from the villages around Stara Planina, activists from different cities across Serbia and region, university professors, students, pensioners, families with children. The face of the protest was not the face of political opposition and some of its representatives we already know, nor the face of the foreign management as it was of course implied, but the simple and beautiful face of common people, standing for their cause. Thus, rather than being just another protest, “Ecological Uprising” seemed more like witnessing the genesis of new collective body that is heterogenous, peaceful but determined, sharing the values of equality, celebrating the values of care and well-being, and will for dismantling systems and power structures based on domination and exploitation. Sometimes, all I need is the air that I breath and to love you Given that everything evaporates and disappears in the air, and that we all breathe it at the same time, it is our most personal piece of space, but in the same time the space in which we all meet. As Lisa Blackman argues: “Instead of existence in which we are connected but autonomous subjects, we actually coexist in a common ecology” (Blackman, 2010). Or as Irigaray writes “I can breathe in my own way, but the air will never simply be mine” [9] . Breathing unites us with the others, at the same time that it underlines our individuality, and the protest reminded me of that. The one who breathes is also breathed upon, the one who takes and consumes is also giving back, and in that very act of sharing breath, lies the very essence of human conviviality. It is a mutual “space” which we inhabit, exchange, in which we meet and live in a common system where every human exists in comparison with the other, and where the idea of “commoning” is closer than anywhere. Borjan Grujić [translation regular state of emergency] Every riot brings a possibility for new after-life. After dismantling the old, new is to be established and the more I was interested in respiration the more I got the feeling that it could explain the contemporary chaos and offer useful methods and system. Thinking about respiration I couldn’t stop thinking about Deleuze and Guattari rhizome concept. Instead of tree structure that became the dominant ontological model in Western thought, that reinforces notions of centrality of authority, state control, and dominance the rhizome has no unique source from which all development occurs (strangely enough, it looks very similar to the respiratory system). The rhizome is both heterogeneous and multiplicitous. It can be entered from many different points, all of which connect to each other. The rhizome does not have a beginning, an end, or an exact center, it is based on sharing and equality, the same way air is. Thinking about it also reminded me how air was unfairly ignored and forgotten and has received far less attention in the political environmental literature than its sister element water. Still, they function according to a similar principle of connection, non-recognition of boundaries, mobility, and according to the deeply feminist principle of circularity. If there are elements we should listen to while constructing the new post-pandemic systems they’re those two. Just as water, air and respiration reveal key aspects of permeability, relativity, vulnerability and indomitability, which speak of the feminist re-examination of the body as completely open, unstable, changeable, but also recognizing and valuing the same in the social system, and can extend a shared sense of place and a sense of shared responsibility for collective commons or worlds. As Luce Irigraray writes, air is mediator of all perceptions, knowledge, thoughts, language, imagination, action, and as such, respiration is the practice that connects us. It is the principle of exchange, which Irigaray sees as instinctively feminist, since breathing is in its essence, a feminist rearrangement of the procedural and relational course of life. It is a practice of care, nurture, togetherness. And of course, the focused or any other type of breathing won’t ultimately save us from the crunching capitalism but something else might- learning how to live as air breathing bodies. It made me think of Sarah Ahmed’s text how self-care can be an act of political warfare. “And that is why in queer, feminist and anti-racist work self-care is about the creation of community, fragile communities, assembled out of the experiences of being shattered. This is why when we have to insist, I matter, we matter, we are transforming what matters … For those who have to insist they matter to matter: self-care is warfare. [10] Borjan Grujić On my way back home from the protest that was fighting for the clean air understood in all beautiful meanings it could possibly have, I was walking to the rhythm of my own breathing, thinking my yoga instructor would be very proud of this. It felt so natural, in sync, and empowering. It sounded like a beat of change. An inhale of solidarity. An exhale of resistance. And just like that it occurred to me that the one of the main characteristics of breath is also that it can be held, but just for a short time. We can put up with a lot of it, but hopefully, not for too long. Last year rumbled through, followed by great amplitudes in almost every part of our lives while simultaneouslyfeeling like nothing happened. But in the meanwhile, something did. We decided to breath out, to let the stiffness in our lungs and bellies, exhale the stale air and at least try to start shaping new ecosystems. Resistance is building everywhere, and not just against one man, in one country, against one ideology, one -ism, but rather against all the set of values that dominated way too long. A new kind of collective body, isbeing shaped. The one that doesn’t recognize borders, or nations, or leaders, and its only being formed by mutual criticality towards present conditions of living and collective willingness to react. The other day I had a short zoom talk with Marko Gutić Mižimakov and Karen Nhea Nielsen, and while writing this I simply cannot help but constantly think about their work “Thank You for Being Here with Me” and repeat it in my mind like some kind of mantra. “when I say we, I am counting you in when I say we, I am talking about you too and also you when I say we, I am speaking from this space We were one and more than one before”. Slavica Obradović, lean on Teodora Jeremić is an art historian, freelance curator, and editor based in Belgrade. [1] Franco Bifo Berardi, Breathing: Chaos and Poetry, Semiotext(e), pg 15, 2018 [2] https://twitter.com/K_U_P_E_K/status/1380862839326449669?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1380862839326449669%7Ctwgr%5E%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fbalkangreenenergynews.com%2Factivists-gather-at-ecological-uprising-in-front-of-serbian-parliament%2F [3] “Western Balkans hydropower: Who pays, who profits?”, September 2019, pg 10. [4] “Western Balkans hydropower: Who pays, who profits?”, September 2019, pg 5. [5] Prime minister Ana Brnabić was guest on RTS channel where she spoke about “Ecological Uprising”, https://rs.n1info.com/vesti/brnabic-ekoloski-ustanak-primer-nepostovanja-vecina-ljudi-nije-nosila-maske/ [6] According to this year report average salary is around 500 euros. Still, being average it is to be noted that there is a big stratification, where salaries are larger in Belgrade, and the reality of the citizens in most other cities is that people are getting by with 300 euros a month. [7] Zdenka Badovinac, “Editorial: The Collective Body”, https://www.e-flux.com/journal/119/403341/editorial-the-collective-body/ , Journal #119, June 2021 [8] Kate Rigby, “Women and Nature Revisited: Ecofeminist Reconfigurations of an Old Association”, January 2018. [9] Luce Irigaray, “From The Forgetting of Air to To Be two”, in Nancy Holland; Patricia Huntington. Feminist Interpretations of Martin Heidegger, Pennsylvania: Pennsylvania State University Press, 2001, 209. [10] Sarah Ahmed, “Selfcare as Warfare,” Feminist Killjoys, https://feministkilljoys.com/2014/08/25/selfcare-as-warfare/ Previous Next kaijū and The real < Back kaijū and The real Ocean & Wavz kaijū Ocean & Wavz 怪獣 For Ever Remain (PandeMix), 2021 Music, video, 8’12” Copyright©2021 Singapore WAVZ PTE LTD. All rights reserved. The Japanese word kaijū (litterally “strange beast”) originally refers to giant monsters and creatures from ancient Japanese legends, which are usually depicted attacking major cities and engaging the military, or other kaijū, in battle. It earlier appeared in the Chinese Classic of Mountains and Seas (山海经), a compilation of mythic geography and beasts. Versions of the text may have existed since as early as the 4th century BC, but the present form was not reached until the early Han dynasty a few centuries later. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections and describes over 550 mountains and 300 channels. After sakoku had ended (鎖国, “closed country”, isolationist foreign policy from 1633 to 1853 banning any travelling in/out Japan) and the country was opened to foreign relations, the term kaijū came to be used to express concepts from paleontology and legendary creatures from around the world. For example, in 1908 it was suggested that the extinct Cratosarus was alive in Alaska, and this was referred to as kaijū . However, there are no traditional depictions of kaiju or kaiju -like creatures in Japanese folklore. The kaijū genre is a subgenre of tokusatu (特撮, “special filming”) entertainment. The 1954 film Godzilla is commonly regarded as the first kaijū film. Kaijū characters are metaphorical in nature. Godzilla, for example, serves as a metaphor for nuclear weapons, reflecting the fears of post-war Japan following the atomic bombing of Hiroshima and Nagasaki. (Extracts from Wikipedia) The real Ocean & Wavz -ism , 2021 Music, video, 5’25” Copyright©2021 Singapore WAVZ PTE LTD. All rights reserved. What we call “reality” is actually already a re-presentationframed by fiction, narration, history, propaganda, lie, pretention of truth, memory, landscape, documentary. The figure has the ability to produce an effect of « the real » that consists of turning mimesis (imitation of reality) against itself by radical dissimilarity or literal operation. What we name “the real” is not synonym of reality, it is rarely a (human) construction or re-presentation through language and image. According to the psychoanalyst Jacques Lacan, “The real, or what is perceived as such, is absolutely resisting to symbolization (symbolic)” [1] . Thus, the real always escapes from/to language and reality, a kind of unspeakable, traumatic experience, beyond any truth. All the question is thus to observe how a figure can be created to open up the image to something that is out of any representation. Larys Frogier, curator and author of the exhibition/publication Arriscar O Real / Risk The Real , Lisbon: Museu Colecção Berardo, 8 June – 30 August 2009. [1] Jacques Lacan, Le Séminaire – Livre I – Les Ecrits techniques de Freud (1953-1954), Paris : Seuil, Coll. Champ Freudien, 1991, p.80 Ocean & Wavz , an artist duo engaged in the production of sound, text and image. Previous Next national identities, common ground < Back national identities, common ground Marija Glavas Previous Next Educational Program Educational Program 2022 2021 2020 2019 2018 ​ ​ WHAT COULD/SHOULD CURATING DO?—WCSCD was initiated in 2018 in Belgrade as an educational platform focused around notions of the curatorial and is a registered civic association. ​ WCSCD’s education program has been run on an annual basis every year since 2018. Till 2022 it was organized as a three-month program for practitioners situated in Belgrade. From 2023 program is organized as biennial working with program participants over longer period of time. ​ Our participants were young practitioners from different parts of the world including the Balkans, EU, Asia, Central Asia, Russia and Latin America making it a unique program in Europe. ​ WCSCD educational program has been learning through recent years to think what kind of citation could actively produce.Through carefully created mentorship program we are committed to think and practice what kind of knowledge we consider worth and how it gets prioritized creating new citations from the margins. [1] ​ [1] Sara Ahmed, “White Men,” Feminist Killjoys Blog, November 4 2014, www.feministkilljoys.com/2014/11/04/white-men ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ < Participants Educational Program Programs > Appearing: the statue of Confucius in front of the Samarkand State University Disappearing: historical city centres across Uzbekistan due to gentrification < Back Appearing: the statue of Confucius in front of the Samarkand State University Disappearing: historical city centres across Uzbekistan due to gentrification Alex Ulko Previous Next About About educational program Introduction of program 2018-2022 2022 2021 2020 2019 2018 < Participants Educational Program Programs > Previous 1 2 3 4 5 ... 26 Next

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Books As you go…roads under your feet, towards the new future publication Read More What Could Should Curating Do Volume 1 Read More

Throughout the first year of inquiry, As you go…roads under your feet, towards the new future , most of the research has dealt with human-made changes and how this has interfered with the local life of other people. However, there is very little mention of the non-human world, or an acknowledgement of its existence and transformation. For the april edition of our online journal , I asked each researcher and partner cells (if there are many of you in one cell, you must still each individually participate) to contribute two keywords. The first describing one non-human existence which has disappeared from the earth in relation to the changes within their research. The second a non-human existence that has emerged from the new living conditions that have transformed within your respective research. The keyword and its accompanying description could range from one sentence to an entire page, could be sounds of short video, and image. This special feature of journal in march will acknowledge our interdependence in the world that virus reminded us of but also proposition to act and view the world as truly interconnected web knowing that we are just one part of it. It is invitation to become conscious of the world under our feet, making each step lighter, acknowledging the world below. Biljana Ciric 29 Apr 2021 Manila shawl and “gold mountain uncles” and Protein demand and chicken farm blockchain Nikita Yingqian Cai Read More 27 Apr 2021 “Topola” (Cottonwood trees) and “Breza” (birch trees) and Chinese wok Hu Yun Read More 25 Apr 2021 kaijū and The real Ocean & Wavz Read More 22 Apr 2021 The roar, which never vanished Sultan Mussakhan Read More 20 Apr 2021 Gigantic dwarfs of Lake Balkhash: Journey into a microscopic world of phytoplankton. Veronika Dashkova Read More 19 Apr 2021 cosmotechnics, modernity, RTB Bor, (data) mining, computer history, self-managing socialism Robert Bobnic and Kaja Kraner Read More 18 Apr 2021 national identities, common ground Marija Glavas Read More 16 Apr 2021 Disappeared – appeared: selo – BOR – grad village – BOR – city Jelica Jovanovic Read More 12 Apr 2021 Appearing: the statue of Confucius in front of the Samarkand State University Disappearing: historical city centres across Uzbekistan due to gentrification Alex Ulko Read More 10 Apr 2021 Pigeon post Kyōzō Jasphy Zheng Read More

As You Go ... Activities This is a Title 01 This is placeholder text. To change this content, double-click on the element and click Change Content. Read More This is a Title 02 This is placeholder text. To change this content, double-click on the element and click Change Content. Read More This is a Title 03 This is placeholder text. To change this content, double-click on the element and click Change Content. Read More