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

Mentors Mentors of WCSCD program so far included: Dorothea von Hantelmann (Bard College, Berlin); Antariksa (co-founding member of KUNCI Cultural Studies Center, Yogyakarta, Indonesia); the Flash Art Magazine editorial team (Flash Art is a bimonthly magazine focused on contemporary art, based in Milan); Elena Filipović (director of Kunsthalle Basel);Tara McDowell (director of curatorial practice at Monash University in Melbourne, Australia); Maria Lind (director of Tensta konsthall, Stockholm); Matt Packer (director of EVA International); Hou Hanru (artistic director of MAXXI Rome, Italy); and What, How & for Whom (a curatorial collective formed in 1999 and based in Zagreb, Croatia), Branislav Dimitrijevic ( art historian based in Belgrade), Ares Shporta ( Lumbardhi Foundation, Kosovo), Zdenka Badovinac ( Moderna Galeria Ljubljana), Nikita Yingqian Cai ( Times Museum, Guang Zhou), Charles Esche ( Van Abbe Museum), Sinisa Ilic (artist based in Belgrade), 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), Luca Lo Pinto (director of MACRO in Rome), Suzana Milevska (curator and a visual culture theorist), Lejla Hodzic (cultural worker) , Xiang Zairong ( scholar), Nataša Petrešin-Bachelez (independent curator, editor and writer), and ruangrupa ( artistic directors of Documenta 15), Lejla Hodzic ( art practitioner, Sarajevo), Jelica Jovanovic ( architect), Skart Collective ( Belgrade), Katalin Szekely ( OFF Biennale, Budapest), Massimilliano Mollona ( Institute for Radical Immagination), Manuel Borja Villel ( Museo National Renia Sofia), Amelie Aranguren ( INLAND), Aslihan Demirtas ( architect). < How to Apply Educational Program Events >

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

Past Programs 2022 2021 2020 2019 2018 2019 Program Archive Call for applications: “WHAT COULD/SHOULD CURATING DO?” curatorial course 2019 February 5, 2019

Events Lecture Series Participant Activities Lecture by Elena Filipovic / Marcel Duchamp, the most influential curator of the 20th century? Saša Tkačenko, Flags from the WCSCD series, 2018. Photo by Ivan Zupanc THE CURATORIAL COURSE WHAT COULD/SHOULD CURATING DO? IS PLEASED TO ANNOUNCE A PUBLIC TALK BY: ELENA FILIPOVIC Marcel Duchamp, the most influential curator of the 20th century? MUSEUM OF CONTEMPORARY ART BELGRADE MONDAY, OCTOBER 15, 2018 AT 6 PM In collaboration with the Museum of Contemporary Art Belgrade, the lecture within the series of public programs organized by WCSCD will be presented by Elena Filipovic — the director and curator of Kunsthalle Basel. The series is designed to offer new and different perspectives on the theories and practices of exhibition-making. The lecture by Elena Filipovic, entitled Marcel Duchamp, the most influential curator of the 20th century?, will evolve around the history of art as a discipline that has been constructed through the analysis of individual artists and their objects and images. Monet’s Water Lilies, Picasso’s Demoiselles, Giacometti’s Walking Man… And it is no different for Marcel Duchamp, who is largely celebrated for the objects he produced—whether a store-bought urinal named Fountain or a cryptic, erotic-mechanical diagram known as the Large Glass. But what if the impact of the most influential artist of the 20th century lay elsewhere? This lecture asks you to take seriously Duchamp’s activities not normally seen as artistic—from his art dealing, administrating, and reproducing to his publicizing and exhibition-making. Across a variety of projects spanning from 1913 to 1969, we will see that Duchamp’s “non-art” labor, and in particular what could be seen as his curatorial strategies, were both central to his conception of the work of art and deeply influential to generations of artists after him who learned from him that the frame around the artwork might actually make the artwork as such. ABOUT THE LECTURER: Elena Filipovic has lead Kunsthalle Basel as its director and curator since November 2014. She previously served as senior curator of WIELS from 2009-2014, and co-curator of the 5th Berlin Biennial in 2008 with Adam Szymczyk as well as editor or co-editor of a number of anthologies on global exhibition histories, including The Artist as Curator: An Anthology (Mousse Publications, 2017), The Biennial Reader: Anthology on Large-Scale Perennial Exhibitions of Contemporary Art (Hatje Cantz, 2010), and The Manifesta Decade: Debates on Contemporary Art Exhibitions and Biennials in Post-Wall Europe (MIT Press, 2005). She has curated numerous solo exhibitions of emerging artists in addition to organizing several traveling retrospectives. She is author, most recently, of The Apparently Marginal Activities of Marcel Duchamp (MIT Press, 2016) and David Hammons, Bliz-aard Ball Sale (Afterall Books, 2017). The WCSCD curatorial course and series of public lectures are initiated and organized by Biljana Ciric together with Supervizuelna. The lecture by Niels Van Tomme is made possible with the help of MoCAB and the Embassy of the Kingdom of the Netherlands, with the additional support of Zepter Museum and Zepter Hotel. Project partners: The Museum of Contemporary Art Belgrade; GRAD—European Center for Culture and Debate; EVA International – Ireland’s Biennial, ’Novi Sad 2021 – European Capital of Culture’ Foundation and Zepter Museum. The project is supported by: the Goethe Institute in Belgrade; Istituto Italiano di Cultura Belgrado; the Embassy of Sweden; the Embassy of the Kingdom of the Netherlands; the Embassy of Ireland in Greece; the Embassy of Indonesia; the EU Info Centre; Pro Helvetia – Swiss Art Council; and galleries Eugster || Belgrade, HESTIA Art Residency & Exhibitions Bureau, and Zepter Hotel, Royal Inn Hotel and CAR:GO. Media partners: EUNIC Serbia, RTS3. < Mentors Educational Program How to Apply >

Past Programs 2022 2021 2020 2019 2018 2018 Program Archive WCSCD 2018 Call for Applications March 26, 2018

Open Call | The Unlearning Curriculum 2024 Application deadline: June 20, 2024 Inform of selected participants: July 10-15, 2024 Intensive dates: August 17-23, 2024 The Unlearning Curriculum in 2024 is a five-day intensive conceived for cultural workers, artists, curators, writers and researchers who share interest in practicing different methodologies of working within art and culture. It aims at exploring methodologies based on decolonial principles, and ways of knowing that engage not only mind but also our whole body and a variety of senses. It is a process of co-learning and un-learning, and of challenging the divide of culture, nature and human. By “staying with the trouble”, as Donna Haraway states, we may recuperate alternative literacy, tools and relations to cultivate an ecology oriented to the future. We will spend days and nights together by sharing common space and time through learning, reflecting, making, listening led mentors but also all the participants. During these five days we will decentralize our position as urban dwellers, and address the eco-social crisis from the perspectives of practical hope, to recover the collective input of local community and knowledge. The intensive is situated in an old village nearby Taishan in Guangdong province of China. The building has been renovated and sustained by Huan Jiajun, who is an activist of conserving the local culture. Taishan is historically home for a lot of overseas Chinese, who emigrated to north America to work as indentured workers in plantations, mines and railways in late 19th century and early 20th century. The architecture of the village preserves such diasporic history in its synthetic style. * The intensive is conceived and initiated by Biljana Ciric and Nikita Yingqian Cai; organized by Guangdong Times Museum and “What Should/Could Curating do?”; and generously supported by De Ying Foundation. This intensive is a greate opportunity, if you are: Interested in learning from others and from nature, and generous in sharing; Willing to engage in disciplines and conversations beyond your educational or academic training; Willing to share your insights and specialties with others, including but not restricted to yoga, knowledge of nature, craft-making, cooking etc. Requirements: A short bio including your educational background and recent experiences in cultural or social projects; A short intention letter (less than 500 words) which states what you would like to learn and unlearn with others; Your contact info including email, mobile and social media account. Fee: 3800 RMB or 490 EUR (The fee includes meals and accommodation of the five days; transportation from your city of residence to Taishan/China is not included） Please be noted: The Unearning Curriculum is open for local and international participants; The intensive will take place at Tosen’s Garden, Paobu Village, Taishan City, Guangdong, P.R. of China ; The working language is English; All participants are expected to arrive no later than August 17th and to commit to the whole duration; Further information about international or domestic travel will be provided after your enrollment is confirmed; Detailed information on day-by-day activities will be notified once all participants are confirmed. Tasks for preparations will be shared and discussed by zoom meeting in July; After the intensive in Taishan, additional visits to independent spaces, studios and institutions in Guangzhou will be organized in the following 2 days. The visits are not part of the curriculum, and you need to plan your stay and cover your own expences in Guangzhou. Please apply by submitting the following materials to contact@timesmuseum.org by June 20, 2024 and visit www.timesmuseum.org for further information. About mentors Amelie Aranguren (she/her) has been a member of Inland since 2011. Campo Adentro/Inland is an association and collaborative project that approaches rural issues from an artistic perspective while addressing significant social issues and advocating for the reconnection between rural areas and cities as a basis for sustainable development strategies. She is currently the director of the Center for the Approach to the Rural, a space in Madrid where creators, curators, researchers, and rural agents can engage in production and investigative residencies, and experiment with art forms linked to social contexts and ecological perspectives. Aranguren, along with a team of nine other collaborators, has recently initiated a new association, Paisanaje Project , which explores the capacity of artistic practices in order to address the eco-social crises and inequalities generated from these issues. Aranguren has worked before in institutions as Museo Reina Sofía Madrid, Federico García Lorca Foundation, Madrid and Jeu de Paume, Paris. Nikita Yingqian Cai lives and works in Guangzhou, where she is Deputy Director and Chief Curator of Guangdong Times Museum. She has curated such exhibitions as Times Heterotopia Trilogy (2011, 2014, 2017), Jiang Zhi: If This is a Man (2012), Roman Ondák: Storyboard (2015), Big Tail Elephants: One Hour, No Room, Five Shows (2016) , Pan Yuliang: A Journey to Silence (Villa Vassilieff in Paris and Guangdong Times Museum, 2017), Omer Fast: The Invisible Hand (2018), Neither Black/Red/Yellow Nor Woman (Times Art Center Belin, 2019), Zhou Tao: The Ridge in the Bronze Mirror (2019) and Candice Lin: Pigs and Poison (2021). She initiated the para-curatorial series in 2012 as a paratactic mode of thinking and working, which connects the curated contents of art and culture with pop-up modules of critical inquiry and field curriculum. She has maintained and expanded the research network of “All the Way South” and is the co-editor of On Our Times. She was the participant of de Appel Curatorial Programme (2009-2010) and was awarded the Asian Cultural Council Fellowship in 2019. Her writings have been published by Bard College and the MIT Press, Sternberg Press, Black Dog Publishing, Yishu, Artforum and e-flux. She is the co-editor of Active Withdrawals: Life and Death of Institutional Critique and No Ground Underneath; Curating on the Nexus of Changes. Biljana Ciric is an interdependent curator. She is curator of the Pavilion of Republic of Serbia at 59th Venice Biennale in 2022 presenting with Walking with Water Solo exhibition of Vladimir Nikolic. She is conceiving inquiry for first Trans- Southeast Asian Triennial in Guangzhou Repetition as a Gesture Towards Deep Listening (2021/2022). She was the co-curator of the 3rd Ural Industrial Biennale for Contemporary Art (Yekaterinburg, 2015), curator in residency at Kadist Art Foundation (Paris, 2015), and a research fellow at Henie Onstad Kunstsenter (Høvikodden, 2016). Her recent exhibitions include An Inquiry: Modes of Encounter presented by Times Museum, Guangzhou (2019); When the Other Meets the Other Other presented by Cultural Center Belgrade (2017); Proposals for Surrender presented by McAM in Shanghai (2016/2017); and This exhibition Will Tell You Everything About FY Art Foundations in FY Art Foundation space in Shenzhen (2017). In 2013, Ciric initiated the seminar platform From a History of Exhibitions Towards a Future of Exhibition Making with focus on China and Southeast Asia. The assembly platform was hosted by St Paul St Gallery, AUT, New Zealand (2013), Rockbund Art Museum, Shanghai (2018), Times Museum, Guangzhou (2019). The book with the same name was published by Sternberg Press in 2019 and was awarded best art publication in China in 2020. Her research on artists organized exhibitions in Shanghai was published in the book History in Making; Shanghai: 1979-2006 published by CFCCA; and Life and Deaths of Institutional Critique , co-edited by Nikita Yingqian Cai and published by Black Dog Publishing, among others. In 2018 she established the educational platform What Could/Should Curating Do? where different formats of instituting are tested and imagined through collective processes. Since 2023 WCSCD entered transition merging rural and urban taking over custodianship of the piece of land in rural Serbia. She was nominated for the ICI Independent Vision Curatorial Award (2012). Ciric initiated a long-term project reflecting on China’s Belt and Road Initiative titled As you go . . . the roads under your feet, towards a new future . She is undertaking practice based PhD in Curatorial Practice at Monash University, Melbourne. She is currently developing retrospective of Vietnamese artist Tran Luong that will open in Jameel Art Center, Dubai in 2024 and tour to AGWA(Perth), Govett Brewster Art Gallery (New Plymouth, NZ), Guang Zhou Fine Arts Academy Contemporary Art Museum among others. About Tosen's Garden The project is located in Taishan City, Guangdong Province, which is known as the hometown of overseas Chinese. This is an ancient historical village built a hundred years ago by overseas Chinese in Myanmar. There are woods behind the village and fish ponds in front of the village, which preserves good natural ecology. There are seven residential houses built by overseas Chinese in the village, all of which are well preserved. In the first phase of the project, a 400-square-meter historic property was restored. Visitors can stay in the historic house and experience the local life more than a hundred years ago. There is an organic vegetable garden and orchard which provide local specialties. About De Ying Foundation De Ying Foundation (DYF) is a charitable organisation that supports contemporary art in China and internationally. We believe that contemporary art has an essential place in today’s China, and are committed to widening access to the highest standards of arts programming. We take a patient, long-term approach that is collaborative and open-minded, supporting and learning from other organisations that share our aims and values, as well as launching our own initiatives when we feel there is a need. Arts education is especially important to us, since we believe both in its inherent value and in its potential for transformative impact. While our core focus as a foundation is on greater China, we also work with international partners whose work inspires us, and hope to engender and to be part of a genuine artistic dialogue between China and the rest of the world. De Ying Foundation has provided long-term sponsorship for the De Ying Associate Curator, Visual Arts, at M+. The foundation is Founding Patron of the Shanghai Centre of Photography and a key sponsor of the Hangzhou Triennial of Fiber Art at China Academy of Art. De Ying was a sponsor of the Beijing-based artist Cao Fei’s first major solo exhibition in China, “Staging the Era”, 2021, presented at UCCA, Beijing, as well as, the UCCA leg of “Who is He?”, the historical retrospective of Geng Jianyi, one of China’s pioneering conceptual artists in 2023. De Ying is the main supporter for Glen Ligon’s first UK solo exhibition “All Over the Place”, 2024, at the Fitzwilliam Museum, Cambridge. In 2018, we were also particularly excited to be early supporters of Steve McQueen’s Year 3 Project at Tate Britain. De Ying Foundation also provided support in 2019 for the production of the catalogue accompanying Cecily Brown's acclaimed survey exhibition “Where, When, How Often and With Whom” at the Louisiana Museum of Modern Art, Denmark. Village in Taishan, Guangdong Province of China.

Новембар 2020 – < Back Приче између зидова у Народној библиотеци Бор 6 Nov 2020 Шта би кустосирање могло/требало да буде (What Could/ Should Curating Do – WC/SCD), кроз пројекат Новим путевима у будућност ( As you go…roads under your feet, towards the new future ), у сарадњи са Народном библиотеком Бор, позива вас на учешће у јавном пројекту уметнице Џесфи Џенг (Jasphy Zheng) Приче између зидова (Stories from the Room). Приче између зидова је партиципативни дугорочни пројекат којим се прикупљају приватни записи о искуству живота у „новој нормалности” које сви делимо и од њих гради растућа архива која би се могла репродуковати у различитим срединама. Добродошли су прилози из целог света, без ограничења када је реч о језику и форми записа или пребивалишту аутора. Као допринос изградњи колективног „скулптуралног споменика”, сваки прилог који примимо периодично ће се додавати живој архиви која ће бити отворена за јавност у Народној библиотеци Бор, где ће се моћи погледати на безбедан начин. Приче између зидова су први пут реализоване као одговор на изолацију коју је донело избијање пандемије. Представљен у Центру за савремену уметност у Китакјушију у Јапану (Center for Contemporary Art Kitakyushu) као самостална изложба Џесфи Џенг, повремено затварана због карантина и опет отварана, овај чин усмерен ка креирању скулптуралног споменика овом периоду у току његовог одвијања замишљен је као мост који води с оне стране концепција затварања и искључивања, истражујући капацитете учесника да имагинативно превазиђу баријере. На позив кустоса и оснивача WC/SCD Биљане Ћирић и Ларија Фрожијеа (Larys Frogier), директора Уметничког музеја Рокбанд (Шангај), Приче између зидова део су и дугорочног истраживачког пројекта Новим путевима у будућност и део пројекта Завеса (CURTAIN). Могу се сматрати проводником различитих гласова анонимно окупљених у циљу дељења, превазилажења, давања одушка, протезања, активирања, наглашавања, ослобађања, изражавања, прекидања, разматрања и промишљања промена и нових процеса који утичу на наш колективни живот и искуства током овог непредвидивог периода. У сарадњи са Новим путевима у нову будућност , Приче између зидова се имплементирају у различитим локалним контекстима и ситуирају захваљујући раду са локалним партнерским установама и појединцима: платформом Артком (Artcom) у Казахстану, Саром Бушра (Sarah Bushra) у Етиопији и Народном библиотеком Бор у Србији. Посебан вид представљања развијен је у сарадњи са Музејом Таравара у Мелбурну (TarraWarra Museumof Art, Melbourne) током најстрожег карантина који је овом граду икада у историји наметнут. Џенг каже: „Кроз овај дугорочни пројекат, изнова размишљам о јазу између онлајн и офлајн светова као о новој територији која одређује, преиспитује и изазива дистанцу између друштвености и солидарности у временима попут овог. Кроз колективни чин, овај пројекат подстиче физичко заједништво текста, тако што сакупља паралелне реалности учесника и излаже их у јавном простору. Потхрањујемо изливе сопства у форми заједнице, без обзира на међусобне раздаљине.” Заједно са Народном библиотеком Бор, позивамо вас да са својим записима учествујете у стварању споменика нашем времену. Да бисте учествовали у Причама између зидова, једноставно: Пишите како проводите дане, о чему размишљате или шта осећате, без обзира на дужину записа и на било којем језику; Не заборавите да унесете име, пребивалиште и датум ; Своје записе пошаљите на: priceizmedjuzidova@gmail.com или поштом, на адресу: Народна библиотека Бор, Моше Пијаде 19, 19210 Бор, са назнаком „За приче између зидова”, или их донесите лично у Народну библиотеку Бор. Сви пристигли записи ће се чувати као физичке копије у једној архиви, а сваки учесник ће добити своју фасциклу у тој архиви, тако да су Ваши нови прилози добродошли. Не заборавите да своје записе датирате и да упишете име и место. У писма и записе, који ће бити изложени у Народној библиотеци Бор , не уносите личне податке као што су адреса, број телефона или имејл адреса. Наводи из ваших записа можда ће се анонимно објављивати онлајн или користити у промотивне сврхе. Прилози се не враћају пошиљаоцима, јер остају као део уметничког рада. Прилози се примају стално – овај јавни позив не подразумева рок за слање прилога. Желите да ваша заједница буде укључена? Прихватамо прилоге на било којем језику. Сви прилози ће бити јавно изложени у Народној библиотеци Бор од децембра 2020, као део дугорочна изложбе. Дигитална архива записа остаће у трајном власништву библиотеке. О уметници Џесфи Џенг , која живи и ради на релацији између САД и Кине, интердисциплинарна је уметница чији радови у последње време истражују неизбежан неуспех комуникације како на међуљудском, тако и на колективном нивоу. Користећи уметничке формате као што су инсталације, ненајављени перформанси, извајани предмети и уметничке књиге, Џенг конструише ситуације које представљају јавне интервенције зарад подизања свести о нашим друштвеним и културним окружењима, како у тако и изван контекста савремене уметности. Џенг је, иначе, завршила Школу дизајна Роуд Ајланд (Rhode Island School of Design). Новим путевима у нову будућност (As You Go… the roads under your feet towards the new future) Новим путевима у нову будућност је дугорочни истраживачки пројекат који промишља иницијативу Појас и пут и како ће она променити естетику и праксе свакодневног живота у различитим срединама. Пројекат је замислила и 2019. иницирала Биљана Ћирић, након што је извела кустоско истраживање у источној Африци, централној Азији и у неколико балканских земаља где се пројекат одвија. Овај дугорочни истраживачки пројекат спроводи се кроз истраживачке ћелије које чине организације, установе и појединци: Уметнички музеј Рокбанд (Шангај, Кина), Шта кустосирање може/треба да буде (Београд), Модерна галерија (Љубљана), Музеј Тајмс (Гуангџоу – Times Museum (Guangzhou), Кина), Артком (Астана, тј. Нур Султан, од 2019, Казахстан), Робел Темесген (Robel Temesgen) и Синкне Есету (Sinkneh Eshetu) (Адис Абеба, Етиопија) и Народна библиотека Бор. Прву фазу пројекта подржали су Фондација за уметничке иницијативе (Foundation for Arts Initiatives), пројекат Завеса (CURTAIN – Rockbund Art Museum), Аустријски културни форум, Кустоске праксе (Curatorial Practice) Факултета за уметност, дизајн и архитектуру Универзитета Монаш у Аустралији – Monash University Art, Design and Architecture) и Влада Аустралије, кроз програм стипендија за истраживачку обуку (Australian Government Research Training Program Scholarship). Детаљније на: http://old.wcscd.com/index.php/2020/01/07/as-you-go-the-roads-under-your-feet-towards-a-new-future/ . О Уметничком музеју Рокбанд и пројекту Завеса Приче између зидова разрађене су кроз сарадњу у пројекту Завеса Уметничког музеја Рокбанд. Основан 2010, овај музеј савремене уметности налази се на кеју Банд у Шангају. „С обзиром на репутацију коју имамо захваљујући нашим иновативним кустоским приступима, тежимо осмишљавању различитих уметничких пројеката, од оних истраживачких до алтенативних едукативних програма, од излагачких до параизвођачких формата. Подржавамо смеле савремене уметничке пројекте, а циљ нам је да континуирано прерађујемо локалне историје, док истовремено одговарамо на глобалне уметничке изазове и друштвене промене. Сматрамо да је размена суштински процес, неопходан за шири преображај кроз мрежу мултирегионалних, међународних и мултидисциплинарних партнерстава. Циљ нам је да кроз овај процес негујемо разнолике и укорењене везе са публикама, заједницама, али и са различитим друштвеним и културним организацијама.” Више о овом музеју на: www.rockbundartmuseum.org . Новим путевима у нову будућност са Уметничким музејом Рокбанд сарађује кроз пројекат Завеса , који су иницирали директор музеја Ларис Фрожије и низ сарадника: Метју Копланд (Mathieu Copeland), Биљана Ћирић, Козмин Костинас (Cosmin Costinas), Хсиех Фенг Ронг (Hsieh Feng-Rong), Били Танг (Billy Tang). Иницирана 2020, Завеса је дугорочни истраживачки пројекат који ће се одвијати у виду серије изложби различитог формата, платформи за дискусију и међуинституционалне сарадње током три године. Да би се отишло даље од утврђене дефиниције изложбе, пројекат тежи да дијалог са уметницима прошири окупљањем критичких мислилаца и практичара из других друштвених и културних области. Народна библиотека Бор Народна библиотека Бор основана је 1962, спајањем више мањих месних библиотека и читаоница. Од 1972. смештена је у наменски грађеном простору у Дому културе у Бору и матична је за Борски округ. Делатност обавља кроз рад Завичајног, Дечјег, Стручног, Информативног, Одељења за језике и књижевност, Одељења посебних фондова и периодике, Одељења за набавку и обраду библиотечке грађе и Матичног одељења. Организује изложбе, наричито изложбе завичајне фотографске грађе и других дела завичајних аутора, књижевне вечери, промоције аутора, наслова, организација и установа с којима сарађује, предавања из свих научних и стручних области, акредитоване и друге семинаре за раднике у области културе и образовања, трибине везане за различита питања од јавног значаја или локалну заједницу, пројекције филмова и друге аудио-визуелне грађе, едукативне и креативне радионице за децу и младе, како у самој библиотеци, тако и у образовним установама и у јавном простору. У библиотеци и њеним сеоским огранцима (којих тренутно има четири) ради 18 библиотекара и књижничара, од којих многи учествују или сарађују у реализацији уметничких, научних, културних, едукативних пројеката у сарадњи са различитим локалним, регионалним и националним установама и организацијама или независним домаћим и иностраним истраживачима и уметницима. Издавачка делатност библиотеке, поред низа публикација које су настале као зборници научноистраживачких и уметничких радова или предавања у оквиру реализованих пројеката и књига завичајних књижевних стваралаца, обухвата и континуирано излажење часописа Бележница (1999– ) посвећеног библиотечко-информационој делатности и локалној култури и историји. Previous Next

< Back THE CULTURAL INTERWEAVING OF CHINA AND THE BALKANS 15 Feb 2021 Marija Glavaš This text is the first in a series of close studies examining the cultural exchanges between China and the Balkan region under the BRI, taking art [events and exchanges] as its main focal point. In this introductory text I will explain my research process for mapping these activities . I will then present both the ambitions and challenges of intercultural exchanges, using Slovenia as an example. In future texts I will analyse some of these exhibitions I have investigated, with the hope of creating a dialogue around whether these exchanges are living up to their full potential of shifting away from classical national narratives and providing a common ground for different identities. Before I began this project with As you go… the roads under your feet, towards a new future, I only had a basic understanding of what the BRI was. Like many others here in the Balkan region, I have also heard of the ongoing Chinese investments – investments which initially appeared to only occur within the infrastructural sphere. What I have found, however, is that the BRI promised more than that. It promised cultural bonding above mere economic cooperation. Yet, whenever the BRI is mentioned, other spheres, such as culture and art, seem to remain of very little note. As I began my investigation, I realized there was an absence of any systematic research on these topics – gathering data and developing a concise method of collating it, presented itself as the greater concern before even beginning to open up [a] discourse on cultural exchange and interconnection. To begin this dialogue of cultural interweaving, I have decided to focus on cross-institutional artistic exchanges to identify both the frequency and motives of these relationships. For this purpose, I used two methods: the primary method was directly addressing art institutions by sending them a questionnaire, while the other was manually collecting data from the internet for any additional exhibitions. The questionnaire included identifying whether any exhibitions and exchanges were currently underway, what kind of art was being exhibited or exchanged, the motivations behind these collaborations, and if there were any abnormalities across audience engagement and reception. For institutions that did not have any such exchanges, I asked why that was – did they decline them for any reason or were there simply no opportunities (perhaps due to a lack of funding, governmental or structural support, amongst other institutional roadblocks)? This questionnaire was sent to thirty-six [36] institutions from Slovenia, Serbia, Bosnia and Herzegovina, Croatia, Bulgaria, and Kosovo. Some of the institutions were nationally owned museums and galleries (of both artistic and historical content), while others were privately owned galleries. Of the thirty-six museums and galleries I reached out to, twenty have replied. Following this, I started documenting all available data that was brought to my attention. I encountered several problems during this stage. Firstly, I did not receive responses from all institutions – most notably I received none from privately owned galleries. This could, however, also be due to many things: the ongoing pandemic that has shut down galleries and museums in many places and – as I later came to notice – the fact that most of these exchanges were primarily happening through state owned institutions. The second problem I encountered was that for many of these events and cultural exchanges, I was only provided with sparse data. Thirdly, I was unable to gather any data on audience reception. This last problem proved the most difficult as I was most interested in examining how local audiences perceive not only the Chinese art being exhibited, but also in a broader sense, the cultural interweaving of China within these regions. In the future it would be interesting to focus further on this aspect since there are a lot of discrepancies in opinions on other aspects (such as on the infrastructural and economic investments) of the BRI. While the West seems to be very suspicious of China becoming a global superpower, the Balkan region – which is heavily influenced both by the West and the East – doesn’t have such a narrow perception. Together with other partner cells and the editorial team, we decided it would be interesting to present this collected data on a map . This map provides details on both local cultural events and its connections to China. All exhibitions are also described, accompanied by some images from the exhibitions. The map is intended to be alive and continuously growing – the biggest ambition is currently to expand the scope of this map to encompass Central Asia and other localities participating in the BRI. I approached my research this way to systematically examine the ways in which art under the BRI ought to, on the one hand, deepen the bonds amongst participating countries and on the other, shape their perceptions of one another. Art, besides being a tool of expression, greatly impacts cultures and societies; it is continuously shaping our realities, while also allowing us to more deeply understand the past and the present. This understanding is not only constructed through artistic content at any given time in any specific space, but also through cultural policies and curating. Cultural policies and curatorship prescribes the limits and protocols [within] which art can shape the future, and how the past and present can be understood. Intercultural collaborations within this sphere have a great potential to move away from classical national narratives, which too often look for an enemy – within or outside – as a common denominator, consequently weaponizing audiences against this predetermined opposition. Whether these intercultural collaborations are even possible however, remains in the hands of individual governments and private bureaucracies who choose if, how, and when they will collaborate. For instance, let us look at the current state of art in Slovenia. Ever since Slovenia became a capitalist state, it left art partially in the domain of the government and partially in the domain of the free market. Art in the domain of the predatory free market has its own problems: subjected to competitiveness, artistic objects and practices are placed at the mercy of the logic of profit-driven, capitalist motivations – left to die as soon as its monetary value drops too low. However, since BRI projects are mostly funded and held by state institutions, for now, this stage of the research will focus on this particular domain. Let me preface this by saying that all curating is some form of narrating and mediating meaning(s), though this example will focus on cultural policies which determine in whose hands the curating will be. In Slovenia, state-owned art institutions enjoyed relative autonomy albeit with insufficient financial support – particularly in specific fields – being their main problem. Aside from the prevalent nepotism in funding (and the subsequent responsibility that would attach itself to the beneficiaries), there was not much state intervention into the curating itself. However, this drastically began to change since the undemocratic rise of the 14th government of independent Slovenia, right before the pandemic of 2020. The undemocratically established government is using tactics that have proven detrimental to Poland, Hungary, and Russia. In addition to drastic funding and budget cuts (alongside overall rhetoric and the replacement of leadership roles), [the government] has taken to directly attacking media outlets, research institutions, and museums. Academics who specialize in the fields of Central and South East Europe pointed out in an Open Letter to Janez Janša, Prime Minister of Slovenia in 2020: “The frequency of such interventions and the many clear signals that [are only] more are to come further prove that these are not normal personnel decisions, but rather the first steps in an attempt to curtail the independence of scholars and to place narratives about the past under government control.” [1] This becomes even more evident when we look at which institutions are being attacked: the National Museum of Contemporary History, which holds a permanent exhibition of Slovenia in the 20th century, directly addressing our past as a member state of former Yugoslavia and our gain of independence; [2] the National Gallery, and the Modern Gallery – both some of the most prominent and well-known art institutions in Slovenia. [3] In addition, the government is planning to open the Research Institute of the Venetic theory, [4] which suggests that the origins of Slovenians do not begin with Slav settlements but rather, reach back to ancient times. This theory is widely considered a pseudoscience and has been rejected by scholars. Our prime minister, however, holds yearly meetings for supporters of this theory, and when considering how they like to rewrite our history, it should also raise alarms that they are planning to open the Museum of Independence of Slovenia. [5] The current enemy threat being constructed is our history as a member state of Yugoslavia, the Yugonostalgia many people still feel, non-catholic nations, and anyone who lies left to the [government] on the political compass. Clearly, these are attempts to not only shift the cultural sphere towards a more patriotic and nationalistic narrative, but a narrative that is directly in support of our current prime minister – his role in the battle for independence and his personal beliefs. I would like to argue that these current changes within the cultural and art spheres in Slovenia are what could be considered some of the worst approaches possible. Art in this scenario is not being mobilized, in a romantic sense, to enable a peaceful coexistence of identities, but rather, is being used to annihilate some to push others forward. In the context of intercultural interweaving this could mean a step backwards, since focusing on enemies and weaponizing audiences does not leave much space for a friendly co-existence. In terms of the BRI, we are yet to see where this will place Slovenia. Our prime minister has, in American fashion, began engaging in conspiracy theories about China, where he points to the supposed political interference of China with his opposition. [6] At a fundamental political level, this paranoia doesn’t bring much optimism in relation to the potential of future cultural interweaving and exchanges. Even the connection between Slovenia and Hungary, which our current government considers of utmost importance, is only happening directly through the military, and a mutual support of hate-driven, local news-media. On the other hand, the BRI greatly emphasizes a peaceful coexistence of identities. From what I have gathered in this first phase of my research, it appears that these exchanges are an effort to bring cultures closer together through mutual and empathetic understanding, which has been overtly stated on most of the observed exhibitions. This understanding is being created through a bilateral exchange of artefacts, meanings, technical knowledge, and human resources. In conclusion, intercultural interweaving has a great potential of shifting away from classical national narratives that forge bonds as a response to the presence of a threat. National identity itself is constructed through these mechanisms (ie. the search for a common enemy), so a greater understanding and knowledge of different cultures is needed to look beyond this. Participating countries have already agreed to these processes of interweaving, and as politics and culture remain ever changing, the consideration of current cultural policies and their changes is always necessary. And when considering that to curate is to narrate, another analysis will be needed to betterfully understand exactly what narratives are being told and how much positive potential they actually hold. In the future, I will attempt to do such an analysis of the exhibitions presented on the map. This will, I hope, allow for a deeper discourse and engagement on whether these projects are living up to their full potential of being used as a force for cultural harmony than separation. Marija Glavaš , student of Culturology at the Faculty of Social Sciences in Ljubljana [1] A Letter to Janez Janša, Prime Minister of Slovenia. (2020). Available at: https://publiclettertoslovenia.wordpress.com/ [2] Exhibition can be seen here: http://www.muzej-nz.si/si/razstave/stalne-razstave/849-Slovenci-v-XX-stoletju [3] Marshall, A. (2021). A Populist Leader Kicks Off a Culture War, Starting in Museums. The New York Times. Available at: https://www.nytimes.com/2021/01/27/arts/design/slovenia-Janez-Jansa-culture.html [4] Jager, V. (2020). Janša ustanavlja inštitut, ki bo na novo napisal zgodovino izvora Slovencev. Mladina. Available at: https://www.mladina.si/200605/jansa-ustanavlja-institut-ki-bo-na-novo-napisal-zgodovino-izvora-slovencev/ [5] Marshall, A. (2021). A Populist Leader Kicks Off a Culture War, Starting in Museums. The New York Times. Available at: https://www.nytimes.com/2021/01/27/arts/design/slovenia-Janez-Jansa-culture.html [6] Janša, J. (2021). [@JJansaSDS]. #KUL neposredno financiran kar od Kitajske komunistične partije? [Tweet]. Twitter. Available at: https://twitter.com/JJansaSDS/status/1354022974685409281 ; Janša, J. (2021). [@JJansaSDS]. Agentura #CCPChina ? [Tweet]. Twitter. Available at: https://twitter.com/JJansaSDS/status/1355831337819762689 Previous Next