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< Back Corena* Musings Addis Ababa 15 Apr 2020 Sarah Bushra I am writing this text safely tucked in a studio apartment in Basha Wolde Condominium , Arat Kilo, Addis Ababa. Although the city is not in total lockdown, I barely leave my home, except for sporadic coffee breaks at a café downstairs. At least once a day, I make my way down from the fourth floor – pausing at the balcony of each story to look out at the city and check if it is still there and indeed intact between my climbs down each staircase. The pauses get longer with the passing days, and my gazes more unsure and less futile. Balcony Series – Addis Ababa, Sarah Bushra. There seems to be so much time stretching between the sips one cup packs, to embody all the possibilities the coffee’s dreamy color alludes to. Yet, sitting on a low stool and staring down the road, the day suddenly dusks and I realize there’s no time at all. It’s been 4 weeks since the first confirmed case was announced in Ethiopia, 3 weeks since the government banned all public gatherings, 3 weeks since schools and universities shut down, 5 days since the first reported COVID-19 death. There are new languid movements my limbs have adopted as they move through the day – in stark contrast to the lilting anxiety that sits at the opening of my throat. I think of my eyes and imagine how this lethargy translates into my vision. I see a wave, a certain dissolution and emergence of communities – as the physical spaces fade and the virtual appears. Among the many articles, listicles, memes, and mantras I encountered online that urge us to reflect on the changing times brought about by the global pandemic, one stood out to me, captivating in its subtlety. Tamrat Gezahegne shares on his Facebook account pictures of his stone carving installation. These images are less of a call to action as they are a solace, inviting us to the tranquility the artwork offers. My mind wanders to the meditative act of carving a stone, remembering Louise Bourgeois as she says: “….the thing that had to be said was so difficult and so painful that you have to hack it out of yourself and so you hack it out of the material, a very, very hard material.” Selected stone Carvings, Tamrat Gezahegne. Images shared with permission of the artist. Thinking about the physicality of the rock, despite what it refuses to do, Gezahegne has carved it to fit his imagination. Empathy is my entry point to his work. Reflecting on his perseverance and the repetitive force he used to hack, I ask what the thing was that has to be said that was so painful, maybe in this case, so alien and unprecedented. When the Ministry of Health in Ethiopia announced the first case of Corona in the country, I saw huddles of people, mostly mothers living in my apartment complex talking in hushed tones. I imagined at one point every conversation in the world dominated by Corona. All of us connected with this invisible string of whispers scuttling through our ears. Art makes this link apparent and visceral, as if we all are components of one physical body connected through the veins under our skin. Selected paintings, Selome Muleta. Images shared with permission of the artist. Scrolling down artist Selome Muleta’s feed is like peering through a hole into her private unraveling, performed beautifully and with care. We see the figure in her paintings shuffle in her bed from one side to the other, dressing and undressing through the day, cross-legged and ideally sitting facing the wall, before she melts into her surrounding, no different from the rigid and inanimate room she occupies. I imagine us, Addis dwellers engaged in a collective struggle to swallow the concept of physical distancing and self-isolation and I wonder what small things are letting them linger at the back of our throat floating in a thick fluid of uncertainty. We are now constantly attentive to where our hands might fall, as if they had not once freely landed on the brackets of our neighbor’s folded arm, or cupped a stranger child’s cheek, or hoisted the trailing corner of netela and flung it across the back of a woman rushing out from the neighborhood suk . These acts of intimacies that threaded people into communities are now replaced with static jerks as we remember that it’s no longer okay to hug, kiss or shake hands. As the government tallies the positive cases from a meager pool of tests, the real fear of most Addis Abebes come from imagining the impending fate, when the virus surges into our community in full force as it has done into other metropolises across the globe. On April 8, the Ethiopian government issued a State of Emergency, the fourth one in three years, urging citizens to take the necessary precautions, abide by the sanctioned laws, support one another, and nurture a spiritual relationship with God. Thus far Ethiopians’ strongest grounding against the unsettling nature of the virus has been a spiritual armor. On April 6, the Ethiopian Religious Council officiated the beginning of a one-month long prayer period among all religions represented in the country. The pandemic escalating in the middle of Lent, priests have been burning incense on the streets of Addis, to protect the city from COVID-19. The smoke in the air is reminiscent of the trash burning tradition on Hidar 12 (St. Michael’s day), of each year to commemorate the Spanish flu that took the lives of many Ethiopians in 1918. Alula Pankhurst draws our attention to this correlation in his post that includes his picture of a hazy Addis as the city celebrates the pandemic’s centennial by burning trash. He cautions those that criticize this traditional and historical practice and asks if we remember COVID-19 in 100 years, how will we commemorate it? I noticed my mind wouldn’t trail to memory-scape pressed by the immediate curiosity of how all this is going to end. But I imagine the post-COVID world will be defined by the company we keep now amidst the storm. This pandemic challenges and disrupts our understanding of community. It confronts us with our loneliness, unveiling the true nature of our ties, not only as we exist confined alone or with a select few, but also by unveiling the true nature of our ties to people, places, and ideologies. * Corona virus as it’s commonly pronounced by Ethiopians. It echoes sentiments of breaking/disrupting language as a form of resistance, reminiscent of Maaza Mengiste’s words in her war novel, The Shadow King, “the deliberate mispronunciation has spread across the country, started by those who did not know better and continued by those who do. It is another sign of [Ethiopians’] rebellion, another sign that they are trying to fight in every way that they can.” (Mengiste, Maaza. The Shadow King. W W Norton, 2019.) Sarah Bushra is a multi-disciplinary artist based in Addis Ababa, Ethiopia, working primarily with a hybrid of text and images. Previous Next

Walking as a Way of Knowing – Belgrade This spring and summer, the WCSCD program is set to unveil a captivating series of events in Belgrade, offering unparalleled experiences that blend culture, history, and architecture. From March onwards, we invite you to join the "Walking as a Way of Knowing – Belgrade", a series of walks within the city, which will be presented each season. These unique explorations are led by local artists, curators, and architects, designed through their own research interests, providing different pulses of Belgrade. While drafting these walks, we had in mind Donna Haraway's thinking that only a partial perspective promises an objective vision. (Haraway, Situated Knowledges) These walks are designed to showcase the multifaceted Belgrade, revealing its marginalized histories, and vibrant multicultural identity through the senses and insights. As Australian thinker Stephen Muecke argues that there is a need to study specific, local places in order to “put things more on the scale of everyday living.” [1] Hence, our first season of walking together started in March, and it will continue until the end of June. Each walk will have its own unique focus on the diverse and ever-changing city landscape and show how we can experience it through different senses. Visual artist and poet Dea Džanković will lead a walk that is deeply attuned to the city’s evolving environment, showing hidden gems of the city. Jelica Jovanović , an architect and a member of Grupa arhitekata, will take you through the topographic history of the Non-aligned movement, a platform for the countries, predominantly situated in the Global South, which refused to enter alliances with either of any major dominating blocs. And finally, freelance journalist and artist, Dunja Karanović will uncover some of the marginalized aspects of Belgrade’s recent history related to feminist activists, their anti-war protests, calls for solidarity, and artistic interventions in urban spaces. All walks in May and June start on Saturdays at 4:00 pm. Please arrive 15 minutes prior to your walk. Pre-booking is required via email or instagram Send us your full name and title of a walk Please note that all group walks have limited capacity Price tickets: 1,760 dinars We do not accept debit or credit cards [1] Muecke, Benterrak and Roe, Reading the Country , 21. 1) May 11 Poetic Nostalgia with Dea Džanković Language: English Duration: 2 to 3 hours Walk starts at 4:00 pm Meeting point: Kralja Petra 82 (corner of Kralja Petra and Cara Dušana street) It’s a walk through Belgrade that is deeply attuned to the city’s evolving landscape. As a passionate artist and observer, I grapple with the city’s swift gentrification and the relentless march of uninspiring modern architecture erasing its historical essence. While many of Belgrade’s iconic landmarks and streets succumb to change, scattered pockets of poetic nostalgia endure in secluded corners, passages and buildings. This tour will showcase these overlooked gems, weaving tales that capture the authentic heartbeat of old Belgrade amidst its transforming skyline. Dea Džanković is an interdisciplinary artist based in Belgrade, Serbia. She holds a BA degree in Media and Arts production from the Academy of Arts in Belgrade (2014), and two MA degrees in Visual Arts, first being from Sabanci university in Istanbul (2016), and latter from the Faculty of Fine Arts in Belgrade. As of 2022, she became a finalist of the Mangelos award and a member of the new media section of ULUS. Her art practice spans various mediums, including performance, installation, photography, filmmaking, music, and text. Her artworks are inspired by the societal constructs, taboos, and boundaries of her environment, exploring the effects of social conditioning on the individual and collective psyche. She aims to involve the viewer in a transformative experience, enabling them to engage with the artwork on a personal level by creating spaces for intervention, where one can expose, examine, and hopefully transcend the imposed conditioning. @deadzankovic 2) May 18 The Non-Aligned Movement with Jelica Jovanović Language: English Duration: 2 to 3 hours Walk starts at 4:00 pm Meeting point: Obelisk of the Non-Aligned Countries near Branko Bridge In September 1961 Belgrade was the host of the first summit of the "non-engaged countries" which would later become the Non-Aligned Movement (NAM): the platform for the countries, predominantly situated in the Global South, which refused to enter alliances with either of the two dominating blocs. There are many material landmarks all over Belgrade, commemorating the events and people of the Non-Alignment - some are more, some are less obvious. We will start our tour at the Obelisc near the Branko's bridge, which was built to commemorate the 1961 Belgrade conference, and continue towards New Belgrade, to explore some of the more intangible memories of the NAM in one of its founding places. From Obelisk we will continue towards New Belgrade, and observe the Sava Amphitheatre, which was once planned to be the Friendship Center of the Non Aligned Movement, and then when we cross onto the New Belgrade side we will continue our walk through the Ušće Park and towards the Friendship Park, a unique memorial park of Belgrade which is a living monument to the NAM diplomacy of the socialist Yugoslavia, where all the foreign high officials visiting the country would plant a tree. Jelica Jovanović is an architect, architectural historian, heritage preservation professional and researcher. She is a PhD student at University of Technology in Vienna, working on thesis on preservation of mass housing of Yugoslavia, graduated from Faculty of Architecture in Belgrade with a revitalisation project of the Museum of Yugoslavia History. She is a founding member and president of the NGO Grupa arhitekata, within which she organizes summer schools and workshops revitalizing vernacular architecture in Serbia and works on architectural heritage and sustainability related research projects. She is a founding member and former secretary of Docomomo Serbia, within which she works as the digitization coordinator and on documentation projects. She was coordinator of the project “Unfinished Modernisations: Between Utopia and Pragmatism” for Association of Belgrade Architects, coordinator of the regional platform “(In)appropiate Monuments”, curatorial assistant of the Museum of Modern Art in New York (MoMA) for the exhibition “Toward a Concrete Utopia: Architecture in Yugoslavia 1948–1980”, coauthor of the platform “Arhiva modernizma”, coauthor of the research project and the book "Bogdan Bogdanović Biblioteka Beograd". 3) May 25 Feminizing the city with Dunja Karanović Language: English Duration: 2 to 3 hours Walk starts at 4:00 pm Meeting point: Studentski Kulturni Centar, Kralja Milana 48 As Rebecca Solnit put it, names subtly perpetuate the gendering of a city. The 1990s conflicts in the ex-Yugoslav region have prompted a re-traditionalization of gender roles and spurred nationalism that has become increasingly evident in present-day cultural policies and public spaces. Street names, squares, and monuments reflect a revisionist, one-sided understanding of history that celebrates violence and oppression. The aim of this walk is to map out and uncover some of the marginalized aspects of Belgrade’s recent history – the names and actions of feminist activists, their anti-war protests, calls for solidarity, and artistic interventions in urban spaces. By naming, remembering, and walking in the footsteps of Žarana Papić, Borka Pavićević, Women in Black (Žene u crnom), and other women who shaped and imagined a more peaceful and inclusive Belgrade, we can start collectively creating an alternative map of the city. Dunja Karanović is a visual artist and journalist based in Belgrade, Serbia. She holds an MA degree from the UNESCO Chair in Cultural Policy and Management at the University of Arts in Belgrade and an MFA from the China Academy of Arts. In her practice, she explores ways of bridging cultural policy, theory, and practice through interdisciplinary and collaborative approaches that foster radical friendship and collective care. Her research is focused on mainstreaming care in cultural institutions and reimagining them as slower, softer, and more inclusive spaces. She is a regular contributor of Liceulice magazine. She is passionate about feminist art histories, embroidery, the small, and the marginal. @dunja_karanovic

Current Program WCSCD 2025/2026 educational program participants Open call: What Could Should Curating Do Educational Program 2025/2026 Open call: What Could Should Curating Do Educational Program 2023/2024 Past Programs 2022 2021 2020 2019 2018

Past Programs 2022 2021 2020 2019 2018 2022 Program Archive Open call: What Could Should Curating Do educational program 2022 February 13, 2022

Madina Gasimi < Back Untitled Madina Gasimi When I finish my essay, I will become obsolete for the world. This is a joke that becomes the truth and concerns literally everyone. I am not able objectively to discuss self-isolation and the global consequences of a pandemic. I am not a politician, I’m a curator and most of the time I work at home. It’s kind of an isolation, but it’s a freewill. In this essay I try my best to describe my thoughts on the situation after the pandemic of COVID-19. There is an epidemic storm in Europe and the USA, and it is growing in Russia. Many people, among them my friends, believe that COVID-19 is harmless and there are different conspiracy theories that say it is built to destroy the economic system of the whole world. But the majority is still afraid to get sick and die. Then I have a question. What is the main problem revealed with the start of the pandemic? Is it a fear of death? But it’s not a problem, it is a primal feeling we always have, and it escalates in individual cases. I think that the main problem concerns the changes in relationships between people, and these changes are affected by fear. Fear to die, fear to get sick, fear to lose a job, fear to become vain. Different kinds of fear between people have become a driving force. The virus has changed our relationships and is changing the planet. In the face of a disease whose origin still causes controversy, globalization has proven powerless. Coronavirus gives a chance to individual nation-states and is a catalyst for the birth of dictatorship. For example, the state of emergency introduced in one of the European countries provided the current Prime Minister with almost unlimited power, which could lead to restrictions on freedoms and human rights. Let’s see what has already happened with freedom and human rights. I could never imagine such a thing, but the people of Europe instantly and voluntarily gave up their rights and freedoms in the face of an unknown disease and obvious danger. Museums, theatres, restaurants, cinemas, parks are closed, people are self-isolated and are waiting for the vaccine. In Moscow people only can go outside on passes and no further than 100 meters from the house, and they pay fines if they break their self-isolation. There is a new reality in which there is a coronavirus. People of the whole entire world are not used to living in a new reality. This is the reality where familiar and favourite places (bars, restaurants, cinemas, museums) have turned into places that can cause COVID 19 and therefore kill people. The urban environment is collapsing, and our usual way of life has crushed. It’s amazing how people reacted to this. What is happening now looks like a dystopia. It seems like people have thrown away several centuries of cultural development, locked themselves in their houses, have given all their rights, and are waiting good times. This is a manifestation of animal fear of an unknown infection, the symptoms and parameters of which change in the media every day. I am happy being alive and healthy. I appreciate free time that has appeared, I spend it with my family and, surprisingly, to work more. I am happy to see all the people who support the doctors, who are the true heroes of our time. If people still can help each other, then nothing is lost. But I think we should not forget the one thing. If we want to remain human beings and save mankind, one day we will have to open the borders, go to theaters again, shake hands and make friends. The one who first removes the mask after the quarantine is finished, and open the doors to other people, will be a hero. We just have to survive! It’s hard for me to imagine what activities will be void or unnecessary. We observe that digital support has appeared in every realm. It turns out that you don’t need to go to the office 5 days per week in order to work well, you have an ability to work directly from home, and it turns out that if you are a responsible one your efficiency is bigger. Utility and optimization are becoming the main characteristics of the work, regardless who you are – a programmer or a methodologist in a museum. We are fully transitioning to online life. Digital is possible everywhere, but should it be everywhere? Where, for example, will the Tretyakov Gallery collection go after it is digitized? Will offline museum occupations become online, and will other museum offline ones be excluded? That is the question. Perhaps after the pandemic people who create content will be included in the system, competing for the attention because the attention will finally turn into a new currency in the world. People will sit at home and watch Netflix, and screenwriters will tirelessly come up with new stories. People will be able to visit the museums not leaving their homes. There are online exhibitions curated online by online curators. And you absolutely do not need to make physical contact with anyone. Sounds weird, doesn’t it? Honestly I am not worried what should I do as a curator when it’s over. A curator is a person who creates ideas and meanings, a curator can form an agenda for today. I’m sure the curator can do anything and work in existing circumstances. I am concerned more about the issue of how homeless people, people with disabilities stay alive against the virus, how the environment will develop for such people, what will happen with palliative care? So many questions, and so few answers. We live in interesting times, and only those people who are able to change and adapt will survive. We are now united in the struggle for life, but we have forgotten that dying and disappearing is normal. I would like to recall the concept of Timothy Morton: the world changes regardless of how a person wants to see it. We should not fear such uncertainty, but it should be perceived as something positive. No one knows what is going to happen next, but arts and culture always rise up after every major epidemic. Madina Gasimi is a curator and cultural project manager based in Moscow, Russia. Previous Next

Alumni Alumni Lecture Series Participant Activities < Mentors Educational Program Menu >

Events Lecture Series Participant Activities Lecture by Ivet Ćurlin / WHW / My Sweet Little Lamb, (everything we see can also be otherwise) Saša Tkačenko, Flags from WCSCD series, 2018 THE CURATORIAL COURSE WHAT COULD/SHOULD CURATING DO? IS PLEASED TO ANNOUNCE A PUBLIC TALK BY: IVET ĆURLIN (WHW) My Sweet Little Lamb, (everything we see can also be otherwise) MUSEUM OF CONTEMPORARY ART BELGRADE THURSDAY, NOVEMBER 8 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 Ivet Ćurlin — member of curatorial collective, What, How & for Whom/WHW. The series is designed to offer new and different perspectives on the theories and practices of exhibition-making. Lecture by Ivet Ćurlin entitled “My Sweet Little Lamb, (everything we see can also be otherwise)” will present the work of curatorial collective WHW through several curatorial projects concerned with continuous reconfiguration of the relationships between artistic and cultural production, authorship, collecting, history, display and politics, as well as the discuss the need for starting the new long-term educational program for young artists, called WHW Akademija. The focus will be the project My Sweet Little Lamb, (everything we see can also be otherwise) WHW co-curated in collaboration with Kathrin Rhomberg. After six exhibition episodes, taking place from November 2016 to May 2017 in independent art spaces, artists’ studios and private apartments in Zagreb, the project’s epilogue has been staged at The Showroom, London, in collaboration with Emily Pethick. Based on the Kontakt Art Collection, which includes seminal works by artists from Central, Eastern and South-East Europe from 1960s to the present, the project juxtaposed the collection’s canonical works with a number of historical and contemporary works in order to address and reframe some of the recurring themes that stem from the collection, such as radical utopianism, figure of dissident artist, questions of gendered bodies, political subjectivities and engagement, and the status of public space. Titled after a work by Croatian artist Mladen Stilinović (1947-2016), the project is inspired by his life-long anti-systematic artistic approach that searched for more autonomous ways of artistic production. His artistic practice that humorously engages with complex themes of ideology, work, money, pain and poverty, inspired many of WHW’s projects. ABOUT THE LECTURER: Ivet Ćurlin is member of curatorial collective, What, How & for Whom/WHW, formed in 1999 and based in Zagreb and Berlin. Besides Ivet, WHW’s members are curators Ana Dević, Nataša Ilić and Sabina Sabolović, and designer and publicist Dejan Kršić. WHW organizes a range of production, exhibitions and publishing projects and directs Gallery Nova in Zagreb. Since its first exhibition titled What, How & for Whom, on the occasion of 152nd anniversary of the Communist Manifesto, that took place in Zagreb in 2000, WHW curated numerous international projects, among which are Collective Creativity, Kunsthalle Fridericianum, Kassel, 2005; 11th Istanbul Biennial What Keeps Mankind Alive?, Istanbul, 2009; One Needs to Live Self-Confidently…Watching, Croatian pavilion at 54th Venice Biennial, 2011. Recent projects by WHW include exhibition Really Useful Knowledge, Museo Nacional Centro de Arte Reina Sofia, Madrid, 2014, My Sweet Little Lamb, (everything we see can also be otherwise), (co-curated with Kathrin Rhomberg), various locations in Zagreb, 2016/2017; Shadow Citizens, retrospective of Želimir Žilnik at Edith-Russ-Hausfür Medienkunst, Oldenburg, 2018, and On the Shoulders of Fallen Giants, The 2nd Industrial Art Biennial that took place this summer in Labin, Raša, Rijeka, Pula, Vodnjan. In fall 2018, WHW has started non-formal international educational program for young artists in Zagreb, called WHW Akademija. 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 >

Call for applications: “WHAT COULD/SHOULD CURATING DO?” curatorial course 2019 We are pleased to announce the second edition of the curatorial program, What Could/Should Curating Do?, hosted in the city of Belgrade. August 26–November 26, 2019 Application deadline: March 18 What Could/Should Curating Do? Belgrade, Serbia WCSCD was launched in 2018 as an international curatorial course situated in a specific, local context framed by its Post-Yugoslav identity, the Balkans. After the inaugural pilot year program, we continue to contribute to the thinking and doing around the curatorial field with an intense, three-month long program that draws upon the unique local and regional context as a critical source of knowledge. Simultaneously, this program also intends to provide insights into the wider international framework related to exhibition-making practices on both a theoretical and practical level. The curriculum for the course includes weekly writing assignments, presentations, studio visits, institutional visits, lectures, and mentoring sessions with local and international practitioners. As part of the program for 2019 a research visit to a different part of the Balkan region is also being planned. During the course, participants will develop and propose a collective exhibition project that will be presented the last month of the program—or later—depending on the nature of the project. The course offers participants the opportunity to meet and learn from many leading professionals in the field of contemporary curating. The primary mentors for the course include Luca Lo Pinto (Kunshtalle Wien, Vienna); Charles Esche (Van Abbemuseum, Eindhoven); Zdenka Badovinac (Moderna Galerija, Ljubljana); Nikita Yingqian Cai (Times Museum, Guangzhou); Ares Shporta (Lumbardhi Foundation, Prizren); Dan Cameron (New York); Matt Packer (EVA International, Limerick); Carolyn Christov-Bakargiev (Castello di Rivoli, Turin); and others. Patrick D. Flores, Artistic Director of the 2019 Singapore Biennial will give a kick-off lecture in May of 2019, titled Singapore Biennial 2019: Some Political Inspirations. The presentation speaks to the method and conceptual impulse to convene a biennial in Singapore, noting the lively milieu of contemporary art in Southeast Asia and the ethical demands involved in evoking this liveliness. Application requirements: Applicants must be 35 years of age or younger No prior degrees in art or art history are required The course fee is 350 EUR. The fee does not include accommodations or travel costs. International participants will be assisted with finding accommodations in Belgrade—accommodations are approximately 180 EUR per month. The standard course fee also does not cover travel and accommodations on research trips. Successful applicants should prepare an allowance of approximately 300 EUR to cover these additional costs. How to apply: Applications should include the following items as a single Word or PDF document, sent by email to what.could.curating.do@gmail.com with the subject line: Curatorial-Course-Belgrade by March 18, 2019: CV/Portfolio Letter of Interest (500 words maximum, explaining your interest in curatorial practices) Project Description (300 words maximum, an urgent project you would like to develop) Based on the quality of the submitted documents, 15 participants will be selected to attend the course. Selected applicants should plan to arrive in Belgrade no later than August 25, 2019. The final list of participants will be announced in May 2019. The final curriculum of the program will be confirmed in June 2019 and shared with the attending curators at that time. The WCSCD curatorial course is a long term project initiated by Biljana Ćirić, with the support and collaboration of the following partner institutions: The Museum of Contemporary Art Belgrade; EVA International—Ireland’s Biennial of Contemporary Art; and Zepter Museum, among others. The project is supported by the Istituto Italiano di Cultura Belgrado; the Embassy of the Kingdom of the Netherlands in Belgrade; the Austrian Cultural Forum; Heinrich Boell Stiftung; and Hestia Art Residency & Exhibitions Bureau among others. Project contacts: what.could.curating.do@gmail.com Tjaša Pogačar (tutor of WCSCD 2019): pogacartjasa.contact@gmail.com Ana Anakijev (coordinator): anaanakijev@gmail.com Visual identity by Saša Tkačenko

As you go . . . the roads under your feet, towards a new future (If you want to travel, build roads first) About Cells Activities Online Journal Projects Contributors