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Alumni Program Participant Activities Tonight we invite you to encounter a collective archive of the 2022 What could/should curating do educational programme, which took place in Belgrade and other locations around the Post-Yugoslav region, between September and December this year. The departure point for this archive is a proposal by Biljana Ćirić, program curator and facilitator, to consider the means by which the discussions, events, inquiries and relationships developed during this time might be recorded or documented. Archiving is never neutral. Determinations are always made—by individuals, by collectives, by collecting institutions—about what knowledge is worth saving, the means by which knowledge is indexed, housed and cared for, who has access and on what terms. Within the framework of an alternative educational platform—with a loose and evolving curriculum, and no formalised method of assessment or grading—this exercise presents an opportunity to consider what alternative measures we might allow ourselves for the production of knowledge when freed from institutional modes of transmission and circulation. As such, these archives—both individually and collectively—do not simply record a series of shared (and at times differing) experiences. They include questions around how the embodied, linguistic, political, intimate, relational nature of experience and remembering, ranging in scope from the personal, to the national. Each contribution is informed by the “baggage” we carried with us, as a group of individuals from many different geographic and cultural contexts, many of whom had little relationship with Belgrade, Serbia or the Balkan region prior to this course. This “baggage” includes our different relationships to contemporary art’s infrastructures; our different fields of knowledge and networks of relationships; cultural and linguistic differences; differing relations to histories of colonialism, resource extraction and capitalist exploitation; and varying habits of thought, modes of making, inhabiting and formulating questions about the world. Through differing strategies of presentation and circulation, we hope to open up questions about what we have in common, as well as what separates us; what of ourselves is dispersed, and what is withheld. But the physical “archive” we share with you tonight is only a part of a wider set of relationships, experiences, idea exchanges, occasional encounters, gossip and experimenting. Tonight we celebrate the beauty and fragility of these moments. Be our guests at the two tables. Read silently. Read aloud. Whisper. Describe what you see. Share what you feel. Eat. Drink. Embrace. This archive is staged as something living, developing and transformational, ever evolving as our moments with you. Thank you for sharing this journey with us. We hope it’s not the end, but only a stop on the way. WC/SCD 2022 Adelina, Anastasia, Ginevra, Giuglia, Jelena, Karly, Lera, Sabine, Simon < Educational Program Participants >

Alumni 2022 2021 2020 2019 2018 2018 Alumni Agustina Andreoletti works within the realms of research, writing, discussion, publishing and exhibition making. Her practice reflects on the unstable overlap between material, social and political processes; especially as such relations develop over time. Andreoletti is currently a Postgrad fellow at the Academy of Media Arts Cologne. Ivana Čavić is an artist based in Serbia and currently studies photography at The Academy Of Arts Novi Sad. Her photographic practice is an exploration of narration and context, focused on creating visual narratives that question boundaries of documentation and fiction, private and public. With research based work she is often playing with photographic and textual narratives which trigger a dialogue about different readings of personal histories and memories. She participated in numerous group and solo exhibitions, and international collaborative projects. Jovana Vasić is a student of interdisciplinary doctoral studies at the University of Arts in Belgrade on the program Theory of Arts and Media. With the mentor Nikola Dedić she is working on the thesis – The critical institutional theory of the Museum of Contemporary Art. She writes and publishes papers in the field of art theory. In her previous work, she dealt with the issues of the transposition of personal narratives in the form of memories through the relationship between the public and the private. Karen Vestergaard Andersen is a curator and writer based in Copenhagen, Denmark. Her curatorial practice explores alternative research methods though open artistic dialogue with the aim of generating new curatorial methodologies that are both critically engaging and context sensitive. Her research interests and methodologies derive from an intersectional approaches to queer / feminist discourse and New Materialist theory. Her writing has appeared in various artists’ catalogues and publications, including at Kunsthal Charlottenborg, Nikolaj Kunsthal, as well as in Seismopolite Journal of Art and Politics, Danske Museer and Notes on Metamodernism. Kirila Cvetkovska is an independent researcher, curator and artist from Macedonia. After studying art history and psychology in Rome, Italy, she has been involved in the cultural programming of the non-profit Tevereterno (both in Rome and NYC). Currently, she is living in Macedonia, while also collaborating with artists in Italy on experimental art projects. Kirila’s personal practice dwells on the themes of collective memory, loss and detachment, analyzing the cross-cultural values that encompass these issues, while liberating oneself from the restraints of consumerism. She is attempting to bring art to a much wider audience, in places without a largely established art scene. Marta Saccavino obtained her MA degree in Art History, University of Leeds, UK. In her academic work she focused on artists coming from “relative peripheries”, a concept explored by Maria Lind. Her current researches focus at the close relationship between art and cinema, specifically on how television intervenes and shapes this relationship, which began with the invention of cinema itself, and it is often analysed without taking in consideration the latter element. She is currently working on an interdisciplinary project on sacred and profane relics with an emerging fashion designer and the Morgagni Museum in Padua. Milena Jokanović is a research-fellow at the Art History Department, Faculty of Philosophy, University of Belgrade where she obtained her PhD recently. She has also obtained MA diploma at the UNESCO Chair for Cultural Policy and Management at the University of Arts, Belgrade and Université Lumière Lyon. Her research interests therefore span the museology, use of the historical models of collecting in modern and contemporary art, theories of memory and identity construction and cultural heritage management. She curated several exhibitions, has written many papers and managed few cultural projects. Nina Mihaljinac is an Assistant Professor at the University of Arts in Belgrade in the field of cultural management and cultural policy. She works as a project manager for Creative Creative Europe Serbia at the Ministry of Culture of RS. She obtained her doctorate in Arts and Media at the University of Art in Belgrade in 2017. She has participated in numerous national and international research projects and has published several monographs and dozens of papers in the field of art theory, culture of memory, management in culture and cultural policy. Neva Lukić has completed her master’s degree in art history and archaeology from the University of Zagreb, and in theory of modern and contemporary art at Leiden University. She has professional experience in museum curatorship (Museum of Modern and Contemporary Art, Rijeka), as a freelance curator (Croatian Association of Artists – Zagreb, Arti et Amicitiae – Amsterdam, See Lab – The Hague, etc.) and as an art critic (active member of Croatian section of AICA – the International Association of Art Critics). She has published four books (poetry & short stories) and one picture book for children. Ruri Kawanami is a Berlin based curatorial assistant working at the intersection of artistic production and critical writings. She studied cultural science at post-graduate level at Humboldt-University in Berlin, where she specialized in the museum epistemology of the early 20th century. From 2014 to 2017, she worked as a curatorial assistant at the Japanese literature museum in Berlin. Teodora Nikčević graduated from the Faculty of Fine Arts in Cetinje 2009. Since 2012 she has worked as a curator at the Center for Contemporary Art of Montenegro CSUCG in Podgorica. She actively exhibits at individual and group exhibitions in the country and abroad and participates in numerous residential and art projects. Her work at the CSUCG is focused on the promotion and affirmation of young artists. She was a curator of group exhibitions and led a series of interviews with artists – Artist talks. Tjaša Pogačar works as a freelance writer, editor and curator of exhibitions and discursive programs for various institutional and noninstitutional contexts since 2010. In her work she is concerned with systemic operations of contemporary art and the limits and possible further developments of institutional critique. Some of her recent curatorial and editorial projects look at how contemporary art practices and institutions deal with the current techno-capitalist conditions. She is a co-founder and editor of ŠUM, journal for contemporary art criticism and theory and is currently working as an assistant curator at the Škuc Gallery in Ljubljana. Vera Zalutskaya is a contemporary art curator. Her interests are mainly in art of Eastern and Central Europe in the context of postcolonial studies. In 2014 she graduated from the European Humanities University in Vilnius (educational program Theory and practices of contemporary art). Studied also Art history and Culturology: comparative studies of civilization on the Jagiellonian University in Krakow. As a member of different collectives or independently she organized and curated many exhibitions in Belarus and Poland. Zohreh Deldadeh is a freelance art scholar and curator based in Tehran. She started her career as an executive manager in Iranian Art Publishing and Tavoos Contemporary Art Online Magazine; she was part of Mohsen Gallery, one of the leading contemporary art galleries in Tehran; Pejman Foundation’s team as an assistant director and assistant curator in two venues of the foundation (Argo Factory and Kandovan Building). Moreover, she has collaborated as a coordinator, project manager and co-curator with other galleries and art institutions in Iran and abroad. Aleksandra Mikić obtained BA degree in Art History, Faculty of Philosophy, Belgrade. Her interests are in the art of post Yugoslavian period in conditions of transition. In her researches she is focusing on art practices as social symptoms in the context of biopolitics and biopower. Anna Tudos is a freelance curator from Budapest, Hungary. She completed the Curatorial Practice (Contemporary Art) MLitt course at the Glasgow School of Art in 2017 after her studies at the Hungarian University of Fine Arts. She is particularly interested in exploring hidden histories and underrepresented issues often through unconventional ways of mediating art. Her recent collaborations include OverOverOver, an artist exchange between Detroit and Glasgow and BRUT Europe with artist Marija Nemcenko. She co-hosts the show ‘Radio Dacha’ on Subcity Radio, exploring the notion of the „East” through discussion and music. Biljana Puric is an independent researcher. She holds Masters Degrees in Film Aesthetics from the University of Oxford, and in Gender Studies from the Central European University. She has published peer-reviewed articles, along with art and film reviews and criticism, in Issues in Ethnology & Anthropology, ARTMargins, Journal of Curatorial Studies, New Eastern Europe, and Short Film Studies. Rebecca Vaughan is a Melbourne based curator and writer. Previously Rebecca was Museum Assistant and Administrator at the Monash University Museum of Art (MUMA) and Editorial Assistant at Perimeter Books, a small arts publishing imprint based in Melbourne. She holds a Master of Art Curatorship from the University of Melbourne. < Participants Educational Program Programs >

Alex Ulko < Back Appearing: the statue of Confucius in front of the Samarkand State University Disappearing: historical city centres across Uzbekistan due to gentrification Alex Ulko Previous Next

Presentation of the ETC magazine followed by screening programme May 2026 Publishing collaboration May, 2026 Public Moments WCSCD Educational program 2025/2026 at SKUP September 2025 Decentring the Museum. Contemporary Art Institutions and Colonial Legacies Lecture by Nina Möntmann September 10th, 2025 Assembling Land: Rehearsals towards Placemaking Decentring the Museum. Contemporary Art Institutions and Colonial Legacies Lecture by Marina Christodoulidou September 19th, 2025 A practice of Artwriting Button Lecture by Toby Upson October 3d, 2025

< Back What Could Should Curating Do Volume 1 Language Serbian Published in 2018 The first volume in the What Could/Should Curating Do? publication series co-published with Orion Art designed by Sasa Tkacenko and conceived by Biljana Ciric. What Could/Should Curating Do? series serves as an archive of the discourses produced around the course on an annual basis, thereby engaging with questions of how to archive something that is still in development. These volumes are one possible solution to be further shared and explored. With this mind, the WCSCD publication series developed are imagined as annual reader related to the curatorial discourses that grow out of the program’s different workshops, initiated by the invited guest mentors to the program. At the same time, this effort also encourages the attending, emerging curators to produce and contribute their own writing. The first volume includes contributions : Neva Lukic, Katarina Kostandinovic, Dorothea von Hantelmann, Elena Filipović, Tara McDowell ,Maria Lind, Matt Packer, Mia David, Hou Hanru, What, How & for Whom, Jasna Jasna Zmak, Kirila Cvetkovska, Ruri Kawanami, Vera Zalutskaya Niels van Tomme, Sinisa Ilic, Milena Joksimovic, Agustina Andreoletti, Tjasa Pogacar, Boba Mirjana Stojadinovic, Hans Ulrich Obrist, Branislav Dimitrijevic and Biljana Ciric.

< Back As you go…roads under your feet, towards the new future publication Edited by Biljana Ciric Sound by Ocean&Wavz Design by Toby Tam Contributors: Sinkneh Eshetu ( O’Tam Pulto), Nikita Yingqian Cai, Dragan Stojmenovic, Robel Temesgen, Robert Bobnic, Kaja Kraner, Zdenka Badovinac, Jelica Jovanovic, Larys Frogier, Aigerim Kapar, Ocean & Wavz, Chen Liang, Salem Mekuria Aziza Abdulfetah Busser, Manuel Borja-Villel, Mabel Tapia, Tara Mcdowell, Marija Glavas, Alexey Ulko, Fayen d’Evie, Jasphy Zheng, Enanye Kibret, Gebeyehu Desalew, Ash Moniz, Susie Quillinan and Biljana Ciric Published by Rockbund Art Museum and Mousse publishing As you go… roads under your feet, towards the new future publication is not only a book as an object, but it is fundamentally an act of speaking out different forms of in/visibility in order to escape dominant geopolitical divisions, permanent surveillance, as well as an invincible desire to build up alternative social bonds with autonomous people who are able to protect their integrity as individuals and societies, to nurture the circulation of ideas and to value free and unexpected paths beyond frontiers and oppressions. Or how to stretch a book to moments of encounter, vibration, silence, connection, shout, question, resonance, doubt, research, echoing three challenging years of political violence, local and global lockdowns, mutation of private lives, expression of pain and anger, construction of hope? Larys Frogier As you go…roads under your feet towards the new future book is an archive of relationships, the lives of us partner cells in the past two years, the collective effort of the research undertaken, but also our process of learning with others about how to work more horizontally and on what terms within inquiry. Through this book we also offer modest tools, exercises and methodologies that we practiced trying to stay connected while isolated. The book opens with statements by all the partner cells on our collaboration and personal reflections. The statements are followed by a set of workshops that we undertook with the guidance of Fayen d’Evie, in which we mapped our time and struggles as well as collective writing exercises. Research case studies from local contexts conducted over the past two years are also presented in the book, including conversations with colleagues and peers with whom we learnt how to work together differently. With political changes accelerated by the pandemic in many local contexts where we work, our inquiry became even more relevant to think together about how to work, how to continue to be critical but also how to keep each other safe and create co-immunity. For us, opacity became a more important tool than visibility, as did its use as an active choice. As we shared more time together, we shared common struggles. Many of the encounters we held during these two years were opaque. This book serves as a visible archive of some of the moments. Within As you go…. inquiry, English is the language that we communicate with, although individually the cell members speak Serbian, Chinese-Mandarin, Russian, Kazakh, Amharic, French, Slovenian and Cantonese. Some of us struggle with jargon, some of us don’t understand others’ silences. Spending time together we understood importance of sounding that infiltrates throughout our English so the book also contains sound components of our voices as cell. Sound is further conceptualized and treated by Ocean and Wavz. As you go… roads under your feet, towards the new future is initiated and conceived by Biljana Ciric. The inquiry and research cells include What Could Should Curating Do (Belgrade), Zdenka Badovinac (Ljubljana), Rockbund Art Museum (Shanghai), Guangdong Times Museum (Guangzhou), ArtCom (Astana), Robel Temesgen and Sinkneh Eshetu (Addis Ababa), and The Bor Public Library. The inquiry gained support from Foundation for Arts Initiatives ( FFAI), CURTAIN (Rockbund Art Museum), Austrian Cultural Forum, Curatorial Practice (Monash University Art, Design and Architecture), and the Australian Government Research Training Program Scholarship and Office for Contemporary Art, Norway. to order the book pls contact us via email or Mousse Publishing

Books As you go…roads under your feet, towards the new future publication Read More Publishing collaboration Read More WCSCD produces limited edition prints Read More What Could Should Curating Do Volume 1 Read More

< Back WCSCD produces limited edition prints WCSCD produces limited edition prints on the occasion of the program Walking as a Way of Knowing- Belgrade 2024 in collaboration with the artists Dunja Karanovic and Jelena Andzic. The Walking as a Way of Knowing- Belgrade is a series of walks imagined as an artist's interventions in the public space that reveal marginal histories, present and future of the place. Dunja Karanovic and Jelena Andzic's prints are inspired by the walks they created and shared in 2024. Prints by both artists formulate tangible and physical traces of these experiences of walking with different participants. The envelope contains seven signed prints by both artists Dunja Karanovic and Jelena Andzic. Edition of 100 Size: A5 (148x210mm) Price: 4300 dinars If you are participated in our walks special discount applies 3800 dinars. More about walks pls visit link here: Https://www.wcscd.com/participant-activities/walking-as-a-way-of-knowing-%E2%80%93-belgrade Statement by Dunja Karanovic: Starting from the Spring of 2024, we walked through Belgrade with the idea of Feminizing the City - looking at both visible and invisible traces left by women throughout history - feminists, freedom fighters, peace activists, but also painters, poets, and dancers. One of the most striking impressions was a monumental emptiness in our public spaces, one that should be filled by the names, faces, and legacies of women. Statement by Jelena Anzic With the increasing disappearance of public spaces in Belgrade, Cerak Vinogradi serves as a reminder of the importance of walking. This urban project was built in harmony with its natural surroundings, all the while glorifying it. When built in 1984, Cerak Vinogradi was built for the future, and we are sadly not there yet - as stated by one of our guides from The Little Town on Top of the Hill walk.

< Back Publishing collaboration These books are a What Could Should Curating Do (WCSCD) publishing collaboration with Archive Books and Sok Cooperative. Each volume in the series presents a single text, developed with contributions from WCSCD's long-term mentors and collaborators Toby Upson, Petra Pavleka, Sergio Bravo Josephson, and WCSCD founder Biljana Ciric. The series reflects on WCSCD’s educational program methodologies, rooted in curatorial and artistic gestures—forms of writing, thinking, and practicing that open passages towards becoming a different kind of human, curator, artist. By engaging with diverse intellectual and embodied knowledges, this series seeks to create divergent citations for our work, oriented towards reciprocity. WCSCD is an international educational program for artists and curators. Since its founding in 2018, it has operated as a testing ground and collective learning site for thinking and practicing how to institute differently, where resistance to predetermined outcomes is both a structural condition and a pedagogical commitment.

Events Lecture Series Participant Activities Presentation of the ETC magazine followed by screening programme ETC. Magazine: Full Circle Presentation of the ETC magazine followed by screening programme ETC. Magazine: Full Circle 27. 5. 2026, 18.00 Bulevar Books Bookstore, Novi Sad Join us for an evening with ETC. Magazine founders to mark their fifth edition titled Full Circle . Published in Ljubljana as the only English-language art magazine in the region with international distribution, ETC. serves as a platform for diverse voices from across Europe, connecting local contemporary art with the international scene. Curators Ajda Ana Kocutar and Lara Mejač will present the content of their newest issue and discuss their own curatorial approach – understanding the magazine as an “exhibition in print” as they work closely with artists on both text and visual presentation. Across all issues, the ETC. collective expands the magazine format through an international exhibition cycle and a varied public programme, including discussions, presentations, workshops, and guided tours. The fifth issue, Full Circle , turns to cycles – personal, political, historical – asking what it means to come full circle. Exploring the unstable terrain between past and history, the issue questions whether we are doomed to repetition or can return to the past in order to rethink the future. The presentation will be accompanied by a screening programme bringing together three video works featured in the magazine that confront the (in)visibility of archives, the power of memory, and the lingering effects of political violence. Through intimate portraits, fragmented testimonies, and speculative narratives, the artists Damir Avdagić, Maja Bojanić, and Dana Kavelina trace the fault lines where personal stories and trauma meet institutional amnesia and erasure. The selected videos for the screening: Damir Avdagić, Prolazi izmedju 1980-2021 (Passages between 1980-2021) , 2021, 32’ Maja Bojanić, Yours is the world in which I move uninvited , 2025, 12:37’ ABOUT ETC. The international magazine ETC . is designed to bring together artists, curators, writers and publishers who work in the field of contemporary art. With each issue, the magazine addresses current issues in the fields of society, environment, and art, and is thus designed as a platform for diverse voices and opinions from across Europe, contributing to a broader understanding of specific issues and recontextualising stories that transcend national borders. Published in Ljubljana as the only English-language art magazine in the region with international distribution, its aim is to create a platform for the presentation of current artistic production, and thus to contribute to a better connection between local contemporary art and the international art scene. BIOS The core editorial and curatorial team consist of Hana Čeferin, Ajda Ana Kocutar and Lara Mejač. Each year, we are joined by a guest curator from the region we cover. Hana Čeferin (1995) is a curator, editor and art historian. She has been head of the programme of Mala galerija BS in Ljubljana since 2024 and is an assistant at the Department of Theory at UL ALUO. Between 2023 and 2024, she was Head of the Biennial of Design in Ljubljana. From 2015 to 2023, she worked with Galerija Fotografija in Ljubljana and Kunsthalle Wien in Vienna. Since 2021, she has been the editor of ETC. magazine. As an independent curator, she has collaborated with the Improper Walls gallery in Vienna, KS Room Feldbach, the Alt+1000 Photography Festival in Switzerland, Cankarjev dom, Škuc Gallery, and others. She was a participant in the School of Art (SCCA). Lara Mejač (1994) works as a curator and producer in the field of contemporary visual and new media art. Between 2016 and 2023, she was the curator, producer and programme coordinator at DobraVaga Gallery in Ljubljana. In addition, she worked for different institutions and galleries, such as Museum of Modern Art+Museum of Contemporary Art (MG+MSUM) in Ljubljana and Kunsthalle Wien in Vienna. She has curated and produced exhibitions in various galleries in Slovenia and abroad. She is currently the curator of the intermedia exhibition series Enter Here at Ravnikar Gallery Space in Ljubljana and curator and producer for Projekt Atol in Ljubljana. She is the co-founder and member of the curatorial team of ETC. magazine. She was a participant in the School of Art (SCCA). Ajda Ana Kocutar (1994) is a curator, writer, and editor based in Ljubljana, Slovenia. She is a co-founder and member of the curatorial team of ETC. Magazine, showcasing art “from the Balkan to the Baltic” in both printed and exhibition formats. As a member of the ETC. collective, together with Hana Čeferin and Lara Mejač, she also leads the Ljubljana Art Weekend program from 2024 to 2026. She has curated numerous exhibitions in Slovenia and abroad and regularly contributes texts to exhibition catalogues and other publications. She was the assistant curator of the 36th Ljubljana Biennale of Graphic Arts: The Oracle, curated by Chus Martínez and co-editor of The Oracle: On Fantasy and Freedom (Sternberg Press, 2025). INFO ABOUT THE LATEST ISSUE No matter how many times we vow not to repeat the mistakes and injustices of the past, we seem to do it regardless. In its fifth issue, ETC. Magazine turns its attention to cycles – personal, political, historical – and asks what it means to come full circle. This issue explores the unstable terrain between the past and history: the former subject to nostalgia and mythologisation; the latter to institutional selectivity. How much do structures of power shape remembrance and commemoration? What role do archives, memorials, and collective memory play, not only in mourning, but in mobilising? And how much of what we know about the past is fictionalised, mythologised or otherwise misshapen and manipulated? As algorithms increasingly curate our understanding of history, magnifying certain narratives while burying others, what role does technology play in reshaping collective memory? Meanwhile, modern warfare, defined by drone strikes and AI-driven systems, repeats age-old patterns of violence while excusing its users from accountability. It leaves us questioning whether technology reveals cycles of oppression or brings new ones into existence. When history is reduced to a slogan, is the responsibility to heed its message reinforced or diminished? “Never Again” might be repeated in classrooms, museums, and hashtags, but what does it mean when genocides continue to unfold, now with the eyes of the world observing the horror in real time? How do we, as witnesses, navigate the space between moral clarity and political paralysis? In this issue, we wonder how not to succumb to feelings of helplessness, and what steps we can take to confront them. What does it mean to boycott, to refuse, as well as to act and be present, even when actions often feel small? In any case, the fight feels endless – countless historical examples precede the protests of today, and the rights people once struggled to obtain, the same ones we have perhaps come to take for granted, are under attack again and again. Despite claims that we live in unprecedented times, there is much we could learn from history, past dynamics of power and forgotten stories. Full Circle invites artists and writers to consider the loop between memory and amnesia, past and present, reliving and erasing. In this issue, we ask whether we are doomed to repetition or can we return to the past in order to rethink the future? < Mentors Educational Program How to Apply >