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< 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 .

Events Lecture Series Participant Activities What Could/Should the Institution Do by Ares Shporta Venue: Salon of the Museum of Contemporary Art (14 Pariska Street) Date: October 5th 2019 18:00 Opened in 1952, Lumbardhi Cinema has been one of the two key cultural institutions in Prizren for the rest of the 20th century. A public space with an attendance of over 400,000 visitors for four decades, it was also known as a birthplace of festivals, most notably DokuFest. Following two attempts for demolition and privatisation in the following millennia, it was saved by civic initiatives and registered as a protected cultural landmark in 2015. Lumbardhi Foundation was established thereafter to continue the civic initiative, with the aim of managing and reviving the former cinema through an open process that included research, diverse programs, debates, friendships and alliances. Designed in a slow manner determined by the limited means of shaping an institution from a bottom-up initiative, the process has enabled an alternative form of institution-building. In his talk, Ares Shporta will present and discuss about the process that allowed the time and opportunity to put into questions issues like the function of public service institutions in the 21st century, the possibility of mission-driven structure in conditions of normalised instability and tailoring an institution in relation to its surrounding ecology. About Speaker: Ares Shporta is a cultural worker based in Kosovo. He completed his studies at the graduate program for Cultural Management at the Istanbul Bilgi University with a focus on cultural institutions and local cultural policy. Since 2015 he is the co-founding director of Lumbardhi Foundation where his work ranges from research and programming, to advocacy, infrastructure and institutional development within the framework of the revival of the former Lumbardhi Cinema. Shporta is also the chairman of the Network of Cultural Organisations in Prizren and the President of Kooperativa – Regional Platform for Culture. The event is free and open to the public. The WCSCD curatorial course and series of public lectures have been initiated and organized by Biljana Ciric. The lecture by Ares Shporta is generously supported by Heinrich Boll Stiftung < Mentors Educational Program How to Apply >

Events Lecture Series Participant Activities Celebrating Resilience and Solidarity Moba Produkcija image by Luigi Coppola 2024 Culminating event date: June 23, 2024 Location: Gornja Gorevnica Participants: Asida Butba, Anna Ilchenko, Andrey Parshikov (curators of WCSCD 2023/24 educational program), Bojana Popović, Luigi Coppola, Petra Pavleka, and Gornja Gorevnica community members. Coordinators: Sofija Bošković and Cheng Xiangmin. Organized by WCSCD and the local community of Gornja Gorevnica. Project supported by the Italian Cultural Institute and the Ministry of Culture of the Republic of Serbia. WCSCD 2023/24 program participants, together with mentor and artist Luigi Coppola, artist Bojana Popović, and cultural worker Petra Pavleka, invite you to a community action in the village of Gornja Gorevnica to celebrate and foster communal life, resilience, and local knowledge in agricultural production. Since 2023, WCSCD has established a pedagogical center in Gornja Gorevnica and initiated various encounters and meetings to engage with local communities. Through this engagement, we are encouraged to think and practice culture beyond the dualisms of rural/urban, culture/nature, and man/woman, embracing more entangled and interdependent ways of being. This effort is also our attempt to decentralize the production of knowledge and culture as city dwellers. The series of upcoming gatherings on June 23 aims to rethink the production of culture and knowledge through actions in rural areas. This approach seeks to explore different solutions for building more resilient communities. During the culminating event day, we invite you to experience a number of artistic projects presented in Gornja Gorevnica. These projects represent long-term commitments to rethinking ways of working with communities and fostering a more resilient society. What you can experience during the culminating days: Italian artist and activist Luigi Coppola has been collaborating with village families for over six months to launch the long-term project Unity as Strength through Moba Production. This initiative draws inspiration from the ritualistic aspects of collective labor, focusing on the gathering and transformation of local fruits. In our capitalist and extractivist society, individualism is often promoted, driven by the myth of relentless productivity. But is this truly the only viable model of production? Should we reject collaborative and relational models, favoring solitude and sacrifice over collective effort? In rural areas, there remains a poetic sense of working together—songs and celebrations tied to the harvest and its transformation. We invite you to rekindle this spirit through acts that blend labor and festivity. As the climate crisis exacerbates the already challenging economic conditions for those who choose to farm, coming together becomes even more crucial. The Moba Production , with artistic input from Luigi Coppola, will feature two main components. The first includes workshops that share practical knowledge on fruit processing, culminating in a communal dinner prepared by the village, followed by celebratory music and dance. On June 23, as part of Moba Production, a Knowledge Assembly will be held, focusing on climate change and strategies for building strong community support structures. This event will foster vital discussions among community members. Bojana Popović , a young artist residing in the village, has crafted a performative walk. This walk offers a unique mapping of Gornja Gorevnica from a feminist perspective, blending walking and storytelling into a rich, experiential tapestry. Through this journey, participants will uncover marginalized histories, such as the ancient tree's legacy, poignant love stories, and other narratives that reside outside the mainstream historical discourse. Another important aspect of Celebrating Resilience and Solidarity is food. The stomach holds profound significance for us, serving as a central element in our system. Esteemed artists and scholars, such as Vanessa Machado de Oliveira and Trinh T. Minh-ha, state that the stomach is the core through which neural changes and chemistry occur, influencing the heart's will and directly affecting the mind. This concept proposes an engagement with embodied knowledge that transcends mere visual experience. In collaboration with the women of the Gornja Gorevnica village, we have gathered ancestral recipes to craft a menu for our guests, offering a rich, sensory connection to our shared heritage and traditions. Further exploring the practices of food-making, Petra Pavleka , a distinguished cultural worker from Zagreb, will be sharing traditional bread-making techniques. This workshop, in collaboration with a historic, functioning mill within the village, will provide a unique blend of cultural heritage and artisanal craftsmanship. June 23, culminating event schedule: 12:30 pm – arrival to Gornja Gorevnica 1:00 pm – refreshments/ snacks and welcoming ritual 1:30 - 4:00 pm – launch of Moba Production through series of workshops with community elders and bread-making workshop with Petra Pavleka 4:00 - 5:30 pm – a performative walk with young artist Bojana Popović around Gornja Gorevnica 5:30 - 6:30 pm – dinner 6:30 - 8:00 pm – Knowledge assembly moderated by Luigi Coppola 8:30 pm – departure from Gornja Gorevnica to Belgrade Admission fee This public, family-friendly event embraces intergenerational learning and joy. All workshops are free of charge. Refreshments and snacks upon arrival, along with a dinner, are available for 1,500 dinars per person (coffee and soft drinks included). Children up to 12 years old can attend for half price at 750 dinars, and children under 5 years old attend for free. Registration is essential. Please email us at what.could.curating.do@gmail.com or message us on Instagram @whatcouldshouldcuratingdo to secure your spot. How to get to Gornja Gorevnica village: You can arrive by car on your own. Free parking is available. Instructions on how to reach us will be sent after registration. You can also hop on an organized bus from Belgrade on the morning of June 23rd, returning the same evening. The round trip price is 1,500 dinars. Limited capacity; pre-booking is essential. If you have camping gear and want to stay a few days with us, we have free space for your tent. Please contact us to arrange this. Bios of WCSCD program contributors: Petra Pavleka is project manager of the Community seed bank and food program at ZMAG As a student, this landscape architect traveled Europe with Erasmus and Grundtvig projects in search for green knowledge and good sustainable practices. She learned her trade by collaborating with several architectural firms, and in recent years has been intensely interested in the production of her own food and the growing potential of public areas. Since 2020, she has been a member of ZMAG’s Social Seed Bank, and currently works at ZMAG as the project manager of that project and the manager of the food program. Luigi Coppola is an Italian artist and activist, member of Casa Della Agricultura, a community founded in the south of Italy in Castiglione d'Otranto, which aims to revive abandoned land and repopulate villages, generate an economy based on solidarity, and strengthening community ties through new cultural, social and economic models of common life based on agriculture. About WCSCD: The WCSCD is a civic association, established in 2018, and its fundamental activity is an educational program for artists, curators, researchers and cultural workers with focus on different ways of learning and working in the arts. In 2022 WCSCD started working within the rural area in Sumadija (Serbia) and taking custodianship of the piece of land with long-term commitment. For all further information on this and all WCSCD projects, please contact: Biljana Ćirić what.could.curating.do@gmail.com https://www.wcscd.com/ < Mentors Educational Program How to Apply >

Events Lecture Series Participant Activities Lecture by Patrick D. Flores and launch of the WCSCD book Launch of the What Could/Should Curating Do? book together with Sasa Tkacenko, Katarina Kostandinovic, Neva Lukic and Sinisa Ilic, followed with a lecture by Patrick D. Flores When: May 13, 2019, 18:00 Where: Museum of Contemporary Art, Belgrade What Could/Should Curating Do? is proud to announce the inaugural lecture for the 2019 program by Patrick D. Flores, titled Singapore Biennial 2019: Some Political Inspirations. The presentation will speak to the methods undertaken and conceptual impulse to convene a biennial in Singapore, noting the lively cultural and social milieu of contemporary art in Southeast Asia and the ethical demands involved in evoking this liveliness. Patrick D Flores Patrick Flores, Artistic Director of SB2019 explains: “It may be said that the world is troubled. To sense such a state of flux is to acknowledge the situation and begin to face it. For Singapore Biennale 2019, we ask: What are the possibilities for art, the artist, and the audience in light of this trouble? What are the responsibilities of the artwork, its making, and its experience in the prospects of future action? As we believe, every effort to change the world for the better does in fact matter. SB2019 puts its faith squarely in the potential of art and its capacity to rework the world, as expressed in the Biennial’s title: Every Step in the Right Direction.” About the speaker: Patrick D. Flores is Professor of Art Studies in the Department of Art Studies at the University of the Philippines, which he chaired from 1997 to 2003, and Curator of the Vargas Museum in Manila. One of his many publications, The Exhibition Problematic and the Asian Dislocal revisits the conceptual conditions that prompt students of the history of exhibitions and the future of their making to ask questions about notions of history and futurity through the proposition of the exhibition. Previously, Flores curated the Philippine pavilion at the Venice Biennale in 2015, the exhibition Position Papers at the Gwangju Biennale in 2008, and served as one of the curators of Under Construction: New Dimensions in Asian Art at the Japan Foundation in 2000. He also co-curated South by Southeast, an exhibition of contemporary art from Southeast Asia and Southeast Europe, organized by the Osage Art Foundation in 2015. A respected art historian, Flores was a guest scholar of the Getty Research Institute in Los Angeles in 2014. Some of his other publications include Past Peripheral: Curation in Southeast Asia (2008). Joining this inaugural lecture for the 2019 program, the first volume in the What Could/Should Curating Do? publication series will also launch, which is co-published with Orion Art and conceptualized by Sasa Tkacenko and Biljana Ciric. What Could/Should Curating Do? Visual by Sasa Tkacenko Photo by Hu Yun The interest for What Could/Should Curating Do? to publish this series came out of the necessity to develop a scholarship for the curatorial course that was first established in 2018. The series also simultaneously serves as an archive of the discourses produced around the course on an annual basis, thereby engaging with questions of how to archive something that is still in development. These volumes are one possible solution to be further shared and explored. With this mind, the WCSCD publication series developed into a kind of annual reader related to the curatorial discourses that grow out of the program’s different workshops, initiated by the invited guest mentors to the program. At the same time, this effort also encourages the attending, emerging curators to produce and contribute their own writing. Neva Lukić and Katarina Kostandinović / Photo by Hu Yun Collaged view on Didactic exhibition by Siniša Ilić / photo by Hu Yun Perfromance by Saša Tkačenko Neva Lukić and Katarina Kostandinović / Photo by Hu Yun Collaged view on Didactic exhibition by Siniša Ilić / photo by Hu Yun Perfromance by Saša Tkačenko The first volume includes contributions : Neva Lukic, Katarina Kostandinovic, Dorothea von Hantelmann, Elena Filipović, Tara McDowell ,Maria Lind, Matt Packer, Mia David, Hou Hanru, What, How & for Whom, Jasna Jasna Zmak, Kirila Cvetkovska, Ruri Kawanami, Vera Zalutskaya Niels van Tomme, Sinisa Ilic, Milena Joksimovic, Agustina Andreoletti, Tjasa Pogacar, Boba Mirjana Stojadinovic, Hans Ulrich Obrist, Branislav Dimitrijevic and Biljana Ciric. During this special evening, WCSCD will also announce the curators who have been accepted into the WCSCD 2019 course, and highlight the partners for the WCSCD 2019 program as well as new artist commission. The curatorial course is a long term project made possible with the support and collaboration of the following partner institutions: Project patron: Wiener Städtische; Partners: The Museum of Contemporary Art Belgrade; EVA International—Ireland’s Biennial of Contemporary Art; Center for Promotion of Science and Zepter Museum, among others. The project is supported by the Istituto Italiano di Cultura Belgrado; the Embassy of the Kingdom of the Netherlands in Belgrade; the Austrian Cultural Forum; Heinrich Boell Stiftung; Hestia Art Residency & Exhibitions Bureau; and EUNIC Serbia, Media partners Before After and Designed. < Mentors Educational Program How to Apply >

Register for Online Learning First name Last name Email Submit Thanks for submitting! Fee The fee for the course is 110€ . We have considered the lowest possible rate, to make it accessible to as many people as possible, while still being able to pay our invited guests and people who produced the program.

Events Lecture Series Participant Activities Lecture by Maria Lind / Future Light: or is A New Enlightenment Worth Considering? CURATORIAL COURSE WHAT COULD/SHOULD CURATING DO? IS GLAD TO ANNOUNCE THE NEW EDITION OF THE PROGRAMME IN THE FOLLOWING 2019 AND THE PUBLIC TALK BY MARIA LIND Future Light: or is A New Enlightenment Worth Considering? MUSEUM OF CONTEMPORARY ART BELGRADE MONDAY, MARCH 11 2019 AT 6PM In collaboration with the Museum of Contemporary Art Belgrade, the lecture within the series of public programs about contemporary curatorial practices will be held by Maria Lind (an esteemed curator, writer and educator) and will serve as an extension to the 2018 edition of the curatorial course WCSCD. Based on an on-going research into art, abstraction and opacity, within the presentation Maria Lind will discuss the project Future Light curated in 2015 as part of the first Vienna Biennial at the Museum Angewandte Kunst and elsewhere. ABOUT THE LECTURER: Maria Lind is a curator, writer and educator based in Stockholm and Berlin. She was the director of Stockholm’s Tenstakonsthall 2011-18, the artistic director of the 11th Gwangju Biennale, the director of the graduate program, Center for Curatorial Studies, Bard College (2008-2010) and director of Iaspis in Stockholm (2005-2007). From 2002-2004 she was the director of Kunstvereinand in 1998, co-curator of Manifesta 2. She has taught widely since the early 1990s, including as professor of artistic research at the Art Academy in Oslo 2015-18. She has contributed widely to newspapers, magazines, catalogues and other publications. She is the 2009 recipient of the Walter Hopps Award for Curatorial Achievement. In the fall of 2010 Selected Maria Lind Writing was published by Sternberg Press. The WCSCD curatorial course and series of public lectures are initiated and organized by Biljana Ciric. The lecture by Maria Lind is made possible with the help of MoCAB and the Embassy of Sweden. The WCSCD curatorial course is a long term project initiated by Biljana Ćirić, with the support and collaboration of the following partner institutions: project patron – Wiener Städtische, partners – The Museum of Contemporary Art Belgrade; EVA International—Ireland’s Biennial of Contemporary Art; and Zepter Museum, among others. The project is supported by the Istituto Italiano di Cultura Belgrado; the Embassy of the Kingdom of the Netherlands in Belgrade; the Austrian Cultural Forum; Heinrich Boell Stiftung; Hestia Art Residency & Exhibitions Bureau and EUNIC Serbia among others. * Photo credit: Escaping Transparency at MAK, Vienna, 2015, as part of Future Light. Pablo Accinelli (Buenos Aires/Sao Paulo), Doug Ashford (New York), Claire Barclay (Glasgow), Rana Begum (Sylhet/London), Elena Damiani (Lima/Copenhagen), Shezad Dawood (London), Annika Eriksson (Stockholm/Berlin), Matias Faldbakken (Oslo), Monir Shahroudy Farmanfarmaian (Tehran), Ane Hjort Guttu (Oslo), Tom Holert (Berlin), Philippe Parreno (Paris), Amalia Pica (Buenos Aires/London), Yelena Popova (Moscow/Nottingham), Walid Raad (Beirut/New York), Bik Van der Pol (Rotterdam), Haegue Yang (Seoul/Berlin) < Mentors Educational Program How to Apply >

Events Lecture Series Participant Activities The Decolonial Possibility by Charles Esche Charles Esche Venue: Salon of the Museum of Contemporary Art (14 Pariska Street) Date: November 6th 2019 18:00 Decolonial theory as developed over the past 15-20 years has recently seen a huge surge in interest. While some of this interest has simply been fashionable, decoloniality does seem to provide a useful description of some aspects of our current condition. In particular, it addresses the virulence of universalist assumptions in much western theory and questions the reliability of thinking from and through the West, however critically. The development of the idea of coloniality or the colonial matrix of power is also a useful tool in avoiding some of the divisive and essentialising discussions around identity politics without reverting to a white supremacist position. In particular, it perceives possibility in the communal as a way to think beyond the divisions of human-human; human-animal; human-earth. In this lecture Charles Esche will present his view on the possibilities that decolonial thinking can bring to organizations like Modern and Contemporary Art Museums using the Van Abbemuseum in Eindhoven as a concrete example and critical case study. About Speaker: Charles Esche is director of Van Abbemuseum, Eindhoven; professor of contemporary art and curating at Central Saint Martins, London and co-director of Afterall Journal and Books. He teaches on the Exhibition Studies MRes course at CSM, and at Jan van Eyck Academie, Maastricht. Outwith the museum, he (co) curated Le Musée Égaré, Kunsthall Oslo 2017 and Printemps de Septembre, Toulouse 2016; Jakarta Biennale 2015; 31st Sao Paulo Bienal, 2014, U3 Triennale, Ljubljana, 2011; RIWAQ Biennale, Palestine, 2007 and 2009; Istanbul Biennale, 2005; Gwangju Biennale, 2002 amongst other international exhibitions. He is chair of CASCO, Utrecht. He received the 2012 Princess Margriet Award and the 2014 CCS Bard College Prize for Curatorial Excellence. The event is free and open to the public. The WCSCD curatorial course and series of public lectures have been initiated and organized by Biljana Ciric. The lecture by Charles Esche is generously supported by the Embassy of Kingdom of Netherlands in Belgrade < Mentors Educational Program How to Apply >