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Events 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 >

Events Lecture Series Participant Activities WCSCD 2025/2026 educational program lecture series Lecture by Toby Upson A practice of Artwriting Time October 3d , 2025, 19:00 Venue: SKUP Novi Sad Folding A.V. Marraccini's approach to criticism into Anne Carson’s notion of desire as well as Bruce Hainley’s practice, this lecture will explore 'commensal' approaches to writing. Rather than a mode of writing 'about' a thing, 'writing to' or 'with' a thing, this approach recognises the innate agency of a thing, asking a writer to enter into a relationship with it and to write that space. This is not about making the abstract residues of a dreamt-up relationship visible; it is about manifesting the affective spark that runs between bodies, thereby allowing others to enter into this relationship or at least to know why it has come to be. In this way, writers embracing a commensal approach work through an essayistic sensibility, giving this relational space enough of a body to withstand a trial. Whenever I mention the essay form, I am always reminded of the Goethe quote that opens Adorno's ‘The Essay as Form’: “Destined to see what is illuminated, not the light.” By dwelling in a space of desire, writers embracing a commensal approach do this illuminative work inside out. Toby Upson is the mentor of the WCSCD educational program 2025/2026, and his lecture is organized as part of the educational program public encounters in collaboration with SKUP and Sok Cooperative. Lecture will be in English Toby Üpson is a writer currently based in Glasgow (Scotland, UK). Stemming from an interest in how we/he experiences everyday life, Üpson's practices uses forms of artwriting and creative nonfiction to explore the interdependencies of being. As an arts worker, Üpson's writing has appeared in international publications including Art Monthly, e-flux Education, émergent magazine, FAD_ and Garageland, he has also produced commissioned texts for artists, museums and galleries such as Belmacz, Camden Arts Center, Charleston, the Gerald Moore Gallery as well as Cooke Latham Gallery, amongst others. Alongside these more standard formats, Üpson’s creative writing has been published by La chaise jaune and Pilot Press as well as through galleries and museums such as The Warburg Institute. Between 2023 and 2024 Üpson was a Faculty Member of the Metabolic Museum-University based at KW Institute for Contemporary Art, Berlin, where he co-convened the debating chamber “BREATH — Figureheads and Emancipation”. < Mentors Educational Program How to Apply >

Events Events 2022 2021 2020 2019 2018 Future Light: or is A New Enlightenment Worth Considering? | Maria Lind Comradeship: Curating Art, and Politics in Post-Socialist Europe | Zdenka Badovinac What Could/Should the Institution Do? | Ares Shporta < Participants Educational Program Programs >

Events Lecture Series Participant Activities The Decolonial Possibility by Charles Esche Charles Esche Venue: Salon of the Museum of Contemporary Art (14 Pariska Street) Date: November 6th 2019 18:00 Decolonial theory as developed over the past 15-20 years has recently seen a huge surge in interest. While some of this interest has simply been fashionable, decoloniality does seem to provide a useful description of some aspects of our current condition. In particular, it addresses the virulence of universalist assumptions in much western theory and questions the reliability of thinking from and through the West, however critically. The development of the idea of coloniality or the colonial matrix of power is also a useful tool in avoiding some of the divisive and essentialising discussions around identity politics without reverting to a white supremacist position. In particular, it perceives possibility in the communal as a way to think beyond the divisions of human-human; human-animal; human-earth. In this lecture Charles Esche will present his view on the possibilities that decolonial thinking can bring to organizations like Modern and Contemporary Art Museums using the Van Abbemuseum in Eindhoven as a concrete example and critical case study. About Speaker: Charles Esche is director of Van Abbemuseum, Eindhoven; professor of contemporary art and curating at Central Saint Martins, London and co-director of Afterall Journal and Books. He teaches on the Exhibition Studies MRes course at CSM, and at Jan van Eyck Academie, Maastricht. Outwith the museum, he (co) curated Le Musée Égaré, Kunsthall Oslo 2017 and Printemps de Septembre, Toulouse 2016; Jakarta Biennale 2015; 31st Sao Paulo Bienal, 2014, U3 Triennale, Ljubljana, 2011; RIWAQ Biennale, Palestine, 2007 and 2009; Istanbul Biennale, 2005; Gwangju Biennale, 2002 amongst other international exhibitions. He is chair of CASCO, Utrecht. He received the 2012 Princess Margriet Award and the 2014 CCS Bard College Prize for Curatorial Excellence. The event is free and open to the public. The WCSCD curatorial course and series of public lectures have been initiated and organized by Biljana Ciric. The lecture by Charles Esche is generously supported by the Embassy of Kingdom of Netherlands in Belgrade < Mentors Educational Program How to Apply >

Caring for Land is Caring for Country

Educational Program  Educational Program 2022 2021 2020 2019 2018 WHAT COULD/SHOULD CURATING DO?—WCSCD was initiated in 2018 in Belgrade as an educational platform focused around notions of the curatorial and is a registered civic association. WCSCD’s education program has been run on an annual basis every year since 2018. Till 2022 it was organized as a three-month program for practitioners situated in Belgrade. From 2023 program is organized as biennial working with program participants over longer period of time. Our participants were young practitioners from different parts of the world including the Balkans, EU, Asia, Central Asia, Russia and Latin America making it a unique program in Europe. WCSCD educational program has been learning through recent years to think what kind of citation could actively produce.Through carefully created mentorship program we are committed to think and practice what kind of knowledge we consider worth and how it gets prioritized creating new citations from the margins. [1] [1] Sara Ahmed, “White Men,” Feminist Killjoys Blog, November 4 2014, www.feministkilljoys.com/2014/11/04/white-men < Participants Educational Program Programs >

Astrobus - Ethiopia 2021 The COVID19 crisis is affecting everyone everywhere. No county is safe from the social and economic disruptions caused by the pandemic. Consequently, like every activity that involves gathering people in one space, the Astrobus-Ethiopia program has been revised to adapt to this new reality. We plan to hold Astrobus-Ethiopia 2021 both virtually and in person. The virtual component is to substitute for the movement of people across cities and countries. Astrobus-Ethiopia team members outside the region from where the event will take place will connect to the event through pre-recorded video, and live streams when possible. The local organisers, which we will mobilise from local universities and art clubs, will hold the usual Astrobus gathering on the university grounds. Location Astrobus-Ethiopia’s ambition is to reach students from all corners of Ethiopia through this series of events. In the past, the team travelled to the north and the south of Ethiopia. This year, the team plans to travel to the south west of Ethiopia. Due to current situations in Ethiopia, some areas are inaccessible. As a result of this, we have chosen locations in Ethiopia that are relatively stable, with a high cultural and economic significance, for the next Astrobus event. The Omo region, for example, is a place for the Ari Blacksmiths, who specialize in iron and woodwork, and live on the periphery of settlements. Despite their indispensable contribution to society, Blacksmithing communities are widely regarded as the most marginalised of artisan groups, not just within the Ari but throughout southern Ethiopia where they are known for their craft [1] . Economically, the region hosts Gilgel Gibe III [2] , the largest hydroelectric power plant in Ethiopia with an estimated production capacity of 6,500GWh a year. Being the largest Ethiopian power plant, the Gibe III project is used for floodwater regulation and maintenance, as well as power generation. Astrobus-Ethiopia 2021 will take place in the Arba Minch, Konso, and Jinka cities. The mission of Astrobus-Ethiopia is to stimulate a culture of scientific thinking in Ethiopia by promoting science-art-technology-innovation education and creating public awareness around these. We plan to achieve this by focusing on abstraction and composition, which are the fundamental ideas underpinning the natural sciences, art, technology, and innovation. We design activities to provide an opportunity for the public to explore, learn and understand the main elements of modern civilisation, and how these are realised, i.e. how ideas are created, imagined, tested, mixed, visualised, transformed, and then applied to help improve the state of the world. We create an environment which facilitates new insights into the spaces of science and/or art, and encourages the composition of these insights to solve real challenges in society. Through interactions with role models – especially for underrepresented groups, such as young women – we help challenge negative stereotypes and reshape the students’ perception of their individual abilities, which in turn also impacts society’s perception. The art-science-technology ecosystem we create not only allows students to appreciate these essential human endeavours within their fields, but also fosters trans-disciplinary awareness. For example, by allowing students to use artistic methods to demonstrate their understanding of scientific concepts or objects, we help them make transitions and connections that are not only important for communication, but also the development of innovative problem-solving skills. Reference 1 [1] Lucy van Dorp et al., “Evidence for a Common Origin of Blacksmiths and Cultivators in the Ethiopian Ari within the last 4500 Years: Lessons for Clustering-Based Interference,” PLoS Genet 11(8): e1005397 (Aug 2015): https://doi.org/10.1371/journal.pgen.1005397 [2] Power Technology, “Gilgel Gibe III Hydroelectric Power Project,” https://www.power-technology.com/projects/gilgel-gibe-iii-hydroelectric-power-project/ Reference 2

Events Lecture Series Participant Activities The first talk in the 2019 series is titled: Exhibition as language/space/agency for contradicting ideas, forms, and experiences By Luca Lo Pinto Date: September 5, 2019 Time: 18:00 Venue: Salon of the Museum of Contemporary Art (14 Pariska Street) The curatorial course What Could/Should Curating Do is proud to announce that we continue collaboration with the Museum of Contemporary Art in the presentation of a series of public talks as part of 2019 program. For this talk, Lo Pinto will discuss his curatorial practice, focusing on a number of key exhibitions he has organized inside and outside of institutional contexts. Lo Pinto’s practice involves the various roles of curating, writing, researching, making exhibitions, and making books. His work takes different forms by maintaining an openness through the employment of different tools and modes all according to what each project requires. Making exhibitions is a way to develop a situation that can have multiple points of entry both visually and conceptually, offering the viewer a wide range of possibilities and allowing the existence of various narratives. Lo Pinto approaches the curatorial process as a way of questioning different works in relation to each other, in order to see what happens. The same attitude informed his activity as a publisher. This dimension of in-between-ness across disciplines also shaped his education. For this presentation, he will focus on a number of projects which embraces his ongoing interest in house museums, the investigation between the original and copy, the exhibition as a living object, and will also touch upon a number of editorial projects. About Speaker: Luca Lo Pinto (1981) is the curator of Kunsthalle Wien. He is the co-founder of the magazine and publishing house NERO . At Kunsthalle Wien he organized solo exhibitions of Nathalie du Pasquier, Camille Henrot, Olaf Nicolai, Pierre Bismuth, Babette Mangolte, Charlemagne Palestine and the group exhibitions Publishing as an artistic toolbox: 1989-2017; More than just words; One, No One and One Hundred Thousand; Individual Stories e Function Follows Vision, Vision Follows Reality. Other curatorial projects include Io, Luca Vitone (PAC),16th Art Quadriennale (Palazzo delle Esposizioni), Le Regole del Gioco (Achille Castiglioni Studio-Museum); Trapped in the closet (Carnegie Library/FRAC Champagne Ardenne), Antigrazioso (Palais de Toyko); Luigi Ontani (H.C. Andersen Museum); D’après Giorgio (Giorgio de Chirico Foundation); Olaf Nicolai-Conversation Pieces (Mario Praz Museum). He has contributed to many catalogues and international magazines. He edited the book Documenta 1955-2012. The endless story of two lovers. In 2014 he released a time capsule publication titled 2014. The event is free and open to the public. The WCSCD curatorial course and series of public lectures have been initiated and organized by Biljana Ciric. The lecture by Luca Lo Pinto is made possible with the help of the Austrian Cultural Forum Belgrade. < Mentors Educational Program How to Apply >

Events Lecture Series Participant Activities Walking as a Way of Knowing – Belgrade For the fall we announce new and revisited existing series of walks as a proposal for artistic interventions to think and practice history and knowledge through entangled encounters. From September 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, architects, scholars 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 second season of walking together will start in september and it will be possible to walk with us until the end of October . 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. Based on her award-winning book Singing Belgrade: Urban Identity and Music Videos Irena Šentevska takes you to a tour of Belgrade which explores some landmarks of the city’s music life since the beginnings of its exposure to influences from the global pop culture. In 2019 The Museum of Modern Art in New York opened an exhibition named Toward a Concrete Utopia and included the original plans and drawings of the building settlement Cerak Vinogradi. Around the same time, Cerak Vinogradi was granted the status of cultural landmark by the state, thus being the first modern neighborhood in this part of Europe and one of three in the rest of the continent with such privilege. Artists Jelena Andzic in collaboration with Kulturni Cerak explores importance of this settlement. With artist Dunja Karanovic we continue feminist walks uncovering histories of the woman and their presence in the public sphere. [1] Muecke, Benterrak and Roe, Reading the Country, 21. Singing Belgrade Walk by Irena Sentevska October 26th 11am Meeting Point: Pobednik Monument, Kalemegdan Fortress Language: English Duration: two to three hours Based on her award-winning book Singing Belgrade: Urban Identity and Music Videos Irena Šentevska takes you to a tour of Belgrade which explores some landmarks of the city’s music life since the beginnings of its exposure to influences from the global pop culture. We start at the Kalemegdan Fortress where we talk about the beginnings of rock ’n’ roll in Belgrade and the culture of lively dance parties (igranke) often held in open air venues. We also talk about neo- folk and the urban-rural divide in Serbia’s popular music. Then we use your smartphones to watch some videos from various music genres, all of them set in Kalemegdan. The tour then takes us to the Students’ Cultural Center (SKC), the unofficial headquarters of Belgrade’s punk and new wave scenes in the 1980s. After some consideration of the importance of SKC for Serbia’s hip-hop and segments of the contemporary underground music scene we take a long ride to ‘South Central Kotež’, Belgrade’s remote northern suburb and home to Serbia’s most famous rappers. If we are lucky, some of them might join us to discuss their rise to stardom. About Irena Sentevska Irena Šentevska received her PhD from the department of arts and media theory of the University of Arts in Belgrade. She is author of two books in Serbian, The Swinging 90s: theatre and social reality of Serbia (2016), and Singing Belgrade: urban identity and music videos (2023), which received the Belgrade City Assembly’s annual award for social sciences and humanities. Her articles have been published by leading academic presses in Europe and the US (Routledge, Palgrave, Taylor and Francis, Peter Lang, Indiana UP, De Gruyter, Berghahn Books, Bloomsbury Academic etc.) She was member of the regional research teams for the project Unfinished Modernisations: Between Utopia and Pragmatism (2012) and exhibition Toward a Concrete Utopia: Architecture in Yugoslavia 1948-1980 held in the Museum of Modern Art (MoMA) in New York (2018). Irena lectured at the interdisciplinary doctoral studies of the University of Arts in Belgrade and received lecture invitations from various university departments and cultural institutions based in Belgrade, Novi Sad, Ljubljana, Rijeka, Prague, Graz, Zürich, Karlsruhe, Tel Aviv etc. In her spare time she enjoys Nordic walking. The Little Town on Top of The Hill – Cerak Vinogradi October 19th 11:00am Walk by Jelena Andzic and Kulturni Cerak Language: English Meeting point: In front of entrance of Vojno Medicinski Center Duration: two to three hours In 1981 a new building settlement was erected on the outskirts of Belgrade, called Cerak Vinogradi. The author team consisted of architects Milenija and Darko Marušić together with Nedeljko Borovnica. At the time of its construction Cerak Vinogradi represented the peak of modern residential architecture. In 2019 it became the first modern neighborhood in this part of Europe and one of three in the rest of the continent, which was granted the status of cultural asset. Furthermore, the architects' plans and drawings were included in the exhibition Concrete Utopia at the Museum of Modern Art in New York. After the exhibition ended it was selected for the museum’s permanent collection, being one of only two works from Serbia that had the honor of being included in it. The uniqueness of the settlement is, beyond doubt, the fact that it was constructed around the idea of walking. Unlike many architectural projects today, whose main aim is to extract any additional square meter, Cerak Vinogradi was built in harmony with its surroundings, not in spite of it. As the terrain on which the settlement was constructed is steep, the walking paths were built along the idea of isolines - lines that connect same altitude points. This allows the residents to walk easily through the neighborhood, encountering many spots designed for socializing and public use. These are called micro-ambients that take many forms - small amphitheaters, isolated bench nooks, etc. They were carefully designed with intent for the pedestrian to slow down, which is something that we are growing unaccustomed to in this ever-accelerating world. Furthermore, these public spaces are a rarity in today's Belgrade, attesting to their occupation by restaurants and cafes. On the other hand, the public spaces that are decentralized are still open to public use, however due to this very fact, their maintenance is constantly being neglected. The walk will be led in cooperation with Kulturni Cerak, an organization whose main aim is the preservation of the settlement's cultural identity. It consists of architects that have been working closely with Milenija Marušić over the years. It is thanks to their constant effort that the settlement hasn't been overlooked and forgotten, which has sadly been the fate of many past projects of architectural importance. The walk will also feature a private/public reading of the artist's publication Poems for The Little Town on Top of the Hill, a book of collaged poems which she has done as a response to the state's neglect of Cerak Vinogradi About Jelena Andzic Jelena Andžić is a visual artist from Belgrade, Serbia. She received her MFA in Set Design at the University of Tennessee, Knoxville in 2019 and in 2016 graduated from the Faculty of Applied Arts in Belgrade. She spent two years at the Metàfora Studio Arts program in Barcelona and defended her final thesis at MACBA in January 2022. Her artistic practice revolves around the static image and the potential it holds in terms of giving and absorbing knowledge. Her main points of interest are the impenetrability and ambiguity painting inherently possesses, as well as the different roles time plays in painting and photography. She had her solo exhibition at N.O. Concept Gallery (Belgrade) and took part in group exhibitions in Homesession (Barcelona),àngels barcelona | Espai 2 (Barcelona), Mutuo galería (Barcelona), Cultural Center Pančevo (Pančevo), Museum of Applied Arts (Belgrade). In 2022 she was a resident at Fabra I Coats: Fàbrica de Creació in Barcelona. She was a participant in the 2022 WC/SCD educational program. She is currently based in Belgrade. About Kulturni Cerak Tamara Nikolić Prodić Born in 1997 in Belgrade. I have completed both undergraduate and graduate studies at the Faculty of Architecture, University of Belgrade. Volunteered at the Belgrade Architecture Week and participated in several international architectural congresses and competitions. Currently engaged on architectural and cultural heritage revitalisation projects in private practice. The president and one of the founders of the "Cultural Cerak" association. Nađa Vujović Born in Belgrade in 1997. I have completed both undergraduate and graduate studies at the Faculty of Architecture, University of Belgrade. Currently working in private practice in the field of urban planning. I studied the topic of citizen participation in the development of strategies for the implementation of sustainable development goals, as well as the return of biodiversity to cities. I am one of the founders of the "Cultural Cerak" association. Olivera Gaborov Lazić Born in 1968 in Zrenjanin. I obtained the title of Graduate Engineer of Architecture from the Faculty of Architecture, University of Belgrade. Employed in the field of urban planning. As a resident of the Cerak Vinogradi settlement, I have been actively engaged in activism and the protection of the settlement as a cultural asset within my professional domain since 2015. I have been an active member of the association "Cultural Cerak'' since its foundation. As an expert team within our association, we focus on designing and implementing projects in architecture, urban planning, cultural heritage preservation, and environmental protection. Our key projects include: Monitoring planning documents for the Cerak Vinogradi area and Belgrade city; Participating in the preparation of urban and planning documents; Conducting research, preservation and digitization of archival materials related to our locality; Renovating the local green areas by planting specific types of trees as per horticulture and landscaping projects; Organizing urban culture workshops tailored for different age groups. Painter. Poet. National Hero October 12th 11am Walk by Dunja Karanovic Language: English Duration: two to three hours The names and faces we pass on our daily commutes and wanderings are rarely reflected upon, and sometimes they even seem arbitrary, but the ways in which our public spaces are organized are highly political and shape our cultural and collective identities. In Belgrade, only 4.37% of streets are named after women, many of whom are not even historical figures but mythical heroines and metaphors. Out of the 115 streets whose names commemorate women, 73% are among the smallest, and 26.1% are so-called ‘dead end’ streets. What this speaks to is the implicit gendering of public spaces and the century-long division between the private and public spheres as inherently masculine and feminine. In order to see beyond the systematic exclusion of women from public spaces, we have to look not only at what little is there, but at what’s invisible and hidden within the margins. In the second edition of our feminist walks, we will be (re)discovering the streets, monuments, and artistic interventions in public space that tell the history of Belgrade from the perspective of women. Join us from September to learn more about the women artists, authors, heroines, and peace activists who left their mark on the city from the 19th century to the 1990s. 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. 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 Photos by Jelena Andzic < Mentors Educational Program How to Apply >

Alumni 2022 2021 2020 2019 2018 2021 Alumni Devashish Sharma has a BFA in Painting from the Maharaja Sayajirao University, Baroda, and an MFA from the Shiv Nadar University, Greater Noida. After completing his MFA, he joined the Kiran Nadar Museum of Art (KNMA), New Delhi as a trainee, and was part of the team responsible for the physical verification and documentation of the art collection. In 2017, he received the Public Art Grant from the Foundation for Indian Contemporary Art (FICA), New Delhi and was able to pursue his interest in setting up a museum for the children of the villages of Kumharpara and Balengapara, Chattisgarh. The Museum of Questions and Imagined Futures is a space for children to think about the future of history in a rural context. Research on architecture and landscapes is a key part of his practice, and in 2019 through a grant funded by the Max Mueller Bhavan, New Delhi he was able to initiate Road Number Zero, a research project that explores the cusp between rural and urban landscapes within India. His practice revolves around the ideas of bodily experience and movement, and the politics of curating. Devashish is currently based in Bangalore. Beatrice Rubio-Gabriel is an independent curator, writer and performance artist based in Naarm/Melbourne. She finished a double-degree BA in Art History and Theory alongside a BFA from the Monash University School of Art, Design and Architecture, and was the recipient of the BAHCxMUMA Curatorial award at the MADANOW19 exhibition. Centring around a collaborative and experimental practice, she has curated projects that aim to challenge current curatorial and euro-centric modes of exhibiting, and experiments with writing as artform. Her curated projects include /dis/location, MPavilion, Melbourne (2019); The Art of Consumption and The Answers You Need Are Right Where You Are, Intermission Gallery, Melbourne (2019); Revisiting the Quadriennale, CareOf Facility, Milan (2018) and Dwelling Inbetween Here and Some Other Place, Monash Prato Centre, Prato (2018). The former artistic director of Intermission Gallery, she is now currently researching systems of care and intersectional spaces of Resistance Aesthetics. She is also exploring the Baybayin script of the Philippines as a gateway for cultural understanding and re-connection, and how this may be engaged through performance and mark-making. Christophe Barbeau Following a BFA in Quebec City at Université Laval, Christophe Barbeau completed the Master of Visual Studies, Curatorial Studies, at the University of Toronto, Canada, during which his research looked for a political understanding of the position of the “curator” through a specific concept of “authorship”. His projects, as an artist and a curator, have been presented in different group and solo exhibitions in Quebec City, Montreal, Rouyn Noranda, Toronto, Boston, and Nice. Notably : The Die Has Been Cast (2014 Villa Arson, Nice), dans la petite galerie. […] (2014, L’Oeil de Poisson, Quebec City), Dans ce cas-ci (si), […] (2015, Quebec City), Dans le but de décentraliser […] (2016, L’Écart, Rouyn Noranda). In this first stage of projects, the research focused on developing artist’s curated situations of exhibitions where a curatorial strategy was embedded within an artistic practice, specifically through display structures as well as employing strategies of copies, re-makes, re-enactments. Barbeau’s latest exhibitions were entitled : «Qu’avons- nous fait? […] (2019) presented in Toronto; and «and I am the curator of this show1» (2018) presented at the Art Museum University of Toronto in 2018. In this stage of projects, the focus was redirected towards the power relationship specific to the position of the curator, through the use of institutional critique and self-reflexive curatorial gestures, the projects were aiming at deconstructing the conventional and naturalized authorities of the curator, uncovering the political challenges that this figure is facing. < Participants Educational Program Programs >