About educational program Introduction of program 2018-2022 Due to the lack of formal education related to curatorial and artistic work in the Balkan region (while in the former West there has been a proliferation of MA and PhD programmes in curating and artistic research), WCSCD was initiated with the goal of fostering the new generation of curators and artists as well as to raise awareness of the importance of curatorial and artistic knowledge and positions when thinking of art institutions and their role within the larger social context. The intention is to bring together key international and local figures engaged in decolonizing curatorial and artistic discourse, who are specifically able to offer diverse knowledges to the program participants. Through the program, we invite mentors from non-western contexts, local practitioners and also colleagues from the former West. In the last three years our participants were young practitioners from different parts of the world including the Balkans, EU, Asia, Central Asia, Russia, Australia, New Zealand, Latin America making it a unique program in Europe. Due to very limited funding structures for the arts within Serbia, funding of the program was dependent on the support of cultural institutions. The program has also charged a participation fee in line with the monthly salary of the country from which the participants is a passport holder. This was an attempt to generate more equal access to participation for everyone who applied. We also offer special grants for colleagues in need and in 2022 we have granted program access to the colleagues from Russia. Furthermore, in collaboration with Kadist Foundation in 2022 we have enable grant for practitioners from the region in order to participate in the program. The program is intensive, with daily programs of workshops, writing sessions, studio visits, and research trips in the region. Some of the research trips we have done so far include: Kosovo, Bosnia, Romania, Slovenia and Austria. Every year the program would accept up to 15 participants. Besides closed-door workshops for participants, all invited mentors would present public lectures to the larger cultural sector, sharing their ways of working and instituting. From 2023 educational program will be biennial and spread across two years in order to facilitate deeper and longer research of program participants. < Educational Program Participants >

Events Lecture Series Participant Activities Lecture by Antariksa / KUNCI Cultural Studies Center, Cross-disciplinary encounters Saša Tkačenko, Flags from the WCSCD series, 2018 * Cover photo: courtesy of Leiden University Libraries THE CURATORIAL COURSE WHAT COULD/SHOULD CURATING DO? IS GLAD TO ANNOUNCE A PUBLIC TALK BY ANTARIKSA KUNCI CULTURAL STUDIES CENTER Cross-disciplinary encounters MUSEUM OF CONTEMPORARY ART BELGRADE WEDNESDAY, SEPTEMBER 26, 2018, AT 6 PM In collaboration with the Museum of Contemporary Art Belgrade, the third lecture within the series of public programs organized by WCSCD will be presented by Antariksa—a historian and co-founding member of KUNCI Cultural Studies Center, Yogyakarta, Indonesia. The series is designed to offer new and different perspectives on the theories and practices of exhibition-making, as well as to discuss the existing disciplinary boundaries and ways to expand them. Antariksa will present on his research collective in Yogyakarta, Indonesia. Since its founding in 1999, KUNCI has been deeply preoccupied with critical knowledge production and the sharing of this knowledge through the means of media publication, cross-disciplinary encounters, action-research, artistic interventions, and vernacular forms of education within and across community spaces. Antariksa will also address the precarious position that KUNCI inhabits, belonging to neither this nor that within the existing disciplinary boundaries while simultaneously attempting to expand them. The collective’s membership is open and voluntary, and is based on an affinity to creative experimentation and speculative inquiry with a focus on the intersections between theory and practice. ABOUT THE LECTURER: Antariksa is a historian and co-founding member of KUNCI Cultural Studies Center. He is the author of Tuan Tanah KawinMuda: HubunganSeniRupa-LEKRA 1950–1965 (The Relation Between Art and the Institute of People’s Culture in Indonesia 1950–1965) (2005). Antariksa is the 2017 laureate of Global South(s) du Collèged’étudesmondiales/FondationMaison des sciences de l’homme fellowship. His primary research is on art and the mobility of ideas in Japanese-occupied Southeast Asia. His upcoming book is 日本占領期のインドネシアにおけるアート集団主義 (Art collectivism in Japanese-occupied Indonesia) (Kyushu University Press, 2018). http://kunci.or.id 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

Alumni 2022 2021 2020 2019 2018 2022 Alumni Adelina Luft is an unaffiliated curator whose practice emerged and developed in Yogyakarta (Indonesia) along decolonial lines of thought and modes of working that favor collaboration, processes and interdisciplinarity. Her curatorial projects address trans-local affinities, shared histories, human/nonhuman relations with land, migration and identity. In 2021 she moved to Bucharest where she continues to initiate interdisciplinary and socially-engaged art projects. She collaborates with tranzit.Bucuresti and is a member of the curatorial team for Biennale Jogja Equator 2023, where she previously took on roles as assistant curator in 2017 and residency manager in 2015. Adelina holds a BA from the National University of Political Studies in Bucharest and a MA in Visual Art Studies from Gadjah Mada University in Yogyakarta. She often contributes with translations and texts about Indonesian art, more recently for the book A History of Photography in Indonesia: From the Colonial Era to the Digital Age published by Amsterdam University Press and Afterhours Jakarta. She participated in several curatorial programs: Kuandu Museum of Fine Art in Taipei (2018), ODD in Bucharest (2018), and Curator’s Agenda in Vienna (2016). Anastasia Albokrinova has an education in design and a post-graduate in urban research at Strelka Institute (Moscow). While being a student she and her friends established a self-organisation ‘XI komnat’ which was a studio, exhibition and event space from 2008 to 2011. In 2012 she made a residency at NODE center for curatorial studies. Her work path lead from graphic to exhibition design and brand-design for local museums to working as an assistant curator at Shiryaevo Biennial (2018) and later as a curator of Victoria gallery in Samara (2020-present). There Anastasia is mainly responsible for Victoria Underground space and defines her mission as supporting local artists (from different regions of Russia) and practicing experimental curatorial approaches. Her interest includes, but is not limited to cultural identity and local geography, (post)digital art, performance and contemporary dance, time- and process-based art, artificial intelligence, post-human, hybrid practices. Since 2017 Anastasia joined the team of VolgaFest – an urban culture festival on the Volga embankment in Samara as an art-director. Currently she is in the process of completion of her first book (supported by garage.text grant) ‘Vision hunters: artistic and anomalous experiences on the Volga’ that is based on the exhibition she made in 2020 putting together various cultural and occult practices in local geography. Sabine Wedege (1993, she/her) is a visual artist from Denmark, educated from Jutland Art Academy and Faculty of Fine Arts in Belgrade. Works primarily with sculpture, but also with text, video, and sound – used in parallel and in contrast. Researching how to harmonize concept and material, by putting associations in a new frame of references. Occupied with history versus topicality, to connect the past to contemporary issues and questions. Ginevra Ludovici (Rome, 1992) is an independent curator and a Ph.D. candidate at the IMT School for Advanced Studies Lucca. Graduated in Economics and Management from Bocconi University and in Contemporary Arts History at Ca’ Foscari University, in 2019 she attended CAMPO – course for curators of the Fondazione Sandretto Re Rebaudengo and co-founded the curatorial collective CampoBase. She has carried out collaborations with several institutions, including Carpe Diem Arte and Pesquisa (Lisbon), ASK Research Center – Art, Science, Knowledge (Milan), MoMA – The Museum of Modern Art (New York) and Pushkin Museum (Venice). She deepened her research and training at UNIDEE Academy (Biella), PACT Zollverein (Essen), BAK (Utrecht), SixtyEight Art Institute (Copenhagen), MACBA (Barcelona) and MADRE (Naples). She has published in academic and sector journals, such as PARSE Journal, NERO editions, roots§routes and Made in Mind, and presented her research in different universities, including The University of Arts Belgrade, The Lisbon Consortium and The UK Association for Art History. Her curatorial activity is rooted in collaborative practices, and it develops parallel to her academic research which focuses on radical pedagogy programs, processes of self-institutionalization in the arts, and decolonial theories and practices. She is currently conducting a visiting research period at HDK – Valand, Academy of Art and Design, in Gothenburg, Sweden. Giulia Menegale is an independent curator and editor living in Italy. At the moment, she is a PhD candidate in Analysis and Management of Cultural Heritage at IMT (Lucca, Italy). She investigates transnational solidarity networks as a possible strategy to decentralise and pluriversalize the production and exhibit of arts. In her research, she considers case studies across institutional and non-institutional settings. She holds a BA in Visual Art from IUAV (University of Architecture of Venice) and a MA in Contemporary Art Theory from Goldsmiths, University of London. She has collaborated as a curatorial, editorial and research assistant for Looking Forward C.I.C. (London, UK), Castello di Rivoli – Museum of Contemporary Arts (Turin, IT), Island gallery (Brussels, BE) and Taryn Simon Projects (New York, US). Currently, she is editor-in-chief of a series of books on art and theory produced by Ayiné, a Brazilian publishing house (Belo Horizonte, Brazil). Karlygash Akhmetbek is a Kazakhstani socially engaged artist and creative producer of community-oriented educational projects. She holds a BA in Interior Design from the Savannah College for Arts and Design and has experience studying and working in Atlanta, United States, and Hong Kong. As a spatial designer she researches and creates environmentally sustainable solutions for infrastructures, conceptual and immersive spaces that evoke connection. Currently she works in a core team of Artcom Platform Public Association and curates activities for communities around Balkhash lake ecosystems. She designs projects like Beine in order to engage everyone in a community to explore one’s space, its beauties and challenges, and to find new perspectives to address them. Lera Lerner (b. 1988, Leningrad) is an artist, curator, and mediator from St. Petersburg, Russia. Her practice, which she defines as sociopoetic art, is based on mutually educative and inclusive projects. Lerner is interested in helping different communities to create magic safe spaces for sharing and support. She researches everyday rituals of care and joy. She explores how we can blur or accept boundaries of otherness through performative practices of embodied empathy. She believes in coincidence, miracle, intuition and love. She creates spontaneous communication in public space through performances, installations, and research. Lera graduated from the Pro Arte Program for contemporary artists (2015) and completed the MA program in Biology at the Faculty of Biology of St. Petersburg State University (2012). She had projects with the Manifesta biennale in St. Petersburg, Grafikens Hus and LAVA-Dansproduktion in Sweden, Mattress factory in Pittsburgh, CEC ArtsLink in NY, Ars Electronica in Linz, Pro Helvetia Swiss art consul in Moscow, Red Square Festival in Berlin, Agents of Change: Mediating Minorities in Finland, Kone foundation in Finland, Consulate General of Italy in St. Petersburg, Institut français de Russie in St. Petersburg. Since 2017 Lerner is co-curating the Art Prospect public art festival. Simon Gennard is a writer and curator based in Ngāmotu New Plymouth, Aotearoa New Zealand, where he is Assistant Curator Contemporary Art and Collection at the Govett-Brewster Art Gallery. He has previously worked for Enjoy Contemporary Art Space, Te Whanganui-a-Tara Wellington; The Dowse Art Museum, Te Awakairangi Lower Hutt; and Adam Art Gallery Te Pātaka Toi, Te Whanganui-a-Tara. Previous research has examined queer desire, politics and artmaking in Aotearoa. He holds a Master of Arts in Art History from Te Herenga Waka Victoria University of Wellington (2017). 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 recently finished the Metàfora Studio Arts diploma course in Barcelona and defended her final thesis at The Museum of Contemporary Art in Barcelona (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 recently 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 is currently based in Belgrade and works in a studio space in Jugošped building. < Participants Educational Program Programs >

Events Lecture Series Participant Activities The educational program What Could/Should Curating Do is proud to announce lecture by Massimiliano Mollona hosted by Kolarac Venue: Student square no 5 Date: December 5th 2022 18:00 Small Hall On constellations and earth by Aslıhan Demirtaş Taking departure of his recently published book Art/Commons that looks at the commons from the perspectives of contemporary art history and anthropology, focusing on the ongoing tensions between art and capitalism, lecture will trace relationship between the art and commons through practice of Institute of Radical Imagination that Mollona is engaged in. The lecture is grounded in an analysis of contemporary artistic and curatorial practices, which the author describes as practices of commoning, based on co-production, participation, mutualism and the valorization of reproductive labour. Mollona proposes a novel theoretical approach to current debates on the commons, and shows that art can provide both a language of anti-capitalist and post-colonial critique as well as a distinctive set of skills and practices of commoning. About Speaker Massimiliano (Mao) Mollona is a writer, filmmaker, and anthropologist. He is associate professor at the Department of the Art (DAR) at the University of Bologna. He has a multidisciplinary background in economics, anthropology and visual art, and his work focuses on the relationship between art and political economy, with a specific angle on work, class, and post-capitalist politics. His fieldworks combine pedagogy, artistic prefiguration, and activism. He is a co-founder and member of the collective freethought; the Institute of Radical Imagination (IRI); and the Laboratory for the Urban Commons, (LUC) Athens. The event is free and open to the public. The WCSCD educational program and series of public lectures have been initiated and organized by Biljana Ciric. The lecture by Massimiliano Mollona is supported by Instituto Italiano di Cultura Belgrado. Project Partners We thank following partners for supporting selected participants for 2022 program: Romanian Cultural Institute. Artcom platform , Kadist Foundation, William Demant Foundation For more information about the program, please refer to www.wcscd.com Project contacts: what.could.curating.do@gmail.com Follow us: FB: @whatcscdo Instagram: @whatcouldshouldcuratingdo < Mentors Educational Program How to Apply >

Events Lecture Series Participant Activities WCSCD Annual Lecture Series 2022 WCSCD Annual Lecture Series 2022 Presented in collaboration with Kolarac Educational program What Could Should Curating Do Annual lecture series 2022 is proud to partner with Kolarac this year Number of mentors of this years educational program will have public moment during stay in Belgrade to share their own practice. As every year this will not be possible without kind support from colleagues and institutions in Serbia and around the world including Kadist Foundation, Italian Cultural Institute of Belgrade, The Group of Architects, Embajada De Espana en Belgrado who support our vision towards pedagogies. Public lectures will be as usual free of charge and open to public. Public lecture series will start in November and we are proud to present following speakers this year. November 9th 2022 18:00 Hajnalka Somogyi is a curator based in Budapest. Since 2014, she has worked as leader and co-curator of OFF-Biennále Budapest , which she initiated. In 2022, OFF-Biennale is participating at documenta fifteen as member of ‘lumbung interlokal’. November 30th 2022 18:00 Aslıhan Demirtaş is a practicing architect, artist, writer and educator. Her practice is situated on and around the boundaries of disciplines engaged in making, often in the forms of buildings, gardens and art projects, while searching for a revised mode of existence and practice on our planet. She lives in Istanbul and together with Ali Cindoruk runs KHORA Office, a climate for design, making and thinking. December 5th 2022 18:00 Massimiliano Mollona teaches anthropology at Department of the Arts at Bologna University and at Goldsmiths College, London. His practice is being situated at the intersection of pedagogy, art and activism which he explores from within projects he co-initiated like the Institute of Radical Imagination and the Laboratory of Urban Commons (Athens). December 13th 2022 18:00 Amelie Aranguren, head of artistic programming at INLAND’s Center for the Aproach to the Rural (CAR) in Madrid and Inland member since 2010. < Mentors Educational Program How to Apply >

WHAT COULD/SHOULD CURATING DO? 2018 Call for Applications Author of the project: Biljana Ćirić, in collaboration with Supervizuelna / Visual identity: Saša Tkačenko Application deadline: April 30, 2018 Start date: September 2018 Duration: September 7 – December 7, 2018 Final exhibition project: January 2019 The first international course for emerging curators to take place in Belgrade, Serbia, will be held from September to December 2018, and will draw upon the unique local and regional context as a critical source of knowledge. Participants will be engaged in a rigorous itinerary of extensive studio visits, research visits to public and private institutions and collections, along with a series of closed door workshop sessions led by both international and local mentors of the program. The program aims to situate curatorial practice within the specific contextual framework of the region, while also providing insights to the wider international framework related to exhibition-making practices on both a theoretical and practical level. Over the course of the three month-long program, international cultural producers will conduct specific workshops related to different aspects of curating, offering participants the opportunity to individually and collectively consider the different institutional aspects that often frame curatorial endeavors. For the culmination of the course, participants will propose a collective exhibition and will also be tasked with working on the accompanying publication. The Belgrade-based artist Saša Tkačenko has been commissioned to develop the visual identity for the project, as well as to conceive how to best document the project and the final exhibition in book format. Niels Van Tomme, director at De Appel in Amsterdam (a contemporary art institution that runs a pioneering curatorial programme since 1994), will give an inaugural lecture in June about the prominent role the Curatorial Programme takes within De Appel’s institutional context (final date to be confirmed). The primary mentors for the course include Dorothea von Hantelmann (Bard College, Berlin); Antariksa (co-founding member of KUNCI Cultural Studies Center, Yogyakarta, Indonesia); the Flash Art Magazine editorial team (Flash Art is a bimonthly magazine focused on contemporary art, based in Milan); Elena Filipović (director of Kunsthalle Basel); Tara McDowell (director of curatorial practice at Monash University in Melbourne, Australia); Maria Lind (director of Tensta konsthall, Stockholm); Matt Packer (director of EVA International); Hou Hanru (artistic director of MAXXI Rome, Italy); and What, How & for Whom (a curatorial collective formed in 1999 and based in Zagreb, Croatia), among others. Application requirements: Applicants must be 35 years of age or younger No prior degrees in art or art history are required The course fee of 300 € (international participants will be assisted with finding accommodation in Belgrade an accommodation rate is approximately 150 € per month) 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 April 30 2018: CV/Portfolio Letter of Interest (500 words maximum, explaining why you are interested 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 September 7, 2018. The final list of the participants will be announced in May 2018. After the run of the program, three attendees who have been recommended by program mentors will have an opportunity to submit a proposal to the Ming Museum of Contemporary Art in Shanghai for their curatorial research residency (in 2019). The course is long term project initiated by Biljana Ćirić together with Supervizuelna, with the following institutions as project partners: The Museum of Contemporary Art Belgrade, GRAD—European Center for Culture and Debate, EVA International – Ireland’s Biennial and Zepter Museum. Project was supported by: Goethe Institute in Belgrade, Istituto Italiano di Cultura Belgrado, Embassy of Sweden, Embassy of the Kingdom of the Netherlands, EU Info Centre; Eugster || Belgrade, Zepter Hotel. Media partners: EUNIC Serbia, RTS3.

Events Lecture Series Participant Activities Program Participant Activities 2024 Glossary l(a)unch: gender issues On WCSCD educational programme | Collective reflections Walking as a Way of Knowing – Belgrade Regenerative living-creating spaces for the multi species co-existence Celebrating Resilience and Solidarity Glossary l(a)unch: a passage between collecting and transforming 2022 Program Participant Activities 2020/21 Series of texts developed by participants of WCSCD 2020/2021 program as a response to Bruno Latour text What protective measures can you think of so we don’t go back to the pre-crisis production model? 2019 To be enjoyed endlessly – a zine final project by WCSCD2019 curators Seda Yıldız and Ewa Borysiewicz Reading of the biggest image in Belgrade The WCSCD 2019 Salary Spreadsheet: Expanding the Conversation Around Salaries in the Arts < Mentors Educational Program How to Apply >

WCSCD 2020/21 open call Call Opens: February 6, 2020 Call Closes: March 8, 2020, promptly at 17:00 The 2020 program will run from August 1 to October 29, 2020. WCSCD continues to value and emphasize forms of curatorial practice that are active at the margins of the mainstream art world, yet that contribute to the global perspective. This is accomplished primarily through reflection on the local context and efforts to rethink how to meaningfully contribute to the production of curatorial discourses. This is can also be read as an attempt to de-colonize art and its many discourses more broadly. The program maintains an international purview, while proposing consideration of what it means to be international within the abovementioned theoretical parameters. This is in part accomplished through the invitation of the 2020 mentors for the program, including Ekaterina Degot (Director and Chief Curator of steirischer herbst), Lisa Rosendahl (Associate Professor of Exhibition Studies at Oslo National Academy of the Arts, and Curator of GIBCA – the Gothenburg biennial in 2019 & 2021, Chus Martínez (Director of the Art Institute at the FHNW Academy of Art and Design, Basel, Luca Lo Pinto (Director of MACRO in Rome), Suzana Milevska (Curator and a visual culture theorist), Jelena Vesic (Independent curator, writer, and lecturer – based in Belgrade), Xiang Zairong (Scholar), Nataša Petrešin-Bachelez (Independent curator, editor and writer), and ruangrupa (Artistic directors of Documenta 15) among others. For this iteration, the curatorial program WCSCD2020 will have a specific focus on women curators or directors of institutions with ties to the former Yugoslavian cultural field from the 1970s, which challenged mainstream approaches to art. Program participants will conduct interviews, engage in archival practices around their research into these practitioners, all while thinking about modes of archiving in and of itself and discussing different curatorial histories. Each participants’ research practices will be shared and contextualized through different public forms of expression during the program. s. The research conducted as part of WCSCD 2020 will create an archive around these practices, which will be made accessible through publication and open source online content. The aim will also be to discuss these artists’ contributions towards the creation of an “art system” in the region. As the educational-curatorial platform WCSCD enters its third year, it is of note to point out that the majority of attendees of the program thus far have been women, with enrollment of only 20% men. Similar art educational programs around the world share these experiences, and in university contexts as well—women outnumber men in the study of Art History. This poses an important question on the role of gender in relation to curatorial practices and positions within different institutions of art. By revisiting the historical moments cited above, we intend to contextualize and reflect on the current situation within our working contexts as well.Over the past two years we’ve seen the rise of an international movement, the #metoo campaign, thanks in part to the many brave arts professionals who went public with their experiences of harassment and violence, which is now part of the public domain. Yet, the gender imbalance between different work areas and roles within the art system is still very much present today. These observations, along with many others, have led us to tailor a project that will look at the “notion of the curatorial” through a gendered lens and within the context of the ex-Yugoslavian cultural field. Criteria for consideration: Applicants must be 35 years of age or younger No prior degrees in art or art history are required The course fee is based on the monthly average salary of the country from which you hail, for which you are a passport holder (we use online reference of most recent average salary data of successful applicants) Please note that the fee does not include accommodations or travel costs. International participants will be provided assistance with finding accommodations in Belgrade—such accommodations are approximately 180 EUR per month. The standard course fee also does not cover travel and accommodations for research trips. Successful applicants should prepare an allowance of approximately 300 EUR to cover these additional costs. 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-WCSCD 2020 by March 8, 2020: CV/Portfolio Letter of Interest (500 words maximum, explaining your interest in curatorial practices and specific research interests) Description (300 words maximum, the working methodology you propose with regard to the project, taking into consideration the role of archives, ways of designing and testing new methodologies for implementation, and gender-related research) Based on the quality of the submitted documents, up to 15 participants will be selected to attend the course. Selected applicants should plan to arrive in Belgrade no later than August 1, 2020. The final list of participants will be announced the first week of April 2020. The final curriculum of the program will be confirmed in May 2020 and shared with the attending curators at that time. This year WCSCD introduced the possibility for distant education and participation in the mentoring session with price 400 euros for program duration for more information how to apply for it pls write to us with subject WCSCD online program WCSCD is proud to also announce the advisory group who will help us shape the program, the members of which include: Matt Packer, Director of the Eva International Biennial; Ares Shporta, Director of the Lumbardhi Foundation; and Andrea Palasti, a Novi Sad based artist. 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 Austrian Cultural Forum; Institut français de Serbie, Swedish Embassy in Belgrade and Hestia Art Residency & Exhibitions Bureau among others. For more information regarding the application process and/or invited lecturers for the 2020 program, please refer to the website: www.old.wcscd.com . For other queries, please send to the following email address: what.could.curating.do@gmail.com .

Events Lecture Series Participant Activities Lecture by Patrick D. Flores and launch of the WCSCD book Launch of the What Could/Should Curating Do? book together with Sasa Tkacenko, Katarina Kostandinovic, Neva Lukic and Sinisa Ilic, followed with a lecture by Patrick D. Flores When: May 13, 2019, 18:00 Where: Museum of Contemporary Art, Belgrade What Could/Should Curating Do? is proud to announce the inaugural lecture for the 2019 program by Patrick D. Flores, titled Singapore Biennial 2019: Some Political Inspirations. The presentation will speak to the methods undertaken and conceptual impulse to convene a biennial in Singapore, noting the lively cultural and social milieu of contemporary art in Southeast Asia and the ethical demands involved in evoking this liveliness. Patrick D Flores Patrick Flores, Artistic Director of SB2019 explains: “It may be said that the world is troubled. To sense such a state of flux is to acknowledge the situation and begin to face it. For Singapore Biennale 2019, we ask: What are the possibilities for art, the artist, and the audience in light of this trouble? What are the responsibilities of the artwork, its making, and its experience in the prospects of future action? As we believe, every effort to change the world for the better does in fact matter. SB2019 puts its faith squarely in the potential of art and its capacity to rework the world, as expressed in the Biennial’s title: Every Step in the Right Direction.” About the speaker: Patrick D. Flores is Professor of Art Studies in the Department of Art Studies at the University of the Philippines, which he chaired from 1997 to 2003, and Curator of the Vargas Museum in Manila. One of his many publications, The Exhibition Problematic and the Asian Dislocal revisits the conceptual conditions that prompt students of the history of exhibitions and the future of their making to ask questions about notions of history and futurity through the proposition of the exhibition. Previously, Flores curated the Philippine pavilion at the Venice Biennale in 2015, the exhibition Position Papers at the Gwangju Biennale in 2008, and served as one of the curators of Under Construction: New Dimensions in Asian Art at the Japan Foundation in 2000. He also co-curated South by Southeast, an exhibition of contemporary art from Southeast Asia and Southeast Europe, organized by the Osage Art Foundation in 2015. A respected art historian, Flores was a guest scholar of the Getty Research Institute in Los Angeles in 2014. Some of his other publications include Past Peripheral: Curation in Southeast Asia (2008). Joining this inaugural lecture for the 2019 program, the first volume in the What Could/Should Curating Do? publication series will also launch, which is co-published with Orion Art and conceptualized by Sasa Tkacenko and Biljana Ciric. What Could/Should Curating Do? Visual by Sasa Tkacenko Photo by Hu Yun The interest for What Could/Should Curating Do? to publish this series came out of the necessity to develop a scholarship for the curatorial course that was first established in 2018. The series also simultaneously serves as an archive of the discourses produced around the course on an annual basis, thereby engaging with questions of how to archive something that is still in development. These volumes are one possible solution to be further shared and explored. With this mind, the WCSCD publication series developed into a kind of annual reader related to the curatorial discourses that grow out of the program’s different workshops, initiated by the invited guest mentors to the program. At the same time, this effort also encourages the attending, emerging curators to produce and contribute their own writing. Neva Lukić and Katarina Kostandinović / Photo by Hu Yun Collaged view on Didactic exhibition by Siniša Ilić / photo by Hu Yun Perfromance by Saša Tkačenko Neva Lukić and Katarina Kostandinović / Photo by Hu Yun Collaged view on Didactic exhibition by Siniša Ilić / photo by Hu Yun Perfromance by Saša Tkačenko The first volume includes contributions : Neva Lukic, Katarina Kostandinovic, Dorothea von Hantelmann, Elena Filipović, Tara McDowell ,Maria Lind, Matt Packer, Mia David, Hou Hanru, What, How & for Whom, Jasna Jasna Zmak, Kirila Cvetkovska, Ruri Kawanami, Vera Zalutskaya Niels van Tomme, Sinisa Ilic, Milena Joksimovic, Agustina Andreoletti, Tjasa Pogacar, Boba Mirjana Stojadinovic, Hans Ulrich Obrist, Branislav Dimitrijevic and Biljana Ciric. During this special evening, WCSCD will also announce the curators who have been accepted into the WCSCD 2019 course, and highlight the partners for the WCSCD 2019 program as well as new artist commission. The curatorial course is a long term project made possible with the support and collaboration of the following partner institutions: Project patron: Wiener Städtische; Partners: The Museum of Contemporary Art Belgrade; EVA International—Ireland’s Biennial of Contemporary Art; Center for Promotion of Science and Zepter Museum, among others. The project is supported by the Istituto Italiano di Cultura Belgrado; the Embassy of the Kingdom of the Netherlands in Belgrade; the Austrian Cultural Forum; Heinrich Boell Stiftung; Hestia Art Residency & Exhibitions Bureau; and EUNIC Serbia, Media partners Before After and Designed. < Mentors Educational Program How to Apply >