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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 >

Events Events 2022 2021 2020 2019 2018 < Participants Educational Program Programs >

Zian Chen Zian Chen is a curator and co-editor of Heichi Magazine . At times, he collaborates with others to develop alternative frameworks for artistic thinking and speculation. Wu Chi-Yu: Atlas of the Closed Worlds , 2021 Co-editing: Arrow Factory: The Last Five Years , 2020 Co-curating: Planet Marx Reading Club , 2019 Co-curating: Long March Project: The Deficit Faction , 2019 {review ; guidebook } Production Fever 2008, 2019 Co-curating: Long March Project: Building Code Violations III – Special Economic Zone, 2018 {review } Marysia Lewandowska, Rehearsing the Museum , 2018 With Liu Chuang: Revizionistinio akseleracionizmo link , 2018 Recent contributions: An open letter to these strange times Curtain Magazine Interview Instant Retrospectives: Freeze-Dried , Ready-To-Go The Club-Museum Ecosystem 2: Alvin Li’s Conceptronic Curating Hauntologies of Chinese Contemporary Art: Instant Retrospectives Redux

Events Lecture Series Participant Activities The educational program What Could/Should Curating Do is proud to announce lecture by Katalin Szekely Hosted by Kolarac Venue: Student square no 5 Kolarac Josic Pancic Hall Date: November 9th 2022 18:00 Prefigurative Practices – OFF-Biennale Budapest at documenta fifteen Prefigurative practices can be defined as attempts to enact, in the present, utopian or alternative social relations and institutional models, aspired to in the future. The modus operandi of OFF-Biennale Budapest—a grassroots, independent arts initiative, since 2013—has also been rooted in such practices: by acting as if it were an art institution organizing large-scale, international art events, it “performs” and “prefigures” an institution. During this process of “self-instituting”, OFF flexibly reflects on and recreates itself according to the challenges occurring in its local context of “illiberal democracy”. And while in terms of infrastructure, funding, and organization OFF reinvents itself from edition to edition, its curatorial practice is ongoing, with a strong focus on social ideas that experiment with forms of coexistence to build a society of mutual trust, generosity, responsibility, and care. Based on this (structural and curatorial) practice, OFF was invited to present its “cosmology” in the framework of documenta fifteen. As a member of the so-called “lumbung interlokal”—consisting of 14 different but like-minded organizations and initiatives from all around the world—OFF presented two exhibition projects and a publication that are not only representative of its activities, but are also in line with the general concept of documenta fifteen, the “lumbung”. documenta fifteen: OFF-Biennale Budapest, Sead Kazanxhiu, The Nest, 2012–2022, installation view, Fridericianum (façade), Kassel, May 11, 2022, photo: Nicolas Wefers About Speaker Katalin Székely holds an MA in Art History and German Literature from Eötvös Loránd University (ELTE) Budapest, and was a curator at Ludwig Museum – Museum of Contemporary Art between 2008 and 2013. She is a PhD candidate in the Doctoral Program in Film, Media and Contemporary Culture at Eötvös Loránd University. Her field of research includes new media practices in the Neo-Avant-Garde in Hungary and Central and Eastern Europe, and institutional critique in the CEE region from the early 1960s to the present. Since 2014, Katalin Székely has been a member of the curatorial team of OFF-Biennale Budapest, the largest independent, grassroots arts initiative in Hungary. Since November 2015, as Creative Program Officer at Blinken OSA, she has curated and coordinated exhibitions and other public programs. The event is free and open to the public. The WCSCD educational program and series of public lectures have been initiated and organized by Biljana Ciric. Project Partners We thank following partners for supporting selected participants for 2022 program: Romanian Cultural Institute. Artcom platform , Kadist Foundation, William Demant Foundation For more information about the program, please refer to www.wcscd.com Project contacts: what.could.curating.do@gmail.com Follow us: FB: @whatcscdo Instagram: @whatcouldshouldcuratingdo < Mentors Educational Program How to Apply >

As you go… roads under your feet towards the new future 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. The project was conceived and initiated by Biljana Ciric in 2019 after conducting curatorial research in East Africa, Central Asia, and several Balkan countries where project is situated. The inquiry is structured as a long-term research project over a period of three years through research cells of organizations, institutions and individuals: What Could Should Curating Do (Belgrade), Moderna Galerija (Ljubljana), Rockbund Art Museum (Shanghai), Times Museum (Guang Zhou), ArtCom (Astana), Robel Temesgen and Sinkneh Eshetu (Addis Ababa), and The Public Library (Bor). Research cells vary from small-scale, single person organizations, to state and private museums; the differences produced by their various roles and voices, within their respective local contexts, being not only important when considering [the politics of] knowledge production, but also crucial to the premise of the project. The project does not attempt to pose yet another critical investigation into Chinese colonialism but rather, seeks to unpack the complexities these regions are dealing with, which are also leading to their current connections to the BRI through established commonalities. These include socialism, non-aligned legacies (and here, we are not only talking about the non-aligned movement, but also the relationships with China and other African and Asian countries during the twentieth century), 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 . Being within the conditions of a pandemic seems almost even more relevant when thinking about the intimacy of cells (in times when we believe we must abide by social distancing and separation), and how we perform the process of transformation toward a possible co-immunity. Will we be able to decolonize our anthropological gaze from looking at the “other” from a distance, and turn the object of study into something we can engage with, in times when language differences spark fear, as discrimination makes us strangers among ourselves? The configuration of cells through long-term engagement seeks to emphasize different knowledge structures through collaboration, not only with artists but also architects, writers, anthropologists, and activists who are undertaking research within the project. This project stands as an important reminder that the BRI will cultivate connections that will be impossible to channel and control through the mainstream narratives of any state—but these gaps will enable more meaningful interactions that is process-oriented rather than outcome-driven. The first stage of the project began in February 2020, with the meeting of partner cells in Addis Ababa and the first public presentation. During this stage of the project, a number of local case studies have been initiated, and you can find more about the research project here: http://wcscd.com/index.php/projects/ The online journal of the project follows and shares works in progress of research, but also gives a platform for visibility in times of unrest (something many of the localities have been dealing with since the beginning of the pandemic): http://wcscd.com/index.php/wcscd-curatorial-inquiries/as-you-go-journal/ The research project On Cosmo-technics and New Geopolitics has been done in collaboration with Yuk Hui and researchers Sum Collective and Geocinema. Other contributors to the project include Hu Yun , Chen Liang , Sinkneh Eshetu Zeleke , Aziza Abdul Fetah , Sarah Bushra , Marija Glavas, Robel Temesgen , Jelica Jovanovic , Alex Ulko , Jasphy Zheng, Aigerim Kapar, Astrobus Ethiopia among others. 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. For more info pls contact: what.could.curating.do@gmail.com < Curatorial Inquiries Cells >

Events Lecture Series Participant Activities Kalokagathia: On the Possibility to Think Together the Aesthetical and Ethical in Curating | WCSCD 2020/21 Annual Lecture Series The curatorial program What Could/Should Curating Do 2020 is proud to continue in 2020 with public program through lecture series The second talk in the 2020 series is titled: Kalokagathia: On the Possibility to Think Together the Aesthetical and Ethical in Curating By Suzana Milevska Date: November 28, 2020 Time: 12:00 pm Belgrade/ 10:00 pm Melbourne/ 07:00 pm Shanghai/ 6:00 am New York Venue: zoom link ID: 985 237 3109 Live stream/Facebook link In the lecture “Kalokagathia: On the Possibility to Think Together the Aesthetical and Ethical in Curating” Suzana Milevska will focus on the ongoing debate about the reciprocal relations and tensions between the categories of beautiful and good, between the form and content, and between other perpetual and artificially distinctions and dichotomies that emerged in art theory during modernism. This lecture will address the questions of whether such dichotomies are and have ever been viable and how curating helps different art practices in overcoming the hierarchy between aesthetics and ethics over time. More specifically, this lecture explores the ways in which theories of curating brought back to mind the ancient Greek notion of kalokagathia, the intertwinement of aesthetics and ethics and with it, other ethical responsibilities, principles, and values that art forgot to address while giving privilege to its formal aspects. Milevska argues that curating helps activating the catalyst potential of art without having to compromise its formal aspects, as a kind of leverage that redresses the otherwise imbalanced relationship between aesthetics and ethics. Curating in her view lends out to art its innocent and aspirational belief in such a balance because the ethical concerns in art theory and art criticism have long been toned down while form was prioritized over content. To discuss such critical position towards the phenomenon of curatorial – and to distinguish it from the curating as a profession – becomes ever more urgent in the precarious and dire pandemic period when the tensions between aesthetics and ethics, care, and self-care dominate our professional and everyday lives. Portrait credit “photo Corn, Der Standard” About Speaker Dr. Suzana Milevska is a theorist and curator of visual art and culture. From 2016 to 2019 Milevska was Principal Investigator of the Horizon 2020 project TRACES, Polytechnic University Milan, and she curated its final exhibition Contentious Objects/Ashamed Subjects. She was Endowed Professor for Central and South Eastern European Art Histories at the Academy of Fine Art Vienna (2013 – 2015). She holds a PhD in visual cultures from Goldsmiths College London and in 2004 she was Fulbright Senior Research Scholar. She curated numerous international exhibitions such as; The Renaming Machine (2008-2011), Roma Protocol, Austrian Parliament, Vienna, and Call the Witness, BAK Utrecht (2011). She initiated the project Call the Witness–Roma Pavilion, Venice Biennale (2010-2011). In 2015 she curated the exhibition Inside Out: Not So White Cube, City Art Gallery, Ljubljana (with Alenka Gregorič). In 2012 she won ALICE Award for Political Curating and Igor Zabel Award for Culture and Theory. She published the books Gender Difference in the Balkans, 2010, The Renaming Machine: The Book, 2010, and On Productive Shame, Reconciliation, and Agency, SternbergPress, 2016. WHAT COULD/SHOULD CURATING DO? (WCSCD) WHAT COULD/SHOULD CURATING DO? (WCSCD) was initiated and funded in 2018 in Belgrade as an educational platform around notions of curatorial. From 2020 WCSCD started to initiate its own curatorial inquiries and projects that should unpack above -mentioned complexities keeping educational component as a core to the WCSCD. The WCSCD curatorial program and series of public lectures have been initiated and organized by Biljana Ciric. WCSCD 2020/2021 public program series has been done in collaboration with Division of Arts and Humanities, Duke Kunshan University and they co-stream all public lectures. Strategic media collaboration is done with Seecult and they will co-host all public lecture series. Project Partners Media Partner For more information about the program, please refer to www.wcscd.com Project contacts: what.could.curating.do@gmail.com Follow us: FB: @whatcscdo Instagram: @whatcouldshouldcuratingdo < Mentors Educational Program How to Apply >

Art and the Post-Pandemic Condition – an online curatorial program and support grant for art practitioners Open call: May 15th 2020 End of the open call June 15th 2020 Start of the program July 15th 2020 Practical information related to the program: Fee for the workshop is 450 euros Maximum number of applicants 20 WCSCD is launching a one-month online program from July 15th to August 15th reflecting on the post-pandemic condition that we are slowly entering into. This one month program hopes to provoke thinking, reflection and solidarity but also to serve as a collective annotation for our new reality. Through a series of workshops, the curatorial program will open discussions on how our work as artists and curators will be affected. What are some of the fundamental changes that we could address at this very moment to initiate that change? We are hoping to learn from Indigenous knowledge, small scale institutions, different species, notions of care and ways of staying connected from the past, the present and the future, finding gaps from where new relationships and encounters could emerge. While economic pressure forces nation-states to re-open we would like to pose urgent questions addressing the modes of working within the sphere of art that is deeply informed by neoliberal mechanisms. Amid fear of others, suffering and loss of lives, the pandemic has made us pause and to rethink our place in the world and our relationship to other human beings and species. We are hoping to initiate a series of workshops on how to facilitate different modes of working within the sphere of art from individual standpoints but also from a sense of belonging to a community. How can we organize ourselves and discuss different values publicly? How do we deal with the digitalized world imposed on us? Where is it still possible to find cracks for touch and proximity within a highly sanitized world? Many cultural producers are already familiar with different forms of insecurity and precarity. We will look at existing ways of working which are characterized by agility and resilience. A case in question is how small-scale visual arts organisations across the planet have developed methodologies which made it possible to keep running under the neoliberal economic regime. Another case is artists who have developed and maintained a practice without reverting to high production value. This is a good moment to explore unconventional sites and infrastructure that is in place and how they can be activated concerning art, from beaches and forests to libraries and schools. We see the post-pandemic condition as the beginning of a new struggle. It is a common struggle traversing the borders of nation-states, involving practitioners working with contemporary art having a variety of backgrounds. As online program practitioners from all geographies are welcome to apply. The mentors leading the program are Maria Lind, Natasa Petresin Bachelez and Biljana Ciric. Practical information related to the program: Fee for the workshop is 450 euros Maximum number of applicants 20 Application procedure Please send your bio or CV and a short reflection or statement related to the post-pandemic conditions from your perspective. The online sessions will be organized through Zoom and will require preparation, including the readings and different forms of exercises, both physical (what does that imply) and conceptual. There will be approximately three workshops led by the mentors per week and the duration of each session will be two hours. Besides fees for the mentors, part of the budget of the program will be distributed as a grant for three artists as a form of community support. Artists will be reached through the open call while selection panel will consist of program participants and mentors for grant Artists based in any former Yugoslav country are eligible to apply Support fund for artists is 500 euros. what.could.curating.do@gmail.com

< Back Boarding & Europe 20 Apr 2020 Siniša Ilić Belgrade-based artist Siniša Ilić returned to Serbia the day the State announced a State of Emergency following a rise in the number of local coronavirus cases. From this day, 15 March 2020, Ilic has been required to remain quarantined within his house for a period of one month. The isolation he has experienced is documented through a series of drawings developed as a daily practice, reflecting on the pandemic that connects and divides us. “After sharing his new drawings with me I have invited Sinisa to contribute to this journal with series of drawings for the duration of his quarantine. They will be published in a few phases in the upcoming weeks.” Biljana Ciric 5 April 2020 BOARDING Drawings “Boarding” and “Europe 1” deal with the topics of circulation and its sudden change; controlled and shaped by fear, uniformed bodies, States, the virus, care for our health and the health of others. Drawings “Social distancing” and “Europe 2” question new patterns of social choreographies and fears, including our physical presence in the public space or its absence from consuming habits and rituals. On this occasion “Boarding” is presented as an album of single images, simulating individual panic and fear, and “Europe 1 and 2” and “Social distancing” are exhibited through several photographs captured by smartphone within the home studio. The series of drawings were created using pencils and ink pen in March and April 2020 and are of similar dimensions approx. 21 × 29 cm. EUROPE 1 Drawings “Boarding” and “Europe 1” deal with the topics of circulation and its sudden change; controlled and shaped by fear, uniformed bodies, States, the virus, care for our health and the health of others. Drawings “Social distancing” and “Europe 2” question new patterns of social choreographies and fears, including our physical presence in the public space or its absence from consuming habits and rituals. On this occasion “Boarding” is presented as an album of single images, simulating individual panic and fear, and “Europe 1 and 2” and “Social distancing” are exhibited through several photographs captured by smartphone within the home studio. The series of drawings were created using pencils and ink pen in March and April 2020 and are of similar dimensions approx. 21 × 29 cm. EUROPE 2 Drawings “Boarding” and “Europe 1” deal with the topics of circulation and its sudden change; controlled and shaped by fear, uniformed bodies, States, the virus, care for our health and the health of others. Drawings “Social distancing” and “Europe 2” question new patterns of social choreographies and fears, including our physical presence in the public space or its absence from consuming habits and rituals. On this occasion “Boarding” is presented as an album of single images, simulating individual panic and fear, and “Europe 1 and 2” and “Social distancing” are exhibited through several photographs captured by smartphone within the home studio. The series of drawings were created using pencils and ink pen in March and April 2020 and are of similar dimensions approx. 21 × 29 cm. Siniša Ilić is a visual artist working also in the field of performance art. His work includes drawing, painting, installation, video and artist books. Previous Next

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 >

SELF - POSITIONING Self-positioning starts not during a conference or a business handshake. It is rooted in your personality and shaped by the many contexts in which you exist. Self-positioning is also framed by the notions of ‘normative’ deriving from colonial, gender and a multitude of sociopolitical frameworks. To be able to liberate ourselves from predominant discourses and find our unique ways to act in the world we need first to discover and question our core attitudes - to ourselves, to the art system, to the global ‘other’. BLOCK 1.1 An input for this task is provided by Biljana Ciric, WSCSD program initiator. To start with, we offer you a set of questions. They may seem quite abstract, but can act as a trigger for a more in-depth analysis of self and further expand on your professional identity. What moves you? What has you? What is your position in relation to colonial difference? Who are you in relation to others? Task Position yourself within the world. Tell about your practice, but try to avoid showcasing your works. Think and understand who do you cite. Through citation you create relation and history. Revise your vocabulary. Who are you citing? By which terms do you define yourself and your practice? How can you overcome the colonial vocabulary? Put this into a text or a text+images format An advice: before staring each session we propose you to devote your practice to someone. Additional materials Listen to Hicham Khalidi, Director of the Jan van Eyck Academie, and Rolando Vázquez, Associate Professor of Sociology, University College Roosevelt speaking in “Transforming Institutions: On Social and Climate Justice ” Podcast. Self-feedback Did you discover something about yourself? What is your main trigger/ question? BLOCK 1.2 Together with artist and curator Anastasia Albokrinova we will focus on communication and creative approach. I am an impostor i imitate i play i squeeze in others’ skin i sign fake papers i make void agreements i take peoples’ money and give them to others i pretend i don’t know what’s curating and thus i own the freedom to reinvent it i fool those who want the truth i do things nobody notices i nourish useless processes i intervene in the order of things i ask why this should be that way and not the other i ask who said that i feel sometimes my game has gone too far i fear i have no legal right but somehow i’m where i should be Anastasia Albokrinova, 2022 Let's start with What are the alternatives for direct speech or image+text presentations? Thinks about the fears do you face while trying to step out of the pattern. Is it being vulnerable, shy, ignorant, insecure or else? Think of ways to embrace and face these fears. Make a list with three columns: Fears / Ways to face them / Means to transform fear into action. Task Relying on the content you developed before, try to experiment with the ways you deliver it. Can you use drawing, gestures, sound, movement, multilinguility, gamification? Develop an alternative way for self-presentation. Deliver it to other people. Additional materials Listen to Hicham Khalidi, Director of the Jan van Eyck Academie, and Rolando Vázquez, Associate Professor of Sociology, University College Roosevelt speaking in “Transforming Institutions: On Social and Climate Justice ” Podcast. Self-feedback What are your expectations when communicating yourself to others? What limitations did you face? What is your authenticity you can play with? Did a self-positioning process help you better understand why you do things that you do, the way you do? Online sharing session We invite you to share your self-positioning presentations with a group of fellow students of the WCSCD online course. We will focus on giving and receiving critique, discuss what is a good and bad experience in communication. The meeting is a recurring event with a limitation of 10 participants. Estimated duration: around 1.5 hrs. To take part subscribe for a proposed time in the table below. During the session you will have 10 to 15 minutes to present and receive feedback. Form: Date/ Time (GMT)/ Number of places left/ (organizer provides nearest time/date options and limits the number of attendants) Enter your email to receive a zoom link for the meeting. Email Book Session (user receives a zoom link for a set time) Modules