< Back NETWORKING THE PERIPHERIES: LOOKING EAST FROM THE EAST 15 Oct 2021 Jelica Jovanović Adding or Subtracting, Multiplying or Dividing: The Equations of the 17+1 Initiative While writing this entry, I am waiting for my Covid-19 booster shot, just like circa half a million of my fellow citizens in Serbia, which means that it would be the third jab that I will get this year. Meanwhile, I was infected with corona virus in May and had mild symptoms of the disease, but this had happened after I got vaccinated with two doses of the Vero cell / Sinopharm vaccine by mid-February. This situation sums up briefly the dubious situation that Serbia is currently in. While the citizens of many countries of the world are waiting for their first jab and will most probably continue to wait at least until 2022, Serbia has different set of problems. Serbian government obtained enough jabs for the country’s population very early in 2021. However, due to widespread disinformation’s of the anti-vax movement and general distrust among the citizens, the estimations are that around 40% of citizens are vaccinated in Serbia, which is not enough for the collective immunity, and leads to further spread of the infection and potential appearance of new mutations of the virus [1] . Earlier this year, the mass vaccination with Vero cell / Sinopharm vaccines in Serbia raised many questions: how much it costs [2] , under which circumstances was it registered and approved [3] and whether Serbia’s mass vaccination program is in fact the third phase trial of the vaccine efficiency [4] . The doubts have further increased since the European Medicines Agency (EMA) is still reviewing and has not approved the Sinopharm vaccine, while the procedure commenced in May 2021 [5] . However, the fear of disease and death seemed to have trumped all the above mentioned legal and formal concerns, as the global race for vaccine was gaining traction. At the beginning of vaccination process in February 2021, Serbia had second highest rate of vaccination in Europe, just behind United Kingdom. Today, as I am writing, the country is ravaged by the virus, with more than 50 deaths and more than 7000 infections per day, which is among highest infection rates globally [6] . New cases and deaths from Covid-19, JHU CSSE COVID-19 Data, accessed 21.10.2021. Vaccination rollout for Covid-19, Our World in Data, accessed 21.10.2021. Although the modus operandi of Serbian government regarding the purchase of the vaccines was criticized, especially within the context of the geopolitics of Serbia’s cordial relations with PR China and Russian Federation while accessing European Union, many countries were looking (South)East and seeking ways and means to follow the example of Serbia. The prime minister of Hungary declared that he was waiting to see how the vaccination plays out in Serbia [7] , but Hungarian government had announced that it is not going to wait for Brussels but start the procurement procedures for Chinese vaccines. Western media wrote about the “healthcare Silkroad” of the Chinese government as a way of salvaging the ruined initiative 16+1 with the “mask diplomacy”, and how the loyalty of Serbia – unlike the other members of the initiative – actually paid off [8] . As the process of vaccination in European Union got off to a rough start in December 2020, the discrete signals were sent by European Union high officials that they too are open to diversifying the sources of vaccines, and not opposed to Russian or Chinese companies providing them [9] . Painfully aware of the country’s peripheral status, Serbian government diversified the suppliers from the onset, and even started negotiations to produce the Sinopharm and Sputnik V vaccines [10] . Source: Covid: How Serbia soared ahead in vaccination campaign, https://www.bbc.com/news/world-europe-55931864 , accessed 10.2.2021. But what is this Initiative 16+1 and how is it currently related to Serbia? In 2012 the initiative 16+1 (also known as Cooperation between China and Central and Eastern European Countries (China-CEE, China-CEEC) was kick-started by the Chinese Ministry of Foreign Affairs. This initiative was formed as a as a transnational cooperation forum, which should’ve brought together the 16 countries of Central and Eastern Europe on one side and China on the other side, in various cooperation projects within the Belt and Road Initiative. The following countries are members of this initiative: Albania, Bosnia and Herzegovina, Bulgaria, Croatia, Czechia, Estonia, Hungary, Latvia, Lithuania, North Macedonia, Montenegro, Poland, Romania, Serbia, Slovakia and Slovenia. With the entry of Greece in 2019, the initiative formally changed its name to 17+1. This cooperation platform between the countries of Central and Eastern Europe and China was formed after the China-Central and Eastern Europe Economic and Trade Forum was held in Budapest in 2011, and every year since then a meeting was held in one of the member states [11] . Every member state has national coordinators, while the secretariat is situated in Beijing. The meeting planned for 2020 was supposed to take place in Beijing, but was cancelled due to the Covid 19 pandemic, which was seen as an opportunity to launch activities and interventions to counteract the projects that have been either negotiated or considered within this initiative: in Czech Republic China’s General Nuclear Power was excluded from the bidding for the expansion of Dukovany nuclear power plant [12] , in Croatia a 50-years concession for the port of Rijeka was halted as it became clear that the consortium of Chinese companies offered the highest bid [13] , Romanian government decided to bar Chinese companies from the public infrastructure projects, namely, highroad constructions which was extensively done by Chinese companies like Synohydro and PowerChina [14] , while one of the last moves of the previous US administration was to halt the construction of the Huawei’s 5G telecommunication infrastructure in the Eastern and South-Eastern Europe. However, Serbia seems unfazed by these events, and although the government signed the agreement in Washington to forbid the use of a 5G network procured from unreliable customers – the so called “clean 5g network initiative” [15] – this did not prevent Huawei from opening the Center for Innovations and Development in Belgrade mid-September 2020 [16] . This is not the only project undertaken by the Huawei in Serbia: the company participated in the setup of the broadband infrastructure of the state telecommunication company, installed surveillance systems in streets of Belgrade, participated in setup of the data center in Kragujevac, development of the infrastructure for the public communal and educational services [17] . Furthermore, the government continues to sign more and more contracts worth billions of dollars for various infrastructural developments and redevelopments, such as the construction of the new metro system in Belgrade, construction of wastewater treatment plants and sewerage networks in 65 municipalities, rehabilitation and/or construction of six regional landfills and planned construction of 7 powerplants, financed by the loans from Chinese banks. [18] The criticism regarding – what seems to be – preferential status of Chinese capital in Serbia, which is coming from the western countries, is dampened by opening and diversifying the market for similar agreements with companies and banks coming from the West – loans for high ways, direct foreign investments for companies from West subsidized by Serbian government etc [19] . Having in mind which are the projects of Chinese companies in Serbia [20] , the pattern is clear: while China is mostly focused onto the sectors of telecommunications, traffic and mining, on the other hand Serbia is (re)constructing its most robust metallurgical industries, proverbially labeled as long-time losers and the sores of the country’s economy, as well as decrepit traffic routes and nonexistent sub-structures which are neuralgic points of the communal organization and sanitation. Leading Investors by number of projects (%). Source: RAS, 2021, https://ras.gov.rs/uspesne-price , 21.10.2021. Debt Trap, Deathtrap, Something Else? Interpretations of the Presence of Chinese Capital in Serbia. An inconspicuous office building in New Belgrade Block 21, recently turned heritage site, was leased to the Bank of China, which started its operations in Belgrade in 2016 [21] . The bank is working with the legal entities only, primarily oriented towards corporate customers and entrepreneurs. However, its presence is considered a token of China’s benevolence towards Serbia, or at least the pragmaticism regarding the servicing of the loans that Serbian government and corporate sector had taken from China’s central bank. The loans were not as high until recently: Serbia was the top borrower among the Balkan countries, but the overall numbers were not as dramatic as the media outcry made it look: 1.3 billion Euros was but a portion of external debt, and most of it was aimed at reconstructing the large infrastructural systems – the country’s decrepit railroad, for which it wasn’t possible to borrow from other sources, or the procedures were deemed complicated, because of the lack of prepared technical documentation from Serbia’s part and the restrictions regarding the direct bargaining [22] . China’s investments in the Western Balkans region, https://www.slobodnaevropa.org/a/srbija-kina-rudnik-bor/30266925.html , accessed 20.03.2021. However, the situation with the neighboring Montenegro could shed some light onto the narratives regarding the situation: the construction of the highway Bar – Boljare, worth 809 million EUR was funded by 688,2 million EUR loan from Exim bank. The road ‘from nowhere to nowhere’ matures mid-2021, and the government seeks assistance from EU in breaking the debt trap of China by helping finance the return of the loan [23] . Similar narrative is present around Serbia’s situation, but rather amplified, as Serbia took several loans during 2020 and early 2021, and the total public debt of the country amounted to 28,161,393,966.75 EUR by 15th of March 2021, while the government continues to issue Euro bonds. The loans have been aimed mostly at traffic systems’ construction and waste management, while very little has been put towards investment into productional cappacities of the country. Meanwhile, the question of how any of the loans will be returned, as the economic basis of the country has been riuned during the wars and the exhausting transition, while the government is almost exclusively relying on direct foreign investments stimulated from the state budget – either from East or West, is put aside. The state of the public debt of Serbia on 30th of November 2019 was 24.521.726.735 EUR, while the unsecured debt of the local governments is 401.508.234 EUR, http://www.javnidug.gov.rs/lat/default.asp?P=46 , accessed 31.03.2021. Preliminary balance of the public debt of the Republic of Serbia on March 15, 2021. amounted to 3,308,448,330,691 RSD (28,161,393,966.75 EUR), Public Debt Administration of Serbia, http://www.javnidug.gov.rs , accessed 24.03.2021. Share of investments by sectors by number of projects (%), Source: RAS, 2021, https://ras.gov.rs/uspesne-price , 21.10.2021. The industries that are being revived by loans from China, however, are almost all considered to be so called ‘dirty technologies’ – either investments into mining, both the existing capacities and creation of new ones, or revival and expansion of fossil fuel industrial capacities, either in field of production (rubber, tires, plastics) or energy (thermal power stations). Many experts agree, Serbia has electrical energy mostly owing to its capacities that are depending on coal, and needs to act very soon, if it were to achieve the goals of decarbonization and transition to renewables and needs to do it now in order to avoid paying penalties for the stalling and disruption of the process, as well as the pollution created in the production and consumption process [24] . However, the patience among the citizens seems to have been exhausted, as the rising number of ecological initiatives and associations are demanding action. Furthermore, the problems with mining companies in Serbia, Zijin and Rio Tinto being the most prominent and most visible publicly, are raising questions regarding Serbia’s role in the global tech lust, as well as the global displacement of dirty technologies [25] . Serbia seems to be in the center of these tendencies, as in the recent farewell visit Angela Merkel, chancellor of Germany, bluntly explained: to reduce Germany’s industry’s dependence from lithium mined in China, Germany and EU are very much interested in Serbia’s allegedly high reserves of borate and lithium ores [26] . Meanwhile, to offset the negative marketing of these projects and reduce the potential for insurgence in the places where these mines were planned to open, the government is shyly announcing subsidies for individual households for the upgrades of fenestration, thermal insulation, and purchase of efficient boilers, even new regulation of prosumers’ role in energy production, which has been problematic over the course of last several years [27] . The politicians are also stating as a subtext that Serbia would have to import photovoltaic technology (as well as other ‘green technologies’), which is strange having in mind that opening of the factories for producing batteries – presumably out of locally mined lithium – was promised [28] . SOURCES 8th Summit of Central and Eastern European Countries & China, https://www.ceec-china-croatia.org/en/about-cooperation/ , accessed 31.01.2021. https://china-cee.eu , accessed 20.10.2021. https://www.mfa.gov.rs/lat/spoljna-politika/bilateralna-saradnja/kina , accessed 20.10.2021. Конференција „Појас и пут: балканска перспектива“, https://fb.bg.ac.rs/2018/08/03/konferencija-pojas-i-put-balkanska-perspektiva/ , accessed 20.10.2021. II Међународна конференција БАЛКАН НА НОВОМ ПУТУ СВИЛЕ, https://fb.bg.ac.rs/2017/11/23/ii-medjunarodna-konferencija-balkan-na-novom-putu-svile/ , accessed 20.10.2021. ПОЈАС И ПУТ: Србија и Иницијатива 16+1 (искуства, достигнућа и перспективе), https://fb.bg.ac.rs/2019/04/10/11108/ , accessed 20.10.2021. Научна конференција „Кинески социјализам и модерни светски поредак (Сто година од оснивања Комунистичке партије Кине)“, https://fb.bg.ac.rs/2021/08/20/naucna-konferencija-kineski-socijalizam-i-moderni-svetski-poredak-sto-godina-od-osnivanja-komunisticke-partije-kine/ , accessed 20.10.2021. Jelica Jovanović is an architect and PhD student at the University of Technology in Vienna, working as an independent researcher. [1] Poverenje u vlast i vakcine – kako su tri države EU ukinule sve mere, https://www.dw.com/sr/poverenje-u-vlast-i-vakcine-kako-su-tri-države-eu-ukinule-sve-mere/a-59229591 , accessed 20.10.2021. [2] Šta se zna o Sinofarmovoj vakcini koja je u milion doza stigla u Srbiju, https://www.danas.rs/drustvo/sta-se-zna-o-sinofarmovoj-vakcini-koja-je-u-milion-doza-stigla-u-srbiju/ , accessed 9.2.2021. [3] Dok Agencija za lekove ćuti, antivakcinaši urlaju, https://www.istinomer.rs/analize/dok-agencija-za-lekove-cuti-antivakcinasi-urlaju/ , accessed 9.2.2021. [4] Serbia to participate in the third phase of testing Chinese vaccine, https://europeanwesternbalkans.com/2020/09/08/serbia-to-participate-in-the-third-phase-of-testing-chinese-vaccine/ , accessed 9.2.2021. [5] EMA starts rolling review of COVID-19 Vaccine (Vero Cell) Inactivated, https://www.ema.europa.eu/en/news/ema-starts-rolling-review-covid-19-vaccine-vero-cell-inactivated [6] Korona virus: U Srbiji se epidemijska situacija ne smiruje, iz SZO kažu da će pandemije biti i sledeće godine, https://www.bbc.com/serbian/lat/srbija-56839529 ; https://covid19.rs , 21.10.2021. [7] Za Orbana Srbija „predsoblje“ za kinesku vakcinu, sad i Mađari najavili kupovinu, https://rs.n1info.com/vesti/za-orbana-srbija-predsoblje-za-kinesku-vakcinu-i-madjari-najavili-kupovinu/ , Commission: Hungary free to buy Chinese vaccine, https://www.euractiv.com/section/politics/short_news/commission-hungary-free-to-buy-chinese-vaccine/ , accessed 9.2.2021. [8] Frankfurter algemajne cajtung: „Zdravstveni put svile“, https://www.dw.com/sr/frankfurter-algemajne-cajtung-zdravstveni-put-svile/a-56499471?fbclid=IwAR3lMALuFDKafr9KOQnQD1Fp4ToUj9IgwV4LocR8drucBEX4HTFfs8uNJ34 , accessed 9.2.2021. [9] EU open to Chinese, Russian COVID-19 vaccines: media, https://news.cgtn.com/news/2021-02-04/EU-open-to-Chinese-Russian-COVID-19-vaccines-media–XBBI8P1phm/index.html , It’s Time to Trust China’s and Russia’s Vaccines, https://www.nytimes.com/2021/02/05/opinion/covid-vaccines-china-russia.html?fbclid=IwAR3Ky2b0h5VW7bOos2lQDgi5-H7wtkKjsTX9i-FnYGIgg_2uUT1Q1vbAONE , Zarobljeni u geopolitici, zagledani u Srbiju, https://www.dw.com/sr/zarobljeni-u-geopolitici-zagledani-u-srbiju/a-56530912?fbclid=IwAR0jsc_c-6hbxt3pllxcksiqhmjI9_li4NsGNTOzh0MY—ZqxijLVddyL0 , accessed 11.2.2021. [10] Serbia to start producing Chinese Sinopharm vaccine, https://www.euractiv.com/section/china/news/serbia-to-start-producing-chinese-sinopharm-vaccine/ ; Počela proizvodnja vakcine ‘Sputnjik V’ u Srbiji, https://www.slobodnaevropa.org/a/sputnjik-v-torlak-srbija/31291004.html ; Lončar: Od oktobra proizvodnja kineske vakcine u Srbiji, do kraja godine oko šest miliona doza, https://www.danas.rs/vesti/drustvo/loncar-od-oktobra-proizvodnja-kineske-vakcine-u-srbiji-do-kraja-godine-oko-sest-miliona-doza/ , accessed 21.10.2021. [11] In Dubrovnik (2019), Sofia (2018), Budapest (2017), Riga (2016), Suzhou (2015), Belgrade (2014), Bucharest (2013) and Warsaw (2012). [12] POWER PLAY: RACE FOR CZECH NUCLEAR PLANT STIRS GEOPOLITICAL STEW, https://balkaninsight.com/2020/06/26/power-play-race-for-czech-nuclear-plant-stirs-geopolitical-stew/ , accessed 9.2.2021. [13] “NAJBOLJA PONUDA NA TENDERU” Mediji: Kinezi NE ULAZE u riječku luku zbog PRITISKA Evrope i Amerike, https://www.blic.rs/vesti/svet/najbolja-ponuda-na-tenderu-mediji-kinezi-ne-ulaze-u-rijecku-luku-zbog-pritiska-evrope/seyy0tn , accessed 9.2.2021. [14] Romania moves to bar Chinese firms from public infrastructure projects, https://www.neweurope.eu/article/romania-moves-to-bar-chinese-firms-from-public-infrastructure-projects/ , accessed 9.2.2021. [15] Srbija i Kosovo potpisali sporazum o normalizaciji ekonomskih odnosa, https://www.slobodnaevropa.org/a/kosovo-srbija-hoti-vucic-sjedinjene-drzave-tramp-potpisivanje-bela-kuca/30820416.html , Ko je u Evropi podržao inicijativu za čistu 5g mrežu?, https://www.slobodnaevropa.org/a/čista-mreža-5g-evropa/30913291.html , accessed 9.2.2021. 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[19] https://www.putevi-srbije.rs/index.php/sr/ ; Počev od 2007. godine, Srbija je privukla preko 34 milijarde evra stranih direktnih investicija, https://ras.gov.rs/uspesne-price , accessed 20.10.2021. [20] The first project of the 16+1 inititive in Serbia was the Pupin Bridge in Belgrade, followed by the contract for railroad reconstruction on the Corridor 10. Within the last 3 years Chinese companies have also proceeded to take over the core heavy industries in Serbia, such as steel mill in Smederevo with a branch in Šabac and two ports in Smederevo and copper and gold mines in Bor and Majdanpek, as well as construct a tire factory in Zrenjanin (which is connected to the recent revitalization of the nearby synthetic rubber factory in Elemir, https://ilovezrenjanin.com/vesti-zrenjanin/ponovo-radi-elemirska-kaucukara/ , https://www.hip-petrohemija.com/press/vesti/uspesno-pokrenuta-proizvodnja-u-hip-petrohemiji.n-623.45.html , accessed 9.2.2021.). [21] https://www.bankofchina.com/rs/ , accessed 9.2.2021. [22] https://www.slobodnaevropa.org/a/podrška-eu-modernizaciji-pruga-u-srbiji/30801551.html , accessed 9.2.2021. [23] EU “čula” Dritana: Nudi pomoć Crnoj Gori oko duga Kini, https://www.bizlife.rs/eu-cula-dritana-nudi-pomoc-crnoj-gori-oko-duga-kini/ ; Crna Gora: Autoputem u dužničku klopku Kine, https://www.dw.com/sr/crna-gora-autoputem-u-dužničku-klopku-kine/a-55936310 ; Srbijablizu dogovora sa Kinom da otkupi crnogorski dug za auto-put?, https://www.b92.net/biz/vesti/srbija.php?yyyy=2020&mm=09&dd=21&nav_id=1736205 ; Raste kineski uticaj u Crnoj Gori: Ogrlica od bisera i omča od dugova, https://www.vijesti.me/vijesti/ekonomija/524949/raste-kineski-uticaj-u-crnoj-gori-ogrlica-od-bisera-i-omca-od-dugova , accessed31.3.2021. [24] EPS: Elektrane konzervirati i držati u rezervi, https://novaekonomija.rs/vesti-iz-zemlje/eps-elektrane-konzervirati-i-držati-u-rezervi , 21.10.2021. 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< Back On Not Hearing the Gunfire 20 Aug 2020 Su Wei In the wake of the COVID-19 epidemic, January of this year marked the beginning of social distancing which was to last for months. During these months, China’s cities, towns, and villages were subjected to a strict system of control initiated and implemented by its bureaucratic institution. This system monitored citizens’ life and activities on social media, with the help of so-called grid management, big data, and a large number of officials “sinking” into the local community. This approach, on top of the voluntary self-surveillance of the public, did help to effectively stem the spread of the virus. Nonetheless, at the same time, inter-personal relations built upon local neighborhoods and communities—which had already been tenuous and fast-disappearing—were destroyed in the process. The virus has confined people to their homes. In metropolises such as Beijing, such a singular state of affairs has turned the pandemic into an “information war”, as people are wrapped up in a world constructed by mobile phone screens. WeChat , a social media platform recently sanctioned by the U.S. government and long monitored by the Chinese government, has become the main channel for people to learn about the outside world and to express their complex emotions surrounding the pandemic. Because the platform itself can be both official (almost all official media has public WeChat blogs) and private, all the while being censored, public and private life become very closely intertwined in a bizarre and unsettling way. Covid-19 Nucleic Acid Detection in a University campus, photo credit: Su Wei This situation continues today, even while the pandemic has been declared to be completely under control in China. It is a moment in time when the world in your phone and your everyday life have truly collapsed into one another. Not only do you have to produce your “health certificate” on your phone whenever you go into a public place, but you also have to make conscious—even strenuous—efforts to discern valuable ideas and judgements from the more perilous ones when confronting messages and discussions on your phone from different friends and fields. Such discernment can be very difficult, even sometimes, schizophrenic. At the end of January, and almost at the same time the outbreak of the epidemic hit its peak, I officially resigned from my job as a senior curator at an art museum in Beijing, in the hopes of rediscovering the fields beyond the staged scenes of power struggle. For a long time, I couldn’t leave my mobile phone either, although I knew how one-sided and biased the observations through it can be, and how expressions made through it could not avoid being performative, let alone being mostly improvisational and opportunistic by nature. The art world has been squirming in pain after Chinese New Year. This pain first came from the capital world as well as the art market, and the online fair of Art Basel, Hong Kong matched this mood. The art world then brimmed over with discussions under the aegis of “art and pandemic”, with all kinds of undigested online creations and lecture series, each proposing new ways of thinking about our current context. To be fair, the art community has always shown a spirit of dissatisfaction with the status quo, albeit a spirit that is also sometimes rare, and has been consistently on the wane since the year 2000. Nevertheless, some of the recent creations and opinions continue to deeply reveal our misconceptions about contemporaneity, as well as how untenable this fragile, short-lived sense of the contemporary actually is. In other words, our sense of the contemporary cannot stand even the slightest interrogation, be it humanistic or that about the actual logic behind knowledge production. What really gave me a strong sense of crisis was the outbreak of the BLM campaign. It spread across Chinese social networks at a lesser speed and with weaker intensity than the civil protest movements did several years ago, including the Wall Street movement, Hong Kong’s Occupy Central and the yellow umbrella movements. To explain our lukewarm reaction to the campaign, we need more than the simple fact that local social media platforms, such as WeChat, have not played an important role in China’s social life for very long. Not sufficient, either, is the fact that Facebook and Twitter have been banned for a while. Rather, the steep decrease in the communication effect of the BLM campaign reflects a change in people’s mentality. The Chinese cultural scene caught in various discourses of state, individuals, nation, imperialism, market, freedom, etc. is inevitably falling apart, and the once shared feeling for the oppressed has been substituted by that of defending national interests. In China, people have long regarded the race issue as a product of the United States, ignoring its pervasive presence among themselves. Moreover, debates about justice and equality have faded into the background, along with those between the New Left and liberals back in the 1990s – those debates have now rendered themselves footnotes to nationalist contentions where racial issues are concerned. The racist “scenes” and “misunderstandings” we all experience abroad are often reduced—in an alienating way—to “common knowledge,” and are often dismissed as irrelevant, as if they “only happen to other people.” It so seems that the issue of race is much less important than that of class, which apparently concerns more Chinese people. The value of such names as Trayvon Martin, Michael Brown, Eric Garner and George Floyd invariably seem to be of secondary importance here. Hong Kong during the Umbrella Movement, 2014, photo credit: Su Wei As the confrontation between China and The United States—which began last year—has recently been radically escalating, a division between the left and the right is gradually revealing itself in the cultural sphere. Such a schism, however, was otherwise disappearing in the context of the neoliberal economy. The professedly more critical left constantly draw upon the historical legacy of the “first thirty years“ (1949-1979) in their interpretations of today, whereas the liberals are having difficulty negotiating a space amidst the ideological struggle between China and the Western world. Both sides are engaged in a tightrope-walking practice, the dangers of which, however, are again obvious: one either skids to the nationalist left or hits the nihilist right. Meanwhile, at the public level, nationalism has reached its zenith with government support, while the recent military confrontation between China and the United States only further aggravates the situation. What is emerging in the cultural and public spheres imposes a strain on China’s art world. Admittedly, art inevitably exists in the world, but what better describes the situation is that the art community in China have been passively mobilized at this time – their motivation and self-awareness subsequently still subject to scrutiny. The nationalism and nihilism of the country as a whole have penetrated the art world on all fronts. Despite the fact that the Chinese art community does not often reveal their political stances—not an entirely conscious choice, though, since such practices can also be gestures of withdrawal—a certain collective unconscious is indeed being fashioned by the radical changes in the cultural and social realms. Globalization, though long proven to be problematic, remains the ultimate faith of many because it is so difficult to confront the local situation squarely – we find ourselves in desperate want of courage, motivation, and appeals when facing the local. Though there are yet more problems. When immersed in the world within their mobile phones, the Chinese art community (unsurprisingly) shows yet again, a certain ‘bluntness’—or rather an insensitivity to the reality. Private conversations on WeChat or its more secure alternatives (sometimes one must avoid Wechat censorship) are often characterized by opportunistic arguments that can constantly shift grounds from the left to the right. Such arguments can hardly leave space for future thoughts and are often no more than vehicles for one’s moral superiority, and obsessive confidence in one’s own knowledge. For the art practitioners who are already safely middle-class, and even part of the high society, they are equipped with a strong sense of reality as a result of their frequent travels between East and West: their friendships with Western art institutions; their expensive apartments and cars in major cities including Beijing and Shanghai; the education privilege their children would enjoy; and not least of all, the skyrocketing costs of artistic creation in recent years. Nevertheless, in the meantime, the truly complex battles in the real world have been telescoped, and the struggles of real people in faraway places are condensed into manageable sizes. Such a simplistic approach to reality also leads to an intentional oversight or partial sight when it comes to value judgements: they would hold fast to a value that they identify with, such as “freedom” in abstraction. Such is the art world in the cell phone. Self-proclaimed liberals spreading around excitable gossip about authoritarian governments. Some fantasize that they belong to the White middle-class and thus venerate the unfavorable coverage of China in the Western media. The more ambitious, on the other hand, fantasize that they are the country per se and earnestly devise all kinds of solutions to remedy the status quo. There are also many nationalists in the art world who embrace the “local” and “grassroots”, and regard them as localization enterprises – as a result, fully accepting the value system they entail. But there is no protest. I do not mean protest in the sense of the dissent. We do not even need to mention the risks it involves to be a dissenter. I mean instead, that we lack the kind of thinking produced right in the middle of the quagmire named reality, and that we lack, even more, the ability to look squarely into the clues that has helped fashion today’s reality. Perhaps the present art community in China should first learn how to go to the streets: to participate in movements, to debate with others in complex contexts, to create tools to resist police assaults, and to put down their cell phones. We can only point out, in a way that is rather pessimistic, that the art world in China teems with all varieties of performativity. The sense of the contemporary has not been fully internalized, yet one is already eager to demonstrate one’s superior knowledge. Such piecemeal knowledge, adulterated by various motivations and sophistication, are however not solid grounds for discussion. Behind such knowledge demonstrations are one’s appeal to power. One is adept at using one’s moral stance as a banner, or wielding it a weapon in attacking others. One sometimes does it with a loud battle cry, while at other times deliberately concealing one’s real stance. One can be good at posing as either politically correct or incorrect, depending on the situation, to enchant or to mislead younger art practitioners. One masquerades as a student in front of one’s seniors to gain resources, while acting as the authority in front of their younger peers to obtain power. All of these have been undermining the already rarefied atmosphere of art discussion. A Studio exhibition in Beijing, 2020, photo credit: Su Wei Some artists, however, chose to quietly rise against this absurd reality in the Chinese art world. Their agenda focuses on more physical participation, and seeks to carve out a space to think by giving away part of one’s self. Wu Wenguang, an independent documentary filmmaker, has been continuing his decade-long Folk Memory Project during the pandemic. The project titled “Passing Through,” registers the process in which Wu, in Yunnan, experiences a special period together with other filmmakers located elsewhere, with whom he has been working for a long time. The way they experience this together is called “online yoga”: they share their experience within a day, read poetry, or communicate other reading experiences and document their “time together” through film. Other artists, who may not have been well known in the Chinese art world, and who lacked exhibition opportunities, did not give up their artistic creation because of the pandemic or the pressure brought about by the survival pleas prevalent in the art world. Some of them work with a simple attitude and do not deliberately avoid real-life pressure. They polish their work in their own studios and through studio exhibitions initiated by artists themselves, thus finding a balance between art and reality. It is easier to experience a moderate sense of honesty, as well as palatable performativity, in such creations – especially when they are compared with certain works and exhibitions too eager to engage with reality. In addition, within the past few years there has been a number of artists and groups guided by left-wing ideas, who have used practices that intentionally provoke officialdom to give a voice to marginalized groups, and to find creative impetus in the private sector. Creations of such are promising, though they may still seem to lack a clear methodology and are not as satisfying in terms of artistic quality and creativity. Outside of the art world, the online community Douban ( www.douban.com ) presents the convergence of diverse experiences and reflections of young Chinese from China and around the world. The vibrance it promises seems a world apart from today’s feeble and arrogant art world. Some cultural figures are also taking action. The official media ThePaper took the bold initiative to host a column dedicated to the BLM campaign, in which all points of view (including those by researchers) are cited and set to contest one another. Other media platforms such as Jiemian and Economic Observer’s Book Review (which have long been known for their focus on contemporary cultural changes and marginalized groups in China), have also endeavored to stage valuable discussions despite the atmosphere of intense political pressure. These rare and precious actions salvage from the reality, a little space for the future. We cannot hear the gunfire from the battlefield, but we must understand that the gunfire is already everywhere. Su Wei is an art writer and curator based in Beijing. Previous Next

< Back Virtually Driving Back in Time? 10 Sept 2021 Sinkneh Eshetu In May 2021 I Joined the Astrobus Ethiopia, on a driving trip across different regions in the country, on a project aiming to empower and connect young learners with science, art, and technology. This marked the third trip for Astrobus Ethiopia, and we journeyed to my home town – giving me the opportunity to rediscover cultural landscapes and reconnect to my fond childhood memories. All the three places targeted were special to me: Konso is my birthplace, Jinka is where my early childhood memories were moulded, and Arbaminch is a place I spent my junior and high school times. screenshot, May 14 2021 This is southern Ethiopia. This is a place of natural and cultural diversity. It is called by some a mosaic of culture for housing about 25 of the 81 ethnic groups in Ethiopia. That implies so much diversity in the ways of exploring and knowing, perceiving and expressing, valuing and living our shared reality. Here, one feels, time is not flat but as ragged as its landscapes. Some live on the hilltops, others at the hill bottom, still others in the valleys, the forests, the prairies, or deserts of the landscape of time, where times past, present, and future are superimposed. See there? An earth-bound-looking bushman, apparently alien to the whims and fancies of modernity, is talking to someone with a mobile phone. Did this mobile influence the way he sees the world? Does he know how his voice travels in space and time to link him with his distant friend? Very unlikely. I read somewhere what an anthropologist did a few years back at this very place. He showed the community a picture of their late relative. Everyone was excited to find a ‘proof’ that their late father or friend is invisible but still in existence. ‘This is his shadow;’ they reasoned. ‘If the shadow exists, the person responsible for the appearance of the shadow must also exist.’ The technology only served to reinforce their traditional belief in the existence of the soul after death. With the mobile, they might have found a proof for the way a human spirit transcends space-time boundaries, who knows. Among the central objectives of Astrobus are fostering critical thinking and exchange of worldviews. What does that mean? I was wondering how each member of the Astrobus team might be seeing these people and places. These are favourite destinations of cultural tourists and anthropologists. That makes you wonder why tourists, most of whom are from technologically advanced societies, are attracted to these communities. Could it be that they consider their coming here as going back in time to their origins as homo sapiens? Probably they have read the works of the historian Yuval Harari and believe in his theories: Homo Sapiens, originating in this part of the world, succeeded in conquering and ruling the globe with the strength of their stories. They may then assume that these people of the so called the Land of Origins loved the stories that showed their compatriots of 70 000 years past conquering the giants of Eurasia, the Neanderthals. So, they did not see the point in changing that story, hence their archaic-looking way of life. They may also predict, taking for granted that the coming of Harari’s Homo Deus is going to be a global phenomenon, these people may then be riding straight from the Era of crop or animal husbandry to the Era of Cyborgs, without having to traverse, like them, the twisted and tangled paths of feudalism, capitalism, socialism or a cocktail of these isms. I would not be surprised if they think so. For here, it is easy to assume that these traditions, having come thus far apparently resisting change, may continue to do so for years to come only to eventually submit to the irresistible global force. What would become of their stories and their worldviews then? Astrobus has made it clear that it is here to foster exchange of worldviews and not to change any. Still, each member of the travelling team might have his or her own view of these target communities and the aspired exchange. I did not ask, but it would be interesting if anyone of them might be thinking this trip as a virtual journey to our collective past. Our first stop was Arbaminch, a place noted for its landscape beauty, traditional weaving and music. Though things seemed to be disorganized at first, because the local volunteers who promised to help us organize were busy mobilizing people for the 6thnational election, we eventually managed to reach three schools in a day. That was a very empowering first experience for the travelling team. Next, we drove to Konso, my birthplace. This is a community of industrious people known for their terrace-building and settlement patterns that reflected their social organization, registered as UNESCO’s Cultural Landscape World Heritage Site for that reason. My fascination with the folktale of the Konsos gave birth to my first anthropological novel, Searching for Ella: Crocodile College , that explores how folktales, indigenous belief systems, and rituals could help ensure the resilience of people at the face of disruptive changes. Here, some of the travelling team members were hoping to stop by one of the traditional villages to get a glimpse of the highly esteemed traditional culture. With the interest of time, however, that idea had to be dropped. Where the Astrobus team had its event, the school’s science club also demonstrated its works – some herbal medicine and models of machines. That was underlined as a form of the aspired give-and-take. screenshot on may 15, 2021 Our last stop was Jinka. It was here that I had a hilarious childhood experience about film. It was a dark countryside evening. There was no power then. Except probably for the flickering stars and the distant glows of moonlight, all was dark. Once in a while, a strong light is turned on and off from a truck standing with its rear end facing an eager crowd of kids like me and no-less-eager adults. Three or four people, carrying a feeble flashlight, were struggling with a strange object on the truck, which I later learned to be a film projector. I was 9 or 10. That day in school, we were told that a film would be shown at the town’s marketplace at night and we should all be there. A film! I had no idea what that was. I do not remember even hearing the word before that day. Being a loner, I did not ask anyone what was going on. I strained my eyes staring on the truck and on the wheeled machine the people were fumbling with, hoping to see something interesting. I now guess the people had difficulty making the projector run. But then I thought that object, the projector, was ‘the film’ we were supposed to enjoy. My interest faded away quickly and I returned home soon not to anger my mom by staying out too late watching that boring staff. Later that night, my siblings who stayed behind spoke excitedly about the amazing things they saw in the film. I was mad to have missed the opportunity by mistaking the projector for the film. When that same film, which was on wildlife, was shown again six or so months later, I was awestruck. I thought film was some kind of magic. That experience was so enduring that it found its way to my latest novel, Catch Your Thunder: Rendezvous with the End – the film as a modern miracle local magicians must beat in order to keep on holding the upper hand in the market of miracle-making. Jinka did not change much from those old days. Yes, a few modern-looking buildings have made their appearance in town. TV and mobiles have long been commonplace and the internet is accessible for those interested and are cyber-literate. Certainly, there is no magic in films and pictures anymore. Though the workings of the technology might still be mysterious for many, nearly everyone knows that one can make his or her own ‘film’ or picture with a mobile. Jinka even boasts its own university now. However, if one drives a few kilometres to any direction from the town, one will find people living the most natural way, some even walking naked, apparently keeping their promise to their ancestors who went away eons ago to conquer the globe. This is the background that formed the student body Astrobus engaged with in Jinka. I was thinking of my first experience with film in this very town when a group of students talked about the films they were trying to make at the booth the filmmaker among us made them try their hand on a professional film production. I can only imagine what an impression this engagement might have created on the young learners privileged to attend the event. Exchange of worldviews? I am not sure how much of that happened. Generally speaking, most of us, even artists, went there with thoughts and tools refined at the background of a worldview that compartmentalizes reality with its fast-changing knowledge system. And these indigenous cultures see reality holistically with the lens of their slowly accumulated, millennia-long experience. If worldviews were demonstrable like paintings or telescopes, the difference would have been stunning. This would have been especially so if we had the opportunity to go to local communities with our high-tech tools and arts, as many of the team members wished to do. Unfortunately, however, that was not possible mainly because of financial constraints. In our preliminary survey tour, we managed to visit half a dozen indigenous communities. After visiting the Dorze and the Konso villages well known for their art of weaving, construction, and social organization, one team member asked, ‘why did they stop here instead of pushing boundaries to propagate their amazing ways of life?’ And one of us answered, ‘maybe they didn’t see the need to do that.’ That may not be a choice in this era of rapid globalization. It seems every indigenous culture must strive to be heard telling its own stories in order to survive as a culture and identity. Otherwise, its age-old stories would be lost for good in the noisy tale of money, science, and technology. Sinkneh Eshetu (penname: O’Tam Pulto) is a published author and landscape architect. Previous Next

Tīna Pētersone < Back Present Perfect Continuous Tīna Pētersone Imagine you are an actor in some theatre play. You sit somewhere in the foreground of the stage, totally absorbed by the character you ’ re playing. Then, driven by some arbitrary impulse, you give a cursory glance around and realise that all set decoration has disappeared; even worse — you suddenly have found yourself in a completely different play. That ’ s how I feel about my recent weeks, trying to find a new orientation in time and space. On some sunny March morning I was running across a local park in South East London, not having the slightest idea that just twelve hours later I will run through it once again, though, by force, not a choice to leave everything — my flat, my friends, the life I have built there — to catch the last minute flight back home. Borders were shut the day after, and many of my friends were trapped where they are without a chance to leave. I got lucky. Since the day I arrived back home, I haven ’ t been outdoors for 762 hours and 53 minutes. Hours quickly turn into days, coalesce into weeks and surely will stretch into months. As the days go by and I’m still trying to adapt to the new reality, I cannot help but think about lines from ’ The Waste Land ’ by T. S. Elliot. He writes: ‘ The past should be altered by the present as much as the present is directed by the past ’ . [1] Suddenly new conditions have changed the meaning of beliefs that seemed solid: time passes faster in stillness, negative results bring success, rapid developments don ’ t translate into progress. In some strange way, I have learnt to live with the immobility and accept it as my ‘new normal’ now. Needless to say, I am fed up with the self-isolation and I terribly miss human interaction (as I reckon, most of us do), but I have grown to see being by myself as a valuable opportunity to work on various forms of self-care: self-discipline, self-initiative, self-reflection. A couple of days ago I watched a rousing TED conversation with an American author Elizabeth Gilbert, she seemed so sagacious and radiated an air of serenity. A sentence she said got me thinking: ‘Presence is a gift and challenge in this time. ’ [2] Indeed, these recent weeks have let me discover a new perspective on ‘ presence ’ and how multifaceted this concept is. Strangely, in contrast to many people, online house parties, live yoga classes, DJ-set live streams, Netflix communal watching and collective Zoom calls don ’ t cheer me up, rather deepen my longing for real-life experiences. Though, pondering upon the future, it has prompted me to ask — what are the facets of ‘presence’? How can we think of presence as a powerful quality for professional and personal development? Presence as the state of being present. What I appreciate the most about the prolonged seclusion is the time to think. Engross into things that truly matter and enjoy them wholeheartedly without distractions; fully embrace moments of aloneness and use them for introspection. The essence of an independent curator is a cosmopolitan one. Hopping between cities and countries comes along with a constant shift between realities and temporalities. To get a foot in the door of the highly competitive field of arts, one has to ‘master the art ofliving with a chronic instability’. [3] Although the pursuit of curator ’ s career teaches mental flexibility, it also forces to do everything ‘ in time-lapse’ — forbidding to delve deeper into a single activity and, instead, hastily jump onto the ‘next big thing’. The crisis has forced me to press a ‘pause’ button and push myself into a self-prescribed self-immersion therapy. Getting to the root, feeling the flow, letting inner consciousness lead the way. The highly praised, so-called, ‘superstar curators’ and ‘artist-entrepreneurs’ have implanted in us the harmful ideal to have something ‘going on’ all the time: let it be doing research, writing proposals, seeking for funding, visiting studios or negotiating with exhibition venues. I hope the moment of solitude will help us — curators, artists, creatives and society overall — to shed this destructive pressure and follow your own vision. Presence as the immediate proximity of a person or thing. Geographer Yi-Fu Tuan has rightly pointed out: ‘ What is there in a culture that is not a form of escape? ’ [4] Paradoxically, in times of crisis, while culture comforts us and helps to deal with everyday life, it is the first to experience financial cutbacks. Which seems even more duplicitous, considering that artists are the ones cultivating nation’s heritage and cultural scene. Our ability to build a more healthy and equitable art world lies in the power of joint effort. We have to learn to be more open and accepting to wider audiences, but first of all — build trust and cooperation among each other. In countries where the contemporary art discourse is still in a relatively early stage, there’s only a small circle of people who do art, curate art, observe art and write about art. I see this tiny ‘art bubble’ as very discouraging for constructive discussions and critical thought development within the local art scene. I ’ m tired of conversations that just state how bad the situation is, but don ’ t provide any solutions, just leave me with a bitter aftertaste. I think we can grow much more, both collectively and independently if we put an effort into nurturing and establishing networks. Be friendly, but keep a professional relationship. Support each other, but give honest feedback. Be responsive, but focus on our individual thing. Presence as personal appearance or bearing. Crises shape history, and I believe that we, curators, have power in our hands to shape it for better. We could say we are creators whose material is the work of others — but in any case, the role of a mediator is inescapable. If we go along with the infamous curator’s Harald Szeemann ’ s idea of ‘ artists as the best societal seismographs ’ [5] , curators, similarly to seismologists who study earthquakes and their waves, cross-examine ‘movers and shakers’ of the social and political climate. This unprecedented time has taught me to not to underestimate the power of change in the society. I often wish I had more courage to do what I wish to do and take part in shaping public thought. Once and for all it ’ s time to get rid of the paralysing fear of failure. Fear of being judged, being seen, being public. Instead, learn to be self-sufficient without a necessity to prove anything to anyone. We can make a difference. We are needed. Take time. Take as much as you need. But make good use of it. Tīna Pētersone is an independent curator and a writer based in London/Riga. [1] Eliot, T. S. (1999). The waste land: and other poems . London: Faber and Faber. [2] TED. (2020). It’s OK to feel overwhelmed. Here’s what to do next . Available at: https://youtu.be/oNBvC25bxQU . (Accessed: 21 Apr 2020). [3] Gielen, P., & McGregor, C. (2010). The murmuring of the artistic multitude: Global art, memory and post-Fordism. Amsterdam: Valiz. P. 38. [4] Sugar, R. (2019). The Great Escape . Available at: https://www.vox.com/the-goods/2019/8/7/20749177/escape-room-game . (Accessed: 11 Jan 2020). [5] Carolee, T. (2009). On Curating: Interviews with Ten International Curators . New York, NY: D.A.P./Distributed Art Publishers. Previous Next

< Back As you go… roads under your feet, towards the new future | Symposium 2 Mar 2021 Main symposium presenters: What Could Should Curating Do and Moderna galerija, Ljubljana, Slovenia Organized by Biljana Ciric DATES: March 22nd – 31st 2021 TIME: 11am Ljubljana time / 9pm Melbourne time / Addis Ababa 1pm / Shanghai, Guangzhou 6pm / Astana 4pm Live stream via WCSCD / Moderna Galerija / Artcom platform / Rockbund Art Museum / facebook and YouTube www.wcscd.com http://www.mg-lj.si/ March 22nd Day 1 March 23rd Day 2 March 25th Day 3 March 26th day 4 March 30th Day 5 March 31ST Day 6 Participants: Zdenka Badovinac (curator, Moderna Galerija, Ljubljana); Robel Temesgen ( artist, Addis Ababa); Larys Frogier (director, Rockbund Art Museum, Shanghai ); Sinkneh Eshetu (writer,Addis Ababa); Marija Glavas (sociologist, Ljubljana); Berhanu (anthropologist, Canberra); Aigerim Kapar (interdependent curator, Astana); Jelica Jovanovic (architect, Belgrade); Hu Yun (artist, Melbourne); Jasphy Zheng (artist, Xia Men); Dragan Stojmenovic (Public Library, Bor); Nikita Yingqian Cai (chief curator, Times Museum, Guangzhou); Robert Bobnic and Kaja Kraner (researchers, lecturers Ljubljana); Aziza Abdulfetah Busser (architect and academic, Addis Ababa); Alex Ulko (artist and researcher, Tashkent); Brett Neilson (professor Institute for Culture and Society, Western Sydney University); Ash Moniz (artist, Cairo); Yabebal Fantaye (Astrophysicist and a data scientist, co-founder of the 10 Academy initiative, Addis Ababa), Salem Makuria (independent writer, producer, director, videographer, and retired professor or professor emerita from the Art Department, Wellesley College), Biljana Ciric (interdependent curator and founder of WCSCD) As you go… roads under your feet, towards the new future symposium is the first 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. Many of these localities situated on the margins of the global economy re-gained a momentum of visibility through geo-political conflicts when the BRI entered a sphere of interest of other global powers. Could a new visibility and set of geo-politics create alternatives to our existence, or will it uphold the extractivist capital logic done for so many years by Western European modernity are some of the questions that we try to unpack through research case studies. BRI defined as a major infrastructural project through out 2020 has proven to be very dynamic. Since the pandemic started BRI is slowly transforming defining new direction focusing on digital services and public health and these transformations we will continue to research and understand in the year to come. The project started in February 2020 just before the pandemic was announced, and since then, we have continued to work, learning how to co-exist under our new living conditions. The current conditions transformed the project into much more than just examining the BRI. It became an examination of our own existence, the way we walk with in the world, how we practice inter-dependence, and stretch existing institutional structures through which we as practitioners navigate. Our walk opens up the question of whether this new cold war slowly unfolding in front of us – caused by pandemic – can create and foster connections that no state can control, but which we need and are truly ours. Throughout 2020 we needed time and space to practice intimacy between cells and create a safe zone for sharing. What we learned is that rather than visibility, what is needed is opacity. The intimacy that arose from this defines how ideas are shared with others and to what extent what we create together stays within the cells or is shared further. Being in project for a year, together we have experienced civil unrest in most of the localities, researchers falling ill due to covid (and thankfully, recovering), civil war in Ethiopia that escalated in November 2020, our colleagues losing their positions, our partners’ funding being taken away. This project stretches out our emotional capacity, and our endurance is challenged on a daily basis. Still, we continue to walk together. Research quietly continues, acknowledging the importance of being together and creating some things during this separation being imposed on us. Throughout the year we have practiced our right to opacity, and only gave visibility to the research happening through our online journal which follows works and research in progress. This journal has served as a tool in responding to crises within the contexts we are caring with. Since April 2020 due to pandemic we have employed strategy dig where you stand and we have working with fifteen researchers across Kazakhstan, Uzbekistan, Ethiopia, Serbia, Slovenia, and China. The research inquiry has been developed trying to listen local urgencies and learn from them. They are writers, anthropologists, artists, architects, and activists, and we will continue to work into this year as well. Acknowledging and reflecting on our previous way of working, we have employed a dig where you stand strategy, where a number of case studies had been formulated and from here, local research has been conducted. This symposium will share thinking with and walking with or partners cells, as well as researchers through six days symposium that will be available through live stream. A tool kit created together with researchers and cells that would allow for deep listening with all five senses, challenging visual aspects and presence through Zoom. Researchers and cells were invited to provide tools for listening, seeing, smelling, touching, and tasting that could overcome our physical distance. Please experience tool kit through this link . Tool Kit should allow us to grasp physicality of places we will be sharing research from. — What Could/Should Curating Do and Moderna galerija also extend their thanks to the efforts of their technical and support team, who have helped make this symposium possible. Associate Editor: Beatrice Rubio-Gabriel Designer: Toby Tam Technical Support: Aleksandar Kogoj Jr. and Rok Hvala Coordinator (Moderna galerija): Adela Železnik And the team from the Moderna galerija: Tomaž Kučer, Ana Mizerit, Tamara Soban, Monash Museum of Art, Bianca Winaputri, Warisa Somsuphangsri Following our recent As You Go… Symposium, we present a series of documentation by Beatrice Rubio-Gabriel, tracking 6 days of research presentations and discussions. Beatrice developed set of experimental transcriptions of marks composed of voice notes, key words and statements, and visual cues. Link to Transcription here Programme DAY 1: 11am– 13:30pm CET Introduction — an introduction to the project and its mode of working during the pandemic as a proposition towards interdependence by Biljana Ciric and Zdenka Badovinac. https://www.youtube.com/watch?v=mQdcqo7-61k Screening of the film Awra Amba’s E(u)topia by Salem Mekuria — About Awra Amba’s E(u)topia – About seventy years ago, Zumra Nuru was born into a traditional agrarian Muslim family in a remote village in Northern Ethiopia, near Awra Amba. He never went to school. As a child he started questioning why things were as unequal and unjust as he observed life in his village to be. He dreamt of a society where people could live in peace and full equality regardless of who they were. Fifty years ago, that dream materialized into what is now known as Awra Amba, a community based on true equality in all aspects of life and where religion is a private affair. This story introduces a revolutionary society thriving in the heart of a very conservative Ethiopia. With interviews and compelling scenes of the village and its people, Awra Amba’s (E)utopia will give us a glimpse into their unique lifestyle. Presentations by Robel Temesgen The Addis Newspaper Marija Glavas THE CULTURAL INTERWEAVING OF CHINA AND THE BALKANS — Abstract – This research focuses on the cultural exchanges between China and countries from the Balkan region under the Belt and Road Initiative. It begins with a systematic examination of these exchanges, and continues with exploring their potential in this specific spatial and temporal context. This potential is juxtaposed against classical national narratives, with Slovenia used as a case study examining the dangers national narratives can bring. This concludes with a proposed textual analysis to further explore whether these international exchanges live up to their potential of shifting away from national narratives to create new futures. Q&A from audience DAY 2: 11am– 13:00pm CET Disjointed Images from Afar and Fragmented Stories in Proximity Intro — Convened by Nikita Yingqian Cai, this day of the symposium resists the single narrative of transformation that the regions As You Go… are engaging with are undergoing. Joined by artists and filmmakers, Salem Mekuria, Hu Yun, and Alex Ulko, this seminar proposes to capture and unfold the personal and collective memories we share in our current moment, to better realise the path we may create for the future. https://www.youtube.com/watch?v=ocZGg_X6BxE Moderator: Nikita Yingqian Cai Presentations: Alex Ulko: Seeing the Invisible: Documenting and Interpreting China’s Cultural Presence in Uzbekistan — Abstract – This presentation begins with a close look at the Soviet, Russian, and Central Asian past and present, with an exploration of the overlapping post-Soviet and post-colonial identities, as well as the role of Uzbekistan, in the global system. From previously submitted personal recollections to the As You Go…Journal, I will then use my own sketches, drawings, stories, photos of household items, etc. to speak to the perception of China by my peers and myself throughout the 1970-80s to demonstrate how this incomplete and distorted anecdotal information created the basis for the imagination of Chinese civilisation within the USSR and Uzbekistan. Accompanying this is a short video discussing the Confucius Institute in Samarkand, located at the city’s historical centre on the grounds of Samarkand University. This video will explore the institute’s physical and historical environment, as well as the programmes the Institute is carrying out, and the soft power they project. I will conclude with the acknowledgement that the situation is changing, before making some predictions about the possible developments in cultural relations between China and Uzbekistan. Hu Yun: Untitled — Abstract BOR – The early stage of my research in Bor is composed of an ongoing conversation with the city’s only Chinese restaurant owner, Chef Qiu. On 18th December 2018, Chinese Mining company, Zijin Mining Group, formally took over RTB Bor Group under the new name “Serbia Zijin Bor Copper”. During the past two years, Chinese engineers and workers have been relocated to Bor by Zijin Group and its supporting companies from China. Due to the pandemic, the relocation process has slowed down, though has not come to a stop. According to Zijin’s development planning, more workers will be needed in the coming years. As a newcomer, just like all the Chinese workers working for Zijin Group, Chef Qiu arrived at Bor without any knowledge of the local context, and he only speaks Mandarin and Hokkien (Fujian Province, Southern China dialect). The outcome of this first stage of research will be several short video essays based on a series of interviews done with Chef Qiu and video footage taken during a research trip in early 2020, together with footage from Chef Qiu taken throughout 2020 as his own visual memory of his first year in Bor. Salem Mekuria: Spacial and Other Memories: Maskal Square’s contribution — Before this panel please view Square Stories Trilogy: https://vimeo.com/413415836 Abstract – For the last twenty years, I have been exploring innovative ways to visually represent the lingering, yet unexamined, legacy of the tragic events of Ethiopia’s military regime. I started experimenting with multi-screen format as a tool for complicating the linearity of documentary style film, and for telling visual stories without the need for verbal narration. In utilising the triptych form, I reference traditional Ethiopian Orthodox religious art history and its ubiquity in the lives of my primary audience. By expanding on this cultural motif and emptying it of its traditional content, I juxtapose images, events, stories, and ideas to offer multiple ways of understanding Ethiopian history, and to engage audiences by inviting them to actively participate in the unfolding of these narratives. The Square Stories Trilogy is the latest in such experimentation. In it, I examine visual memory and the process of its erasure – how the spaces in Maskal Square defy efforts to suppress or erase traces of the traumatic events presented in Deluge. I follow the Square’s physical evolution from its beginnings as a space for the annual celebration of Maskal (the Finding of the true Cross), to becoming the primary site for political protests as well as the display of spectacles of power by succeeding regimes. Ethiopia’s desire for modernity is also played out in the ongoing transformation of the square, which has watched Ethiopian history be made and remade time and again. Discussion: Q&A: DAY 3: 11am– 13:00 CET Alternatives to new forms of geo-political and economical administrations of localities and people: archiving, reacting, creating. Intro — Convened by Larys Frogier of Rockbund Art Museum, with Jelica Jovanovic and research group, Artcom, along with Sinkneh Eshetu, Berhanu, and Aziza Abdul Fetah this panel will focus on three study cases: Zijin Bor Mining complex and the infrastructure throughout the Balkan region; Lake Balkhash and its geo-political positions and water management; and the Addis Ababa Riverbank project. Interrogating the highly criticised Chinese (economic) presence in these localities, this seminar reveals the complexities of each local context and gives insight to new positions the geographies of the margins can take in this new cold war era unfolding before us. https://www.youtube.com/watch?v=I4tYBgEnePA Moderator: Larys Frogier Presentations: Jelica Jovanovic: Infrastructuring the Region. Materiality and Intangibility of the New Silk Road in Serbia — Abstract – Since the Belt and Road Initiative first formalized in 2012 through the establishment of the “16+1 Initiative” for cooperation between China and Central and Eastern European Countries (China-CEEC), Serbia has slowly but steadily been emerging as the lead partner of China within these initiatives. Various projects, executed either as concessions or infrastructural development via bilateral agreements (propped up by the generous loans from Chinese government), as well as direct investments into production facilities in Serbia, and most notably the current healthcare and vaccine diplomacy, are all physical manifestations of the BRI in the Republic of Serbia. The research is interested in these varied projects undertaken by Chinese companies within Serbia, with its main focus on the large-scale industries and pieces of infrastructure which have been previously (actively) neglected over the last 30 years, though are now miraculously revamped through lucrative international agreements and bilateral cooperation. The cases of Bor Mining and Smelting Basin, as well as the developments done by the China Road and Bridge Corporation on the railway reconstruction of the Serbian portion of the Pan-European corridor E75, are rebuilding and restoring these formerly robust yet decrepit structures, thus materializing a new relation between the two countries. The research also examines the historical components of these structures and relationships, and based on familiar scenarios from the other (neighboring) countries and Serbia’s own past, speculates on their possible futures. Sinkneh Eshetu, Berhanu, Aziza Abdul Fetah: The Danger of Ambition and Neglect: The Case of Beautifying Sheger Project — Abstract – ‘Beautifying Sheger’ (Addis Ababa) is a three-year long project to rehabilitate two tributaries of major rivers in Addis Ababa, Kurtime and Bentyiketu, which though aims to enhance the green coverage and beauty of the city, urban tourism, green economy and flood control, and is applauded by many, has already brought criticism for prioritising the development over people by the residents affected. This research project aims to study the impact of the landscape design under implementation on the livelihood of the people dependent on the rivers, focusing on urban agriculture and its contribution to the urban food system […] it will strive to suggest better design alternatives that may enhance the natural ecosystem and human-nature integration in the continuing phases of the Beautifying Sheger project. Aigerim Kapar: The many secret scapes of Balkhash Lake: a travelogue of the crossboundary contexts, communities and ecosystem — Abstract – This contribution discusses the research process and preliminary results of Artcom’s study on how the local values of Balkhash Lake impact local livelihoods; and how the local imagination is/can be connected to Balkhash Lake in relation to existing (trans)disciplinary studies, national and crossboundary dynamic, and environmental and cultural policies. The lake is one of the biggest endorheic water bodies in the world and has a millenia-long history of socio-cultural life, ecological traditions, and semi-nomadic management methods, responsive to the climatic features of the arid zone. Today modern industrialization and militarization during the colonial Soviet period continues to prevail in its cultural landscape and imagination. Scientific research of the lake and its region mainly carries out a capitalist design, and the socio-cultural studies are practically absent. An important and pressing task is to decolonize the concept/memory/knowledge of Balkhash. It is necessary to understand what it was like before the Soviet period, what role Balkhash played in the cultural landscape of the local people, and how current sources impact the attitudes and practice towards Balkhash ecosystem – how old/current/new sources can be reflected through decolonial optics and emerge as an important factor in its sustainable future. The secrets of Lake Balkhash is a transdisciplinary collaborative mixed methods research effort including contributions from ethnography, cultural mapping, interviews, observations, expedition reports. The research is part of Artcom Platform’s Care for Balkhash initiative and is supported by the As you go…the roads under your feet into the new future long term research inquiry. Discussion: Q&A: DAY 4: 11am– 13:00pm CET Situated Research, Situated Practices Intro — Convened by Aigerim Kapar of the collective Artcom, this seminar utilises Donna Haraway’s 1988 essay: Situated knowledges: The Science Question in Feminism and the Privilege of Partial Perspective as its point of departure. Joined by Robert Bobnic and Kaya Kraner, Yabebal Fantaye from Astrobus-Ethiopia and artist, Jasphy Zheng, this panel will further explore the situatedness within their local contexts (and newfound global ones), and the practices embedded within these to explore what it means to be connected to a place and ultimately, to one another. https://www.youtube.com/watch?v=kEbeNSlOPus Moderator: Aigerim Kapar Presentations: Robert Bobnic and Kaja Kraner: Bor is burning: From mining to data mining in socialist Yugoslavia — Abstract – Located in the southeastern part of Serbia, Bor was one of the iconic places of Yugoslav industry, and consequently one of the mythological places of proletarian and industrially induced socialist culture. After the anticipated future bloodily collapsed during the 90s and the land was deterritorialized, the Bor mine was sold to the Chinese state-owned Zinjin corporation in 2017 as part of the Chinese investment in the Balkan region. Indeed, Bor, where copper and gold mining dates back to at least 5000 BC, is a place of particular synthesis between the geological past and technological future, being the perfect example of Yuk Hui’s concept of cosmotechnics. Cosmotechnics can be understood as a means of reaffirming relations between nature, culture, technics, and cosmos, stating that technical and scientific thinking have always emerged under cosmological imagination in the relation between humans and their particular milieus. Our aim is to question the supposedly uniform development and understanding of technology in the modern western context based on the case study of Bor. Focusing on the concept of work as a cosmotechnical activity of the extraction of nature (including human nature) and the construction of society, this research engages with (1) Marxist anthropological understanding of work as a mediation between human and milieu and (2) with the understanding of technics in the Yugoslav self-management system as a particular cybernetical system, wherein computer technology mainly took an instrumental role for the purpose of organizing socialistically understood social relations, paradoxically obstructing a more differentiated socialist – or in a more cosmotechnical way, Yugoslav – understanding of technology. Yabebal Fantaye: Astrobus-Ethiopia: A dynamic response to fast changing challenges and opportunities — Abstract Astrobus-Ethiopia: A dynamic response to fast changing challenges and opportunities – Astrobus-Ethiopia is a mobile science-art-innovation initiative that is carried out by driving a vehicle across different locations in Ethiopia. The program’s ambition is to stimulate critical thinking, whilst also supporting the country’s social and economic development. Combining engaging activities across science, art, and innovation, Astrobus-Ethiopia promotes education and cultural connection, and encourages curiosity of artistic, technological, and scientific practices. Additionally, the project produces educational materials in local languages and shares them on its website in order to allow for accessibility. The next Astrobus-Ethiopia event will take place in the first week of May 2021, with a successful research trip having been carried out to learn how to safely implement the event in the conditions imposed by the pandemic. This presentation will discuss previous events hosted by Astrobus-Ethiopia and will also forecast upcoming events and the possibilities of how they will present themselves as the initiative moves forward in this COVID-19 era. Jasphy Zheng: Stories from the Room – — Abstract – As a response to the state of our global isolation and the collective pause we shared due to the outbreak of the pandemic, I initiated Stories from the Room to collect personal writings from across the world, to build a growing archive and house it in various countries. By exhibiting the archive in both physical and imaginative spaces, connecting online and offline worlds, I am exploring where the notion of “universality” begins and ends, and extending empathy when the sentiments of ”we are in this together” fails. Discussion: Q&A: DAY 5 The importance of Ports Intro — Convened by Sinkneh Eshetu with researchers, Nikita Yingqian Cai of Times Museum and Brett Neilson from Western Sydney University, this seminar explores the complexities of Maritime Roads, as they were then and as they are now, and its narrative as told by different agents through different cultural structures. From the different ports within China’s coastal cities to the ports of Piraeus, Kolkata and Valparaiso, these presentations unpack ports and their geo-political importance as imbued through technology and infrastructure. https://www.youtube.com/watch?v=5untpq1xYTw Moderator: Sinkneh Eshetu Presentations: Nikita Yingqian Cai: Performativity of a Guarded Globalization – How is the Maritime Silk Road represented in China’s Public Museums? — Abstract – Based on a field trip to three public museums in former treaty port cities in China (Ningbobang Museum, Quanzhou Maritime Museum and Xiamen Overseas Chinese Museum), this research examines how the historical concept of the ancient Maritime Silk Road, coined by German geographer Ferdinand von Richthofen and sinologist Roderich Ptak, are represented within museum displays and institutional narratives to perform an up-to-date globalization as supported by the state whilst guarded by national ideologies. One important aspect of the Ancient Maritime Silk Road (9-14 CE) was freedom and autonomy of navigation, which made indigenous trade routes and the exchanges of peoples and cultures between the South China Sea and Indian Oceans possible prior to the region’s integration into the global hierarchy of imperialism, the emergence of sovereignty over territorial water, and the formation of nation-states. While alternative historiographies and cartographies, and relational narratives and subjectivities are usually marginalized within public museums, the revival of the Maritime Silk Road in relation to urban gentrification, free trade, and free port is promoted through the reproductions of historical materials (archives, imageries, situations, and figurations) to connect the long line of maritime history with the emergent middle-class audience. The curious confounding of speculation and historiography registers the conundrum of state performativity and subjects negative spaces for artistic interrogations. Alongside this will be a short video of the paracuratorial field trip of Times Museum in 2020, which documents how artists, folk scholars, and museum practitioners came together as engaged observers to challenge disciplinary boundaries between museology and contemporary art. Brett Neilson: Logistical Worlds, or, Research before the Pandemic — Abstract – Logistical Worlds: Infrastructure, Software, Labor was a project conducted across the ports of Piraeus, Kolkata and Valparaiso in the period 2012-2017. The research explored logistical techniques and technologies in ports and hinterlands where Chinese investment was underway or expected at the time of the project’s initiation. Begun before China announced the Belt and Road initiative, the realities and hypes surrounding this program of infrastructural expansion altered the stakes and direction of the research. This talk engages these changes, reflecting on how circumstances can shift the dynamics of knowledge production. In particular, I consider the complexities of working across sites in three different continents, the question of funding, and the trickiness of orchestrating contributions from academics, activists, and artists. To conclude, I note that the pandemic has shifted conditions in ways that would preclude this research, and ask what knowledge production strategies might enhance an understanding of how COVID-19 has changed China’s international logistical engagements. Ash Moniz: Untitled — Abstract – As the extraterritoriality of logistics carves out geographies of supply chain infrastructure, it also molds the spatial constellations of logistics workers’ solidarity networks. In my research, I have found that workers at many ports each have their own unique port allies who organize in correspondence with their struggles (eg. between Sokhna and Mumbai, or Istanbul and Rio De Janeiro). The nuances of historical reasoning behind these nodes often show cartographies of solidarity that expand beyond geographical or corporate proximity. I would like to contribute to the Maritime Portal residency by experimenting with different cartographical possibilities for representing geographies of solidarity, and how directionalities of social relations interweave with those of cargo. I am building off of an ongoing independent archive that compiles materials from dockers’ strikes internationally, that I have collected over the years. This also includes materials from research on container ships and in ports (Singapore, Sokhna, Port Said, Beirut, Tripoli, Athens, Istanbul, etc.), and shared video-archives from transport workers unions, etc. I am interested in the modes of literacy that dictate inventories of supply, and the forms of representational leverage that shape logistical negotiations. In investigating how tacticality takes form, my work situates the temporal loss of supply-chain interruption within both logistical time and historical time, mapping the lost possibilities of past struggles. Presentation of researcher from digital residency: Discussion: Q&A: DAY 6 How we work together: a round table discussion of partner cells Intro — The symposium will come to a close with a roundtable discussion between partner cells: Moderna Galerija, Times Museum, Rockbund Art Museum, Robel Temesgen, Sinkneh Eshetu, Artcom platform, What Should Should Curating Do, Public Bor Library. Together, they will discuss their modes of working as built on interdependence, the right to opacity, and horizontality. https://www.youtube.com/watch?v=W5GI_BdSFJU Participants: Zdenka Badovinac, Nikita Yingqian Cai, Larys Frogier, Sinkneh Eshetu, Robel Temesgen, AIgerim Kapar, Dragan Stojmenovic, Biljana Ciric As you go…roads under your feet, towards the new future initiated and conceived by Biljana Ciric. The inquiry research cells include What Could Should Curating Do (Belgrade), Moderna Galerija (Ljubljana), Rockbund Art Museum (Shanghai), Guangdong Times Museum (Guangzhou), ArtCom (Astana), Robel Temesgen and Sinkneh Eshetu (Addis Ababa), and The Public Library (Bor). 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. Previous Next

Open call: What Could Should Curating Do educational program 2022 Open call: What Could Should Curating Do educational program 2022 Duration of the program: August to November 2022 Applications for 2022 open now Deadline for submission: March 30th 2022 WCSCD education program from 2022 From 2022, the WCSCD program will be framed towards a targeted approach to working in the new covid world, finding ways to stay connected, produce knowledge and retain physical encounters as an important part of the program. While the acceleration of online courses and shifting education fully online, gives priority to the upper body, head, eyes and brain, this program will activate the edges of the body, especially our feet, reminding us of the importance of walking together. Walking as way of staying safe, staying outdoors and mobilized, but also as a proposition for creating new paths towards new modes of working based on interdependence, a need that the pandemic reminded us of. One of the main concerns structuring the new program is the inequality that has been accelerated by the pandemic. Both inequality in economic means, but also in vaccination access, as borders remain closed for many. These markers of inequality also directly reflect who has access to education and equal participation, and on what terms, which is another central concern of the program. Since the establishment of the program in 2018, we have had an international focus and our mode of working and existing allowed young people from the margins to access the program. The new program will be structured as follows: The new educational program format will have its core in Belgrade with online participants Focus of the program: The main focus of the program will be thinking and practicing modes of instituting and working within the art field in the new world unfolding in front of us, with questions related to how we can practice being different kinds of humans, starting from the different roles that we embody, including those of artists and curators. The program will have a focus on modes of practicing commons, different ways of coming together based on horizontality and equal participation in sharing resources based on interdependence. The program will have a special emphasis on hands and movement through workshops designed as learning by doing including workshops on vernacular architecture and mud housing in Serbia workshop , among others. It will focus of land and possible future relationship between soil, arts and countryside. We will learn from peers who bravely experiment new modes of being where I can, you can become more that a market as Alexis Pauline Gumbs reminds us. Invited Lecturing mentors include: Manuel Borja-Villel (Director of Museo Reina Sofía), Massimiliano Mollona (Institute for Radical Imagination), Haynalka Somogyi (OFF Biennial, Hungary), Vladimir Nikolic (Artist, Belgrade), Jelica Jovanovic (Architect Belgrade), Bruce Pascoe (Writer and farmer Australia), Aslihan Demirtas (Architect, Artist, KHORA ) among others. Lecturing mentors presence will be combination of physical encounter and online. Mentor who will be able to travel to Serbia will be invited to give workshops in Belgrade with public lectures during the duration of the program. Each invited lecturing mentor will spend up to 3 to 5 days in Belgrade. Through regular meetings participants will be able to share their progress and participate together in workshops by invited mentors. Participants will collectively find ways to present the final outcome of the program in Belgrade but also in their respective local contexts where mentoring happens. Practical information No prior degrees in art or art history are required in order to apply The course fee is charged according to your country income ( you need to be passport holder of that country) For lower income countries program fee for 3 months is 400 euros For lower and middle income countries 3 months program fee is 600 euros For middle and upper income countries program fee is 1200 euros Please use this reference for your country income https://datahelpdesk.worldbank.org/knowledgebase/articles/906519-world-bank-country-and-lending-groups Payments should be done in advance and could be done in installments if needed Please note that the fee does not include accommodations or travel costs to Belgrade. The standard course fee also does not cover travel and accommodations for research trips. Successful applicants should prepare an allowance of approximately 300 EUR to cover these additional costs for research trips. 2022 research trip is planned to Manifesta ( subject to travel restrictions). How to apply: Applications should include the following items as a single Word or PDF document , sent by email to what.could.curating.do@gmail.com with the subject line: Educational program – WCSCD 2022 by March 30, 2022: CV/Portfolio Letter of Interest (500 words maximum, explaining your specific research interests) Describe work or practice that inspired you in last two years ( within 500 words) Where did you find out about the program Based on the quality of the submitted documents, up to 15 participants will be selected to attend the physical program in Belgrade. Selected applicants should plan to arrive in Belgrade no later than August 20th 2022 . The final list of participants will be announced in the April 2022. Online program application: Please send same material as above indicating online program ＷＣＳＣＤ Fee for online program is 300 euros for three months duration of program. Fellowships: For 2022 WCSCD, two fellowships are made available to program participants: WCSCD provides fellowship for one program participant from Serbia. No payment for program will be required but selected fellow should work twice a week with WCSCD team in its activities around program Please send letter of interest and your bio. Shortlisted candidates will be invited for online interview. KADIST provides one Curatorial Fellowship for one program participant from the Balkans. No payment for the program will be required but the selected fellow should produce 3-5 short videos with collection artists to be published on social media and curate one screening in the region, under the supervision and mentorship of KADIST and WCSCD. Please send letter of interest and your bio.with email title Curatorial Fellowship Shortlisted candidates will be invited for online interview. KADIST (Paris/San Francisco) is a nonprofit organization that believe contemporary artists make an important contribution to a progressive society, their work often addressing key issues of our time. KADIST produces programs that often highlight a key issue of today through presenting the voices of artists who respond to the urgent social and political forces of our time. www.kadist.org . Introduction of program 2018-2021 WHAT COULD/SHOULD CURATING DO?—WCSCD was initiated and funded in 2018 in Belgrade as an educational platform around notions of the curatorial and is registered as a civic association. Its main activities include an annual program of educational workshops, lectures, and studio visits for young practitioners, of three months duration in Belgrade. The intention is to bring together key international and local figures engaged in curatorial and artistic discourse, who are specifically able to offer important institutional knowledge and networks to the program participants. Through the program, we invite mentors from non-western contexts, local practitioners and also colleagues from the former West. The program is intensive, with daily programs of workshops, writing sessions, studio visits, and research trips in the region. Some of the research trips we have done so far include: Kosovo, Bosnia, Romania, Slovenia and Austria. At the end of the program the participants are required to present a final public moment in Belgrade that could be an exhibition or a different format, collectively decided. Besides closed-door workshops for participants, all invited mentors would present public lectures to the larger cultural sector, sharing their ways of working and instituting. WCSCD mentors have 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), 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), Jelena Vesic (independent curator, writer, and lecturer), Xiang Zairong (scholar), Nataša Petrešin-Bachelez (independent curator, editor and writer), and ruangrupa (artistic directors of Documenta 15), Lejla Hodzic (art practitioner, Sarajevo). Advistory group of What Could Should Curating Do are Ares Shporta (Lumbardhi Foundation), Matt Parker ( Eva International), Andrea Palasti (Serbia).

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 Bishkek – Addis Ababa, notes from the journey through space and time Addis Ababa 28 May 2020 Gulnara Kasmalieva & Muratbek Djumaliev Our trip to Ethiopia for a partner institutions meeting happened at the beginning of February 2020, at the time when coronavirus began to spread globally. It added some extreme flavour to our trip, but we did not expect that a real extreme for us would begin upon arrival to Addis Ababa airport when the border guards refused to grant us a tourist visa. After a long negotiation with officers, we realized that it was our fault. We were not careful in our research of internet sources, which were pointing out that citizens of Post Soviet countries are granted tourist visas upon arrival at the airport. Actually, we’ve missed important information: only Russians are allowed to obtain a visa upon arrival, and the rest of all Post Soviet countries were excluded from this list, for unknown reasons. Finally, we were recommended to apply for an online visa despite official information from the Ministry of Foreign Affairs of Ethiopia that the visa takes three days to be made. But we were so exhausted by the 24 hours trip and endless negotiations that we were ready to be stuck in the airport to wait for our visas, just like Viktor Navorski (Tom Hanks), the protagonist in The Terminal movie. Having had a hard time finding Internet access in the lounge, we applied for an online visa at night, taking urgent photos of each other and passport copies on our smartphones and fell asleep immediately in the lounge… We were awakened by a crowd of tourists arriving with early morning flights. Hopeless, we decided to check the status of our online visa applications, and, thank God – found the visa approval notice! The operation took just several hours! We passed passport control in a half an hour without any problems and were at the hotel by 9 in the morning, where we happily met Biljana Ciric, curator of the project As you go… This case made us think about how despite globalization and multiple similarities of contexts, cultural ties between Africa and Central Asia are almost invisible today. Our knowledge about Ethiopia, fragmented and partly based on African diary written by Russian poet Nikolay Gumilev in 1913, and our memory of 1970-80s when African military pilots, and Ethiopians amongst them, walked down the streets of Frunze [1] . We knew they were from a pilot school in a suburb of the Capital of Kyrgyz Republic. News on Soviet TV usually began with a story about official delegations from different countries, and it was often about the visits of African leaders. The words “friendship and collaboration”, “countries of non- alignment movement” [2] , “dear comrade Mengistu Haile Mariam” [3] , “brotherly support”, were part of a routine discourse on the three Soviet TV channels. Later, during our study in Soviet art academies in Moscow and Saint Petersburg, we met African students and gained some knowledge about the real situation in Ethiopia at that time. The collapse of Socialist Bloc [4] dramatically affected our histories, breaking already thin connections between our realities. The term “The Third World” became our commonality in one day. This somehow explains the absence of visible connections between Africa and Central Asia today: South-South traces are no more relevant in capitalism. Limited intersections between these parts of the World raised a certain amount of ignorance and clichés. During our preliminary online research on Ethiopia in particular, there were many recommendations on the health situation there. These included the requirement of quite expensive yellow fever vaccination, strict hygiene on arrival and use of purchased drinking water only. The justification of this kind of “Western” attitude towards the local context is a common occurrence in our economics and culture. Our visit to the National Museum of Ethiopia raised controversial emotions of awareness of a unique place, and example of modernist architecture. At the same time, it made us dive into dark thoughts about the similarities of poor conditions of museums in both of our countries. Neither the famous Luci [5] , the proof of cradle of mankind in Africa in the collection of the museum in Addis Ababa, nor Golden Collection in State Historical Museum in Bishkek [6] , the former Museum of Lenin, recently renovated but constantly postponed to open due to corruption scandals, could not hide a real sad situation with the official cultural policy in Ethiopia and Kyrgyzstan. National Museum of Ethiopia “Luci” Mifte Zeleke, who is in charge, as a director and curator, of Guramayne Art Centre, became a guide during our four days in Addis. Guramayne is a typical space familiar to our art scene. There are several institutions of this type in Bishkek and one of them is our organization, ArtEast. It is grass rooted, low budget, co-working, exhibition space and art studios. Guramayne is located in a two-floor house made of volcanic stones and a mixture of mud and straw – our favourite ancient construction technology spread over huge territories of Africa and Asia. Our group, together with Biljana Ciric, initiator of the partner institution meeting in Addis Ababa, and Zdenka Badovinac, director of the Moderna galerija in Ljubljana, was introduced to artists in an art residency at Guramayne Art Centre. We were completely impressed by the art that we have seen there, especially by the work of Tamrat Gezahegne. Guramayne Art Centre Studio of Tamrat Gezahegne The Guramayne Centre became our space for discussions about visions of the project As you go… , about contexts of Balkans, Ethiopia, Central Asia and China. During the meeting, participants defined our main commonalities like the socialist legacy, non-alignment movement, new geopolitical settings, agents of our own culture. Days were busy with doing interviews, screenings of videos and partner’s presentations. As you go… roads under your feet, towards the new future project and partner presentation, Guramayne Art Centre Performance by remarkable Ethiopian artist Robel Temesgen. There was some time to visit an exhibition of contemporary art in Modern Art Museum of Gebre Kristos Desta Center [7] named after Ethiopian modernist artist educated in Germany and University in the former Palace of Haile Selassie [8] . Top: Modern Art Museum Bottom: Guenete Leul Palace Visiting the Art Academy in Addis Ababa reminded us of official art education in Kyrgyzstan, based on a mixture of western modernist style and “socialist realism” remained since Soviet time. This kind of education is typical for most Post-Soviet territory, except Baltic countries. During the last 30 years, art education in Kyrgyzstan still does not accept contemporary art and western post-war version of art history. Addis Ababa Art Academy On the way to the next meeting, we managed to find a time to visit a local bazaar, taste the national dish “injera” [9] and, of course, famous Ethiopian coffee! Local Bazaar In the late evening, we visited Fendika Cultural Center [10] . It is a combination of a jazz club, exhibition space and a pub, with the high quality of music and visual art. We went there twice: the first time with our group, to listen to jazz, and the second time with Mifte Zeleke, just to look at the process of exhibition installation. We had a chance to be at the preview of Surafel Amare panting solo show. The entrance of Fendika Cultural Center Exhibition settings During our conversation with Mifte, he mentioned that Guramayne Art Centre will most probably be demolished, due to its positioning on the riverside, one of the areas that are a part of the new controversial plan initiated by Prime Minister Abiy Ahmed [11] . Officially called Beautifying Sheger [12] , the project runs along the rivers Entoto and Akaki, developing 56km of green spaces. The project aims to clean up these rivers, make the city a model of green development in the process, construct concrete walls, bridges and plant regular parks with a new infrastructure. But it is still far from the real sustainable development of the city infrastructure, due to many reasons. One of them is a critical situation with the pollution of the river and seasonal difference of the flow. Another big concern is ignorance of the voice of inhabitants of the riverside. Riverside development area next to the Guramayne Art Centre Our group saw the construction of the riverside during the long walk from the National Museum with Helen Zeru, an impressive young performance artist. An endless green iron fence along the road interrupted by the standard white plate of China Aid [13] . 12km section of the 56km project, as the first phase of the project, will be built by the China Communications Construction Company (CCCC) [14] with a grant secured from the Chinese Government. Riverside construction area Other ambitious plans to erect the highest skyscraper in Africa, invested and developed by China Jiangxi Corporation [15] for International Economic and Technical Cooperation [16] . This situation is now typical for Kyrgyzstan too. The building of the roads in our country is also mainly invested in, and implemented by Chinese companies. This often does not follow basic ecological terms. For instance, Bishkek city administration has cut down thousands of trees just to enlarge city roads, without notification or discussion with the public. Ironically, by the warning of urban activists, it would not solve the problem of traffic jams. By statistics, enlarging roads would only increase the number of cars in the city. Besides, trees that have been planted in the city over the last century solved the problems of semi-desert climate and protected against city pollution. This movement of planting trees in Bishkek began at the end of the 19th century, during the colonization of Central Asia by the Russian empire. It was obligatory for every citizen of the town to plant and take care of 25 trees nearby its house. Regular planning of the county town, including parks and the irrigation system, was established in the late 19th and early 20th century. This process continued in Soviet time by building new parks and botanical gardens. The more careful and thoughtful case of development of the riverside is the project of Zoma museum. It is a private project and it looks like a very well organized oasis in a quite chaotic life and landscape of Addis Ababa. Zoma Museum The owners of the museum, curator Meskerem Asseguedand artist Elias Sime completely changed the landscape of polluted riverside: they took out tons of waste from the ground and brought new soil to plant a garden. They followed principles of permaculture [17] , our favourite philosophy of working with nature. Thoughtfully organized irrigation canals, planted bushes, herbs, vegetables and fruits trees, buildings including a gallery, café, library, museum shop, a school for children, amphitheatre and cowshed are parts of the ecosystem. The style of the buildings is based on vernacular architecture, the surface made of mud and straw in a very capricious manner. Together with landscape design, all have some special charm. Zoma Museum Partners meeting in Zoma Museum library with Sarah Bushra and Sinkneh Eshetu We had our last group meeting in a cosy library with Sinkneh Eshetu, the remarkable Ethiopian writer and Sarah Bushra, a multi-disciplinary artist and writer. Having had lunch in the Museum’s cafe, it was possible to order tee with fresh Lemon Verbena directly cut from the garden – a combination of tropical and mountainous climate in Addis Ababa allowed growing multip plants almost all year round. Our last days were surprisingly spiced up with Bekele Mekonnen and Eshetu Tiruneh Feleke, two Ethiopian peers from Surikov art academy [18] in the 1980s. Both of them succeeded in art but in different directions. One of them is a successful sculptor and performance artist; another one is a former employee of the Ministry of Culture and currently dedicated director of Enlightenment Art Academy. The meeting was emotional, nostalgic and thoughtful. It was like a real journey through space and time. Interviews with Bekele and Eshetu allowed us to learn more about the post-socialist history of Ethiopia, about their challenges and desires. In Bekele Mekonnen studio Visiting Eshetu Tiruneh Feleke Gulnara Kasmalieva and Muratbek Djumaliev are artists and curators from Bishkek, Kyrgyzstan. [1] Frunze is a former name of Bishkek during the Soviet period and the capital of Kyrgyz Republic. [2] https://en.wikipedia.org/wiki/Non-Aligned_Movement [3] https://en.wikipedia.org/wiki/Mengistu_Haile_Mariam [4] https://en.wikipedia.org/wiki/Eastern_Bloc [5] https://en.wikipedia.org/wiki/Lucy_(Australopithecus) [6] https://24.kg/english/80929_Opening_of_Historical_Museum_in_Bishkek_repeatedly_postponed_/ [7] http://www.gebrekristosdestacenter.org/ [8] https://en.wikipedia.org/wiki/National_Palace_(Ethiopia) [9] https://en.wikipedia.org/wiki/Injera [10] https://fendika.org/about [11] https://www.climatechangenews.com/2020/03/12/addis-ababa-riverside-project-gives-priority-development-resident [12] https://en.wikipedia.org/wiki/Beautifying_Sheger [13] https://en.wikipedia.org/wiki/China_Aid [14] https://en.wikipedia.org/wiki/China_Communications_Construction [15] https://en.wikipedia.org/wiki/Jiangxi_International [16] https://en.wikipedia.org/wiki/China_Shandong_International_Economic_%26_Technical_Cooperation_Group [17] https://en.wikipedia.org/wiki/Permaculture [18] http://www.china.org.cn/top10/2014-02/07/content_31394806_3.htm Previous Next

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Events Lecture Series Participant Activities Lecture by Matt Packer / EVA International Saša Tkačenko, Flag 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: MATT PACKER EVA International MUSEUM OF CONTEMPORARY ART BELGRADE SATURDAY, OCTOBER 27 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 Matt Packer — the Director of EVA International – Ireland’s Biennial of Contemporary Art. The series is designed to offer new and different perspectives on the theories and practices of exhibition-making. The presentation by Matt Packer will evolve around EVA – Ireland’s longest running organisation of contemporary visual art. First established in 1977 to stimulate visual arts in the mid West region of Ireland, it since developed a model of inviting international guest curators to adjudicate (and in more recent editions curate) exhibitions of work by Irish and International artists. EVA adopted a biennial model in 2012 which continues today; the most recent edition, the untitled 38th EVA International, was curated by Inti Guerrero and took place across six venues in Limerick / Dublin in Spring-Summer 2018. Drawing on a number of specific episodes in EVA’s 40 year history, the recently appointed Director of EVA International will present examples of how EVA has coincided and responded to broader cultural and political changes, both within Ireland and internationally. These examples include EVA’s presentation of The Artists’ Campaign to Repeal the 8th Amendment during the 2018 referendum campaign to overrule restrictive abortion legislation in Ireland, and the recurring address of partition between the Republic of Ireland and Northern Ireland. ABOUT THE LECTURER: Matt Packer is the Director of EVA International – Ireland’s Biennial of Contemporary Art. Previous roles include Director, CCA Centre For Contemporary Art Derry ~ Londonderry (2014 – 2017); Associate Director, Treignac Projet (2013-2016); Curator of Exhibitions & Projects, Lewis Glucksman Gallery (2008 – 2013). As an independent curator, he has curated numerous exhibitions in Ireland and internationally, including They Call Us The Screamers, TULCA Festival of Visual Arts, Galway (2017), Disappearing Acts, Lofoten International Art Festival, Norway (2015) (with Arne Skaug Olsen); When Flanders Failed, RHA, Dublin (2011) (with Stephen Brandes); and Ice Trade, Chelsea Space, London (2007) (with Kim Dhillon). He was part of the selection committee for the British representation at the Venice Biennale 2017. He has written for numerous magazines, journals including Frieze, Kaleidoscope, and Concreta. 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 >