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

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

BOR ENCOUNTERS AUGUST 1 1, 2022 WCSCD CURAT ORIAL INQUIRIES As you go… roads under your feet, towards the new f uture September 15th –September 19th 2022 www.wcscd.c om www.biblioteka-bor.org.rs Novim putevima u novu budućnost Borski susreti 15–19. septembar 2022. www.wcscd.com www.biblioteka-bor.org.rs Saopštenje domaćina bibliotekara Dragana Stojmenovića Narodna biblioteka Bor Konačno okupljanje učesnika projekta Novim putevima u novu budućnost na Borskim susretima, nadamo se, neće biti i kraj tog putovanja, mada se može učiniti da je Bor negde daleko i na kraju novog Pojasa i puta – kao nekakva bogato ukrašena, zlatna kopča na kaubojskom opasaču ili možda još jedna rupa za zatezanje ili opuštanje tog kaiša. Konačno ćemo se upoznati, družiti, razmatrati šta smo sve radili u prethodnom periodu na promociji zbornika i predstaviti ga najširoj javnosti, pritom, žaliti uništeno prirodno okruženje, tražiti sakrivene priče među zidovima biblioteke, lutati i otkrivati borske arkade – lukove između stubova francuske kolonijalne uprave, socijalističkog baroka i neokolonijalne prakse liberalnog kapitalizma, na kraju zajednički obedovati hranu koju će pripremati gosti/domaćini. Treba još samo da se dogovorimo kako ćemo dalje, koji put ćemo izabrati. Nadamo se da ćemo imati snage da ostanemo i opstanemo tu gde jesmo, dok ne izgradimo svoje puteve, ne očekujući da će nas oni voditi prema predvidljivim i očekivanim odredištima, već ka otkrivalačkim i oslobođenim izražajima bezinteresnog stvaralaštva, kretanja i susretanja. Saopštenje gostiju U momentu kada čitate ovo saopštenje, trebalo bi da je sve već spremno za Borske susrete, koji se odvijaju u sklopu projekta Novim putevima u novu budućnost, te vas očekujemo da zajedno šetamo kroz Bor. Bor je mali grad, pa se ne bih začudila ako niste ni čuli za njega. U njemu se nalazi naš domaćin ovih susreta – Narodna biblioteka Bor. Bor je, takođe, poznat po ležištima bakra i rudarskoj industriji, koja se razvija od početka 20. veka, ali i po tome što je rudarsko-metalurški kompleks nedavno kupio kineski rudarski gigant Ciđin (Zijin). Kinesko investiranje u borsku rudarsku industriju proizvelo je mnoštvo novinskih napisa povodom raseljavanja stanovništva, eksproprijacije zemljišta i zagađenja. Bor je, pored toga, i popularna filmska lokacija. Njegove „ozlede” od rudarenja ogromne su, ali i fotogenične, pa je grad pozadina dešavanja u više filmova. Međutim, mi u Bor ne dolazimo da bismo iskopali još jednu sliku njegovih sve širih rana. Kao deo transnacionalnog istraživačkog tima Novim putevima u novu budućnost, dolazimo da bismo se okupili; da bismo sa ljudima iz Bora išli u šetnje koje će organizovati Jelica Jovanović; da bismo probali hranu koju će nam Hu Jun spremiti sa Ćuom, kineskim kuvarom koji sprema obroke za kineske radnike koji žive i rade u borskom Ciđinu; da bismo sa umetnicom Džesfi Dženg u borskoj biblioteci smestili Priče između zidova i da bismo sa Robelom Temesgenom ožalili mesto. To će biti naš prvi fizički susret od kada smo, u februaru 2020, u Adis Abebi, pokrenuli naše zajedničko istraživanje, iako znamo da nekoliko naših kolega, zbog zatvorenih granica, neće moći da nam se fizički pridruži. Pored toga, tokom Susreta prvi put ćemo javno i u fizičkom prostoru podeliti naš rad. Borski susreti uključuju i promociju publikacije Novim putevima u novu budućnost, koja izbliza prikazuje naš zajednički način rada i istraživanja koji praktikujemo od 2020. Zbornik je objavljen u saradnji sa IK Mus (Milano) i Umetničkim muzejom Rokband (Šangaj), a priredila ga je Biljana Ćirić. Učesnici: Robel Temesgen (umetnik, Adis Abeba), Laris Frožje (direktor Umetničkog muzeja Rokband u Šangaju), Sinkne Ešetu (pisac, Adis Abeba), Ajgerim Kapar (samostalni kustos, Almati, Kazahstan), Jelica Jovanović (arhitektica, Beograd), Hu Jun (umetnik, Beograd/Šangaj/Melburn), Džesfi Dženg (umetnica, Sjamen/Šangaj), Dragan Stojmenović (Narodna biblioteka Bor), simona dvorak (kustoskinja), Vladimir Radivojević (fotograf, Bor), Nebojša Jamasaki (umetnik), dr Visa Tasić (inženjer elektronike), Miloš Božić (član lokalne zajednice Krivelja), Katica Radojković (proizvođač i prodavac sira), Nemanja Stefanović (student) Organizatori: Šta bi kustosiranje moglo / trebalo da bude i Narodna biblioteka Bor Koncepcija: Biljana Ćirić Novim putevima u novu budućnost – Borski susreti Vise o projektu: „Novim putevima u novu budućnost – Borski susreti” jesu prilika da prvi put fizički, u javnom prostoru podelimo ne samo rezultate naših istraživanja već i naš način rada zasnovan na relacionalnosti i uzajamnoj zavisnosti, koji pronosimo dok hodamo jedni sa drugima. „Novim putevima u novu budućnost” dugoročni je projekat i istraživačko ispitivanje kojim se promišlja inicijativa „Pojas i put” i kako će ona izmeniti estetike i prakse svakodnevnog života u različitim lokalnim kontekstima u Etiopiji, Srbiji, Sloveniji, Uzbekistanu, Kini, Kazahstanu. Ustanovili smo šta nam je zajedničko, uključujući nasleđa socijalizma i nesvrstanosti, neogeopolitičko okruženje, ekonomske uticaje (naročito kineskog i arapskog sveta na srodne lokalitete, čak i upošljavanje istih kompanija u različitim regionima), zalaganje za sopstvenu kulturu i nedavnu pandemiju kovida 19, što su nam smernice za istraživanje. Od aprila 2020, zbog pandemije, koristimo strategiju „istražuj tu gde jesi”, sarađujući sa 15 istraživača po Kazahstanu, Uzbekistanu, Etiopiji, Srbiji, Sloveniji i Kini. Istraživačka pitanja razvijamo trudeći se da imamo sluha za lokalne hitne potrebe i da iz njih izvlačimo nauk. Na taj način, formulisane su brojne studije slučaja i sprovedena brojna istraživanja. Borski susreti predstavljaju kulminaciju našeg rada i istraživanja obavljenih u prethodne dve godine, a uključivaće brojne javne događaje. Tačka preseka i uvek mogućih razdvajanja ovog preispitivanja jeste Kina. Istraživanje smo sproveli s kolegama u Kini, ne bežeći od nevolje, kako bi rekla Dona Haravej. Spominjanje Kine nosi svoje breme, ali šta danas znači govoriti o Kini? Trin Minha kaže da ime ne sadrži i ne uokviruje stvarnost. Kada nam se stvarnost obraća, u ovom ovde stvaramo neko drugde, i to smo upravo i pokušavali da učinimo. Naša strategija bila je da ne pričamo o Kini kao Drugom već da govorimo zajedno sa Kinom ili da govorimo sa Borom. Potpuni program dešavanja po danima biće objavljen 1. septembra. Svi događaji su otvoreni za publiku i besplatni, tako da jedva čekamo da hodamo sa vama. Detaljnije o Novim putevima u novu budućnost Novim putevima u novu budućnost inicirala je i koncipirala Biljana Ćirić. U ovom istraživanju učestvuju: Šta bi kustosiranje moglo/trebalo da bude (Beograd), Zdenka Badovinac (Ljubljana), Umetnički muzej Rokband (Šangaj), Muzej Tajms (Guangdžu), ArtCom (Astana), Robel Temesgen i Sinkne Ešetu (Adis Abeba) i Narodna biblioteka Bor. Prvu fazu projekta podržali su: Fondacija za umetničke inicijative (FFAI), CURTAIN (Umetnički muzej Rokband), Austrijski kulturni forum, Kustoska praksa Fakulteta za umetnost, dizajn i arhitekturu Univerziteta Monaš i, putem stipendije, Program za istraživačke obuke Vlade Australije. Borski susreti imaju dodatnu podršku norveške Kancelarije za savremenu umetnost i Fondacija za umetničke inicijative (FFAI)i Monas Univerziteta u Melburnu. Za vise informacija o projektu kontaktirajte: Moniku Husar mokahusar@gmail.com Violetu Stojmenovic sloterdajk@gmail.com Kratke biografije učesnika Sinkne Ešetu (pseudonim: O’Tam Pulto) – pisac i pejzažni arhitekta, strastveni izučavalac kulturnih pejzaža kao kombinovanih učinaka prirode i kulture. Na osnovu svojih istraživanja i tumačenja kulturnih pejzaža, piše romane i priče za decu s ciljem da pomogne da se održe starosedelačke kulture i prirodni ekosistemi. Dragan Stojmenović je diplomirao na Odeljenju za etnologiju i antropologiju Filozofskog fakultet Univerziteta u Beogradu. U Boru živi od 1974, a od 2000. radi u Narodnoj biblioteci Bor; od 2005. kao rukovodilac Zavičajnog odeljenja. Bavi se foto-dokumentacijom. Godine 2021. objavio je knjigu O foto-dokumentaciji Francuskog društva Borskih rudnika. Rođen 1987. u Etiopiji, Robel Temesgen trenutno je na doktorskim studijama na Nacionalnoj akademiji umetnosti u Oslu. Zvanje mastera umetnosti stekao je 2015. na Akademiji savremene umetnosti Univerziteta Tromse u Norveškoj, a osnovne umetničke studije slikarstva završio je 2010. u Školi za umetnost i dizajn „Ale“ Univerziteta u Adis Abebi. Dobio je više stipendija za studijske boravke; stipendirali su ga, između ostalih, Program Junge Akademije umetnosti u Berlinu i Program švedskog međunarodnog komiteta za stipendiranje umetnika u oblasti vizuelnih i primenjenih umetnosti IASPIS u Štokholmu. Njegovi radovi izlažu se na međunarodnim platformama odnosno grupnim i samostalnim izložbama. Ajgerim Kapar je nezavisni kustos, kulturni aktivista, osnivač kreativne platforme Artkom. Rođen 1987. u Kazahstanu, živi i radi u Almatiju i Astani (Nur Sultan). Kustos je i organizator izložbi, umetničkih intervencija u gradskom prostoru, javnih diskusija, predavanja, radionica. Sarađuje sa umetničkim i obrazovnim ustanovama i naučnim grupacijama. U saradnji sa umetničkom zajednicom, 2015. osnovao je Artkom, otvorenu platformu koja povezuje kulturne poslenike, kako bi razmenili iskustva i pronašli kanale za interakciju sa društvom, u cilju razvoja i promocije savremene umetnosti i kulture. Godine 2017, Ajgerim je inicirao i neformalnu školu Umetnički sudarač: kad umetnost sretne nauku. Jelica Jovanović (1983) – arhitektkinja i studentkinja doktorskih studija na Tehnološkom univerzitetu u Beču, nezavisna istraživačica. Diplomirala je na Arhitektonskom fakultetu Univerziteta u Beogradu. Osnivačica je i članica NVO Grupa arhitekata, s kojom radi na nekoliko projekata: Letnja škola arhitekture u Baču i Rogljevu, od 2010; (Ne)primereni spomenici, od 2015; Podizanje zavese, 2014–2016, izloženo na Bijenalu u Veneciji 2014. Hu Jun u svom radu obilazi istorijske momente zarad njihovih alternativnih čitanja, pri čemu u te prakse uključuje i umetničku autorefleksiju vezanu za poreklo i lične veze. Izabrane samostalne izložbe: Slika prirode (Image of Nature, Prirodnjački muzej u Londonu, 2010); Naši preci (Our Ancestors, Institut Gete u Šangaju, 2012), Pažljivo podići i Bolest pripovedanja (Lift with Care, Narration Sickness, obe u AIKE-u u Šangaju, 2013. i 2016), Još jedna diorama (Another Diorama, Muzej Nacionalnog univerziteta u Singapuru, 2019). Radovi su mu izlagani i u Elektrocentrali umetnosti u Šangaju, Centru Pompidu u Parizu, Kulturnom centru Beograda, Parasajtu u Hongkongu i Muzeju Tajms u Guangdžuu. Učestvovao je i na 4. Trijenalu u Guangdžuu 2012, 11. Bijenalu u Kvangdžuu 2016, 6. Bijenalu u Singapuru 2019. i 10. Trijenalu Azija Pacifik. Suosnivač je umetničkog e-časopisa PDF (2012–2013). Laris Frožje je direktor Umetničkog muzeja Rokband u Šangaju od 2012. Od 2013. predsednik je žirija za dodelu Nagrade HUGO BOSS ASIA ART, pri čemu je ovu nagradu, izložbu i istraživački program zamislio kao evoluirajuću platformu koja omogućava da se Aziji pristupi kao konstrukciji koju treba preispitati, a ne kao monolitnoj oblast fiksiranih identiteta. Od 2020, Rokband je deo dugoročnog istraživačkog programa Novim putevima u novu budućnost, koji je zamislila samostalna kustoskinja Biljana Ćirić. Godine 2020. Frožje je, sa Alfijem Čuaom, osnovao duet Ocean & Wavz, koji se bavi produkcijom teksta, zvuka i slike. „Uzimajući u obzir da potičemo sa pacifičkih arhipelaga u Aziji i iz Evrope, razvili smo umetničke projekte na osnovu željenih kombinacija i referenci, prevazilazeći granice i koristeći discipline i puteve koji operišu na više nivoa. Stoga, ni sebe ni svoje radove ne ograničavamo na jednu oblast, jedan identitet, jednu disciplinu, kategoriju ili jedan žanr. Istražujući tradicionalnu i elektronsku muziku, pišući poeziju i eseje, kombinujući predavanja sa vizuelnim izvedbama i di-džej sesijama, negujemo paradokse zarad oslobađanja iskustava i kritičkih perspektiva.“ Vladimir Radivojević je ulični fotograf iz Bora. Ljubav prema fotografskim istraživanjima i fotografsku opremu nasledio je od oca. Aktivno se bavi analognom i digitalnom fotografijom od 2005. Izlagao je svoje radove na grupnim izložbama: „Trajni čas umetnosti – Bor” i „0 km”, kao i u štampanim i elektronskim medijima: Le Monde diplomatique – hrvatsko izdanje, br. 9 (2013) i Borski almanah: ulična fotografija kao zajednička antropologija. Serija fotografija „Borski almanah” rezultat je višegodišnjeg beleženja života pasa lutalica. Njihova svakodnevna borba, lutanje i prepuštenost samima sebi moguća su metafora društva u periodu tranzicije, ovde i sada. simona dvorak – međuzavisna kustoskinja. Razvijam projekte koji se realizuju u regionu Il de Frans (Ile-de-France), ali me interesuju i centralnoevropska i istočnoveropska scena. U praksi me interesuju izvođački formati specifični za određene teritorijalne i vremenske kontekste, uz vrednovanje dugoročnog kolektivnog rada. Preispitujem mogućnosti stvaranja prostora „zajedničkog” u kulturnoj sferi, pre svega kao kustoskinja Inicijative za prakse i vizije radikalne brige (Nataša Petreš Bašle, Elena Sorokina). Radim na stvaranju izložbenih postavki kao „aktivnih prostora” koji nam dozvoljavaju da delimo znanje i anticipiramo moguće budućnosti: antiseksističke, antirasističke, inkluzivne. Te strategije se zasnivaju na učenju i odučavanju kao dekolonijalnoj metodologiji, na metodologijama razvijenim tokom doktorskog istraživačkog paraseminara profesorice umetnosti i teorije Nore Šternfeld na Univerzitetu umetnosti u Hamburgu, u kojem i sama učestvujem, i na praksi kulturnog „otpora” koja se razvija pod vođstvom Joane Varše u Kustoskoj laboratoriji Univerziteta Konstfak u Stokholmu. Iskustava koja sam stekla kao nezavisna kustoskinja produbljivala sam radeći pri kulturnim ustanovama kao što su Nacionalna galerija u Pragu (2015), Nacionalni muzej Pikaso u Parizu (2018) ili Centar Pompidu, gde sam 2018. radila uz Kristin Masel, a 2019. uz Ilariju Konti i Katrin Vir za Kosmopolis #2, zatim odeljenje za kulturni razvoj projekta „Kulture budućnosti“– evropske mreže i inovacionog programa za kulturne stvaraoce sutrašnjice, gde radim od 2021. Trenutno sam stipendista rezidencijalnog programa 15. Dokumente u Kaselu za edukatore u oblasti umetnosti i asistentkinja Biljane Ćirić i Projekta Balkan za javni program Hod sa vodom, koji se održava u Beogradu, a povezan je sa samostalnom izložbom Vladimira Nikolića u sklopu Paviljona Srbije na 59. Bijenalu u Veneciji. Dr Viša Tasić – inženjer elektronike, zaposlen u Institutu za rudarstvo i metalurgiju u Boru. Miloš Božić – član Mesne zajednice Krivelj. Katica Radojković – proizvođačica i prodavačica sira na mlečnoj pijaci u Boru. Nemanja Stefanović – student komunikologije i član pozorišta za mlade u Boru. Nebojša Jamasaki Vukelić rođen je 1986. u Beogradu, gde živi i radi. Završio je master studije slikarstva na Fakultetu likovnih umetnosti u Beogradu 2021. Svoj rad uglavnom bazira na mediju crteža, kroz koji tematizuje pitanje ličnih i kolektivnih kapaciteta za društvenu imaginaciju. Pojam kraja sveta važan je aspekt njegovog rada, kao marker anksioznosti koju pojedinci doživljavaju u savremenom kontekstu, ali i kao izraz otpora postojećim društvenim, ekonomskim i političkim uslovima. Izlagao je na brojnim grupnim izložbama i jednoj samostalnoj – „Unutra sve biće meko i nežno”, u Galeriji X Vitamin. Jedan je od dobitnika nagrade za crtež Fonda „Vladimir Veličković” za 2021. godinu, kao i Nagrade „Miodrag Janjušević – akademski slikar” za istu godinu. Kuvar Ću, koji živi i radi u Boru od 2019, pre dolaska u Bor živeo je i radio u Kambodži. Priprema otvaranje restorana kineske hrane u Boru. Biljana Ćirić je međuzavisna kustoskinja. Kustoskinja je paviljona Republike Srbije na 59. Bijenalu u Veneciji. Osnovala je obrazovnu platformu Šta kustosiranje treba/može da uradi? 2018. godine. Bila je nominovana za Nagradu za kustose „Nezavisna vizija” (Independent Vision Curatorial Award, 2012), koju dodeljuje međunarodno udruženje nezavisnih kustosa ICI. Trenutno razvija dugoročni projekat koji se bavi kineskom inicijativom Pojas i put, naslovljen Novim putevima u novu budućnost. Pohađa praktične doktorske studije kustoskih praksi na Fakultetu za umetnost, dizajn i arhitekturu Univerziteta Monaš u Melburnu. Press statement from Dragan Stojmenovic, librarian, Bor Public Library, partner cell of the inquiry “The long-awaited gathering of the participants of the As you go… roads under your feet, towards the new future project at the Bor Encounters will hopefully not be the end of that journey, although it might be said that Bor is somewhere far away, and at the end of the Belt and Road–like some kind of richly decorated, golden buckle on a cowboy belt, or maybe another hole to tighten or loosen that belt. We will finally get to know each other, socialize, consider what we have done so far to promote our shared work and present it to the widest public, at the same time, we will regret the destroyed natural environment, look for hidden stories among the walls of the library, wander and discover Bor’s arcades–the arches between the columns of the French colonial administration, socialist baroque, and neo-colonial practices of liberal capitalism, in the end, we will eat together the food prepared by the guests-hosts. We just need to agree on how to proceed, what road we will choose. We hope that we will have the strength to stay and survive where we are, until we build our own roads, not expecting them to lead us to predictable and presumed destinations, but to revealing and liberating free expressions of disinterested creativity, movement and encounter.” Statement from us guests and visitors of Bor By the time you read this, most of the preparations for As you go… Bor encounters should be done and we are waiting to walk with you in Bor. Bor is small town and I wouldn’t be surprised if you haven’t heard of it. It is where Public Library Bor, is located and together we will be hosting number of encounters. Bor is also a site known for its copper mining industry, which has existed since the early 20th century, but also for the recent purchase of its mining complex by Chinese mining giant Zijin. Chinese investment in Bor’s mining industry has created many headlines with regards to land disputes, pollution and relocations. Bor is a very popular film location. Its extraction wounds are vast and photogenic and appear as the background in many movies. We are not going to Bor to extract yet another image of its ever-expanding wounds. We are going to Bor to spend time together as part of transnational inquiry As you go…roads under the feet towards the new future; to walk with people in Bor, as organized by Jelica Jovanovic ; to eat meals that Hu Yun will cook with Qiu, a Chinese chef who cooks for Chinese workers living and working in Bor Zijin; to gift with artist Jasphy Zheng situating Stories from the Room in Bor Library and to mourn the place together with Robel Temesgen . This will be our first physical meeting since we launch the enquiry in February 2020 in Addis Ababa, although we know for sure that a few colleagues will not be able to physically attend due to closed borders. In addition, this will be our first moment of sharing with public in physical location. The days in Bor also include launch of publication of inquiry As you go…done in collaboration with Mousse Publishing House and Rockbund Art Museum and edited by Biljana Ciric that looks closely into our mode of working and research done since 2020. Participants Robel Temesgen (artist, Addis Ababa); Larys Frogier (director, Rockbund Art Museum, Shanghai); Sinkneh Eshetu (writer, Addis Ababa); Aigerim Kapar (interdependent curator, Almaty); Jelica Jovanovic (architect, Belgrade) in collaboration with Dr. Visa Tasic (engineer of electronics), Milos Bozic (member of local community in Krivelj), Katica Radojkovic ( producer and seller of cheese), Nemanja Stefanovic ( student), Hu Yun (artist, Belgrade/Shanghai/Melbourne); Jasphy Zheng (artist, Xia Men/Shanghai); Dragan Stojmenovic (Public Library, Bor); Nikita Choi (chief curator, Times Museum, Guangzhou), simona dvorak ( curator), Vladimir Radivojevic (photographer), Nebojsa Yamasaki (artist). Organized by What Could Should Curating Do and the Bor Public Library Conceived by Biljana Ciric As you go…roads under your feet, towards the new future – Bor encounters | Introduction As you go… roads under your feet, towards the new future – Bor encounter is the first physical public moment of sharing not only our research but also our mode of working based on relationality and interdependence that we bring with us as we move forward. As you go… roads under your feet, towards the new future is a long-term project and research inquiry that reflects on the Belt and Road Initiative and how it will alter the aesthetics and practices of everyday life in different local contexts of Ethiopia, Serbia, Slovenia, Uzbekistan, China, Kazakhstan. We have established set commonalities as guidelines of our research including socialism, non-aligned legacies , neo-geopolitical settings, economical influences (especially that of the Chinese and Arab world within localities of similar patterns, that have even employed the same companies through different regions), being an agent of its own culture, and the recent COVID-19 pandemic. Since April 2020, due to the pandemic, we have employed the strategy “dig where you stand”, and have been working with 15 researchers across Kazakhstan, Uzbekistan, Ethiopia, Serbia, Slovenia, and China. The research inquiry has been developed trying to listen to local urgencies and learn from them. From there a number of case studies had been formulated and research conducted. Bor encounters is culmination of our work and research done in last two years and will include, number of public moments. China operates within this inquiry as a point of connection, but always with the potential of separation. We did this research with colleagues in China, staying with the trouble as Donna Haraway says. China’s name carries many burdens but what does it mean to talk about China today? Trinh T. Min-ha states that reality cannot be contained and framed in a name. When reality speaks to us, we create an elsewhere within the here and this is what we have trying to do. This was our strategy—not to talk about China as the other, but to speak with China or to speak with Bor. More about As you go…roads under your feet, towards the new future As you go… roads under your feet, towards the new future is initiated and conceived by Biljana Ciric. The inquiry and research cells include What Could Should Curating Do (Belgrade), Zdenka Badovinac (Ljubljana), Rockbund Art Museum (Shanghai), Guangdong Times Museum (Guangzhou), ArtCom (Astana), Robel Temesgen and Sinkneh Eshetu (Addis Ababa), and The Bor Public Library. The first stage of the project has been supported by the Foundation for Arts Initiatives, CURTAIN (Rockbund Art Museum), Austrian Cultural Forum, Curatorial Practice (Monash University Art, Design and Architecture), and the Australian Government Research Training Program Scholarship. Bor encounters received additional support from Office for Contemporary Art, Norway. As you go… Bor encounters participants biographies: Sinkneh Eshetu (penname: O’Tam Pulto), a published author and landscape architect, is passionate about cultural landscapes – the combined works of culture and nature. He develops his novels and children stories based on his studies and interpretation of cultural landscapes to help preserve indigenous cultures and natural ecosystems. He develops positive youth development and empowerment media products for children and youth f. Among his 9 published works, fiction and non-fiction are ‘Catch Your Thunder: Rendezvous With the End’ (2015, Partridge Africa ), ‘A Thousand Versions of Love: The Tao of the Dusty Foot Philosopher’ (2014, Oland Books), ‘Affordance-Based Conceptual Framework for Landscape Architecture: Dealing With Change in Fixity and Fixity in Change’ (2012, Lap Lambert Academic Publishers). In the process of publishing are his 12 children books, a ‘Fruitycity Series: Appo My Friend’, based on Fruitycity Children’s World that he has created– an imaginary world where children are leaders. He is a founder of a start-up – a social entrepreneurship company called ‘Fruitycity Children’s World, which he currently manages. Dragan Stojmenović graduated in Ethnology and Anthropology from the Faculty of Philosophy (Belgrade, Serbia), and has been living and working in Bor, Serbia since 1974. Since 2000, he has been working at the Bor Public Library; since 2005 as a Local History Department librarian. He is the author and chief manager of Digitization of Non-book Materials, Cultural and Public Activities of the Public Library Bor; and the editor and curator of several cultural programs, exhibitions and public lecture series, as well as the online platform http://digitalnizavicaj.org.rs/ . He has also been an associate of numerous cultural organizations and NGOs, and a co-author of their various projects and programs. His book On French Society of Bor’s Mines photographic documentation was published in 2021. Born in 1987 in Ethiopia, Robel Temesgen is currently a PhD fellow in Artistic Practice at the Oslo National Academy of the Arts. He received MFA from Tromsø Academy of Contemporary Art, University of Tromsø, Norway in 2015, and a BFA with Great distinction in Fine Art (Painting) from Alle School of Fine Arts and Design, Addis Ababa University in 2010. He took part in several fellowships and residencies, Junge Akademie Program of the Akademie der Künste, Berlin, and IASPIS, Stockholm, the Swedish Art Grants Committee’s International Programme for Visual and Applied Art are to mention a few. Temesgen’s work has been widely exhibited in international platforms in solo and group shows including ARoS Museum, Aarhus (2021), Para Site, Hong Kong (2021), Kunsthall Oslo (2019), Circle Art Agency, Nairobi (2019), Addis Foto Fest, Addis Ababa (2018), Modern Art Museum, Addis Ababa (2018), Tiwani Contemporary Art Gallery, London (2018), Hamburger Bahnhof, Berlin (2017), Marabouparken, Stockholm (2017), Nada Art Fair, Miami (2016), Akademie der Künste, Berlin (2016), TromsøKunstforening (2016), Tiwani Contemporary Art Gallery, London (2016), KurantVisningsrom, Tromsø (2015), Lumen Festival, New York (2015), Neue Nationalgalerie, Berlin (2014) and Modern Art Museum/GebreKristos Desta Center, Addis Ababa (2013). Aigerim Kapar is an independent curator, cultural activist, founder of the creative communication platform «Artcom ». Born in 1987 in Kazakhstan, lives and works in Astana. Aigerim curates and organizes exhibitions, city art interventions, discussions, lectures, workshops. Cooperates with art and educational institutions and scientific structures. In 2015, she founded in collaboration with the art community, the open platform “Artcom”. The platform brings together cultural figures to exchange experiences and find channels of interaction with society in order to develop and promote contemporary art and culture. In 2017, Aigerim initiated the Art Collider informal school – when art meets science. Where artists and scientists jointly conduct artistic studies, lectures and discussions on current topics. The results of the school are presented at exhibitions, publications and video materials. Jelica Jovanović (1983) is an architect and PhD student at the University of Technology in Vienna, working as an independent researcher. She graduated with a degree in Architecture from the Faculty of Architecture, University of Belgrade. She is a founder and member of the NGO Grupa arhitekata, within which she has worked on several projects: Summer Schools of Architecture in Bač and Rogljevo (from 2010), (In)appropriate Monuments (ongoing from 2015), Lifting the Curtain (2014–2016, exhibited in Venice Bienale in 2014). She also coordinated the regional project Unfinished Modernisations for Association of Belgrade Architects (2010-2012) and worked as s curatorial assistant for the Museum of Modern Art in New York (MoMA) for the exhibition Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980. She is a twice-elected secretary general of DOCOMOMO Serbia , for which she is also working as a project coordinator and web editor. She is also the coauthor of the book Bogdan Bogdanović Biblioteka Beograd – An Architect’s Library with Wolfgang Thaler and Vladimir Kulić, as well as the coauthor of the web page Arhiva modernizma with LjubicaSlavković. She is also an OeAD One Month Visit scholar (Austria) and SAIA (Slovakia) scholar. Hu Yun is an artist currently based in Shanghai and Belgrade. In his practice, Hu Yun revisits historical moments in order to provide alternative readings, a process that also informs the artist’s self-reflection on his native and personal ties. His selected solo exhibitions include Image of Nature (Natural History Museum, London, 2010); Our Ancestors (Goethe Institute Shanghai, 2012); Lift with Care (2013) and Narration Sickness (2016) at AIKE Shanghai, and Another Diorama (2019, NUS Museum Singapore). His works have also been exhibited at the Power Station of Art (Shanghai), Centre Pompidou (Paris), The Cultural Centre of Belgrade, Para Site (Hong Kong) and Times Museum (Guangzhou). Hu Yun has also participated in the 4th Guangzhou Triennial (2012), 11th Gwangju Biennale (2016), 6th Singapore Biennale (2019) and 10th Asia Pacific Triennial. He is the co-founder of art e-journal PDF (2012-2013). Larys Frogier has been the Director of the Rockbund Art Museum (RAM) in Shanghai since 2012.Since 2013, he has been the Chair of the HUGO BOSS ASIA ART jury and he conceived this new award, exhibition and research program as an evolving platform to question Asia as a construction to investigate rather than a monolithic area or fixed identities. In 2020, he engaged the Rockbund Art Museum in the long term research program conceived by the independent curator Biljana Ciric As You Go… Roads Under Your Feet, Towards A New Future. In 2020, with Alfie Chua, he founded the duo artists Ocean & Wavz engaged in text, sound and image creation. Simona dvorák is an interdependent curator based in Paris. She develops projects on territories as Ile de France or Central and Eastern Europe. In her practice, she employs performative, sound and video formats, specific to the territorial and temporary context with the valorization of long-term collective work. She questions how we can create spaces of “communality” in the cultural sphere, notably as a curator within Initiative for Practices and Visions of Radical Care (founded by Nataša Petresin Bachelez & Elena Sorokina). She works on creating frameworks for “exhibition processes” that allow us to share and generate knowledges to anticipate possible futures: antisexist, anti-racist, inclusive. These strategies are based on learning and unlearning as a decolonial methodology developed collectively in Nora Sternefeld’s doctoral research para-seminar at the HFBK in Hamburg, that she is part, as well as within CuratorLab dealing with practice of cultural “resistance”, a program led by Joanna Warsza at Konstfack in Stockholm. simona dvorák was also recently a fellow of program Art and Education in documenta fifteen in Kassel. She works now as a curatorial assistant on Walking with Water public program imagined by Biljana Ciric and Balkan Projects in relation to the Republic of Serbia Pavilion at the 59th Venice Biennale. Concurrently, she is in charge of programming at the Department of Cultural Development. Vladimir Radivojevic is street photographer from Bor. Passion towards photographic research he inherited from father. He is working with analog and digital photography since 2005. Vladimir participated in number of group exhibitions. Chef Qiu moved from Cambodia to Bor pursuing his ambition to open Chinese restaurant. Dr VišaTasić , engineer of electronics, employee of the Mining and Metallurgy Institute Bor Miloš Božić , member of the local community in Krivelj. Katica Radojković , a producer and seller of cheese at the local market in Bor Nemanja Stefanović , a student of communication and a member of the local youth theatre in Bor Nebojša Yamasaki Vukelić was born in 1986. in Belgrade, where he lives and works. He has received his MA in painting at the Faculty of Fine Arts in Belgrade in 2021. His work is mostly focused on drawing, through which he deals the question of personal and collective capacities for social imagination. The notion of the end of the world is an important aspect in his work, both as a marker of anxieties experienced by individuals in current contexts, and as an expression of resistance to existing social, economic and political conditions. He has exhibited in numerous group shows, as well as a solo show – Inside it will all be soft and tender, at X Vitamin Gallery. He is one of the recipients of the drawing award of the Vladimir Veličković Fund in 2021, as well as the painting award “Miodrag Janjušević – academic painter”, the same year. BILJANA CIRIC is an interdependent curator Ciric is curator of the Pavilion of Republic of Serbia at 59th Venice Biennale in 2022 presenting with Walking with Water Solo exhibition of Vladimir Nikolic . She is conceiving inquiry for first Trans- Southeast Asian Triennial in Guang Zhou Repetition as a Gesture Towards Deep Listening (2021/2022) She was the co-curator of the 3rd Ural Industrial Biennale for Contemporary Art (Yekaterinburg, 2015), curator in residency at Kadist Art Foundation (Paris, 2015), and a research fellow at Henie Onstad Kunstsenter (Høvikodden, 2016). Her recent exhibitions include An Inquiry: Modes of Encounter presented by Times Museum, Guang Zhou (2019); When the Other Meets the Other Other presented by Cultural Center Belgrade (2017); Proposals for Surrender presented by McAM in Shanghai (2016/2017); and This exhibition Will Tell You Everything About FY Art Foundations in FY Art Foundation space in Shen Zhen (2017). In 2013, Ciric initiated the seminar platform From a History of Exhibitions Towards a Future of Exhibition Making with focus on China and Southeast Asia. The assembly platform was hosted by St Paul St Gallery, AUT, New Zealand (2013), Rockbund Art Museum, Shanghai (2018), Times Museum, Guang Zhou (2019). The book with the same name was published by Sternberg Press in 2019 and was awarded best art publication in China in 2020. Her research on artists organized exhibitions in Shanghai was published in the book History in Making; Shanghai: 1979-2006 published by CFCCA; and Life and Deaths of Institutional Critique, co-edited by Nikita Yingqian Cai and published by Black Dog Publishing, among others. In 2018 she established the educa tional platform What Could/Should Curating Do? She was nominated for the ICI Independent Vision Curatorial Award (2012). Currently she is developing a long-term project reflecting on China’s Belt and Road Initiative titled As you go . . . the roads under your feet, towards a new future. She is undertaking practice based PhD in Curatorial Practice at Monash University, Melbourne. For more info please contact us Monika Husar: mokahusar@gmail.com Violeta Stojmenovic: sloterdajk@gmail.com

Events Lecture Series Participant Activities From steirischer herbst to Paranoia TV: one festival reinventing itself | WCSCD 2020/21 Annual Lecture Series The curatorial program What Could/Should Curating Do 2020 is proud to continue in 2020 with public program through lecture series The third talk in the 2020 series is titled: From steirischer herbst to Paranoia TV: one festival reinventing itself By Ekaterina Degot and David Riff Date: December 10, 2020 Time: 12:00 pm Belgrade/ 10:00 pm Melbourne/ 07:00 pm Shanghai/ 6:00 am New York Venue: zoom link Meeting ID: 985 237 3109 Live stream/Facebook link Paranoia TV Zentrale by Nicolas Pleasure Galani Ekaterina Degot and David Riff speak about their curatorial experiences and challenges at steirischer herbst, a yearly festival of contemporary arts which emerged in 1968. Founded in the middle of the Cold War, based in a region right on the border with the communist East, in a country with unresolved issues about Nazi past and pertinent right-wing circles in the present, steirischer herbst bears significant similarities with documenta, sharing with it a predilection for lowcase spelling. But as an interdisciplinary festival without its own exhibition spaces, its focus has often been on performances and interventions in public space, with a strong political touch. Last edition, under current pandemic restrictions, reinvented steirischer herbst as a fictitious media conglomerate under the name Paranoia TV, whose program runs online till the end of the 2020. Photo: Marija Kanižaj About Speaker Ekaterina Degot (1958, Moscow) is an art historian, researcher, and curator focusing on aesthetic and sociopolitical issues in Russia and Eastern Europe from the 19th century to the post-Soviet era. She began her five-year tenure as Director and Chief Curator of steirischer herbst in 2018. From 2014 to 2017 Degot was Artistic Director of the Academy of the Arts of the World in Cologne. Among other shows, she curated the 1st Ural Industrial Biennial in Yekaterinburg (2010, with Cosmin Costinas and David Riff) and headed the first Bergen Assembly with Riff (2013). Degot lives in Graz. David Riff (1975, London) is a writer, translator, artist, curator, and former member of the art group Chto Delat. He has been a curator at steirischer herbst since 2018. Among other shows, Riff cocurated the 1st Ural Industrial Biennial in Yekaterinburg (2010, with Cosmin Costinas and Ekaterina Degot) and headed the first Bergen Assembly together with Degot (2013). Over the last decade, Riff has been translating and researching the work of the Soviet aesthetic philosopher Mikhail Lifshitz, about whom he made a large-scale exhibition at Moscow’s Garage in 2018. Riff lives in Berlin. WHAT COULD/SHOULD CURATING DO? (WCSCD) WHAT COULD/SHOULD CURATING DO? (WCSCD) was initiated and funded in 2018 in Belgrade as an educational platform around notions of curatorial. From 2020 WCSCD started to initiate its own curatorial inquiries and projects that should unpack above -mentioned complexities keeping educational component as a core to the WCSCD. The WCSCD curatorial program and series of public lectures have been initiated and organized by Biljana Ciric. WCSCD 2020/2021 public program series has been done in collaboration with Division of Arts and Humanities, Duke Kunshan University and they co-stream all public lectures. Strategic media collaboration is done with Seecult and they will co-host all public lecture series. Project Partners Media Partner 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 Where is the body of the curator? | WCSCD 2020/21 Annual Lecture Series The curatorial program What Could/Should Curating Do 2020 is proud to continue in 2020 with public program through lecture series The fourth talk in the 2020/21 series is titled: “Where is the body of the curator?” By Lisa Rosendahl Date: January 7, 2021 Time: 12:00 pm Belgrade/ 10:00 pm Melbourne/ 07:00 pm Shanghai/ 6:00 am New York Venue: zoom link Meeting ID: 985 237 3109 Live stream/Facebook link Lisa Tan, Pictures of You (2017) installed at Pontusbadet in Luleå as part of the exhibition. Extracts from a Future History curated by Lisa Rosendahl for Public Art Agency Sweden. “My talk will focus on two curatorial projects: Extracts from a Future History (curated for Public Art Agency Sweden in Luleå in 2017) and The Ghost Ship and the Sea Change (the 11th edition of Göteborg International Biennial for Contemporary Art, forthcoming in 2021). Using these as case studies, I will discuss the exhibition as a site for situated knowledge production and historiography, as well as reflect on curatorial methodology. The title of the talk refers to my ongoing enquiry into the question of curatorial agency and how to understand subjective and embodied acts of narration beyond the frame of individual authorship”. Portrait by Stine Hebert About Speaker Lisa Rosendahl is a Swedish curator and writer based in Berlin. She is Associated Professor of Exhibition Studies at Oslo National Academy of the Arts. In 2018, she was appointed Curator of the 2019 and 2021 editions of GIBCA, the Göteborg International Biennial for Contemporary Art. For the last few years her curatorial practice has been engaged in long term projects researching industrial Modernity in Scandinavia, resulting in exhibitions such as Extracts from a Future History (Public Art Agency Sweden, 2017) The Society Machine (Malmö Konstmuseum, 2016-17) and Rivers of Emotion, Bodies of Ore (Trondheim Kunsthall, 2018). Previous positions include Curator at Public Art Agency Sweden (Stockholm, 2014-17) Director of Iaspis, the Swedish Arts Grants Committee’s international program for visual art, architecture, design and craft (Stockholm, 2011-13) Director of Baltic Art Center (Visby, 2008-10) and Director of Exhibitions at Lisson Gallery (London, 2003-6). WHAT COULD/SHOULD CURATING DO? (WCSCD) WHAT COULD/SHOULD CURATING DO? (WCSCD) was initiated and funded in 2018 in Belgrade as an educational platform around notions of curatorial. From 2020 WCSCD started to initiate its own curatorial inquiries and projects that should unpack above -mentioned complexities keeping educational component as a core to the WCSCD. The WCSCD curatorial program and series of public lectures have been initiated and organized by Biljana Ciric. WCSCD 2020/2021 public program series has been done in collaboration with Division of Arts and Humanities, Duke Kunshan University and they co-stream all public lectures. Strategic media collaboration is done with Seecult and they will co-host all public lecture series. Project Partners Media Partner 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 >

WCSCD emergency grant announces grant recipients We are honored that we can give a symbolic contribution to colleagues and peers in the region through emergency grant. Participants of the program have selected three grants recipients: Sasa Rakic cartoonist based in Pancevo (Serbia), creating comics under the pseudonym of Aleksandar Zograf. www.aleksandarzograf.com Adela Jusic artist based in Sarajevo (Bosnia and Herzegovina), cofounder Association for Culture and Art Crvena, one of the creators of Online archive of Antifascist struggle of women of B&H and Yugoslavia (adelajusic.wordpress.com www.afzarhiv.org ) Agata Lucic artist based in Zagreb (Croatia) (https://www.behance.net/agatalucic ) We would like to thank all applicants for reaching to us. WCSCD will continue finding ways supporting community so please stay in touch with us. About Grant: In light of the impact of the COVID-19 pandemic on the art community, the What Could Should Curating Do has created 3 grants of 450 euros for artists, curator, art practitioners working on visual arts whose work and livelihood has been affected due to impacted by the economic fallout from postponed or canceled exhibitions and projects. Colleagues in former Yugoslav Region are eligible to apply. Emergency grant has been supported through the online curatorial program Post-Pandemic Condition with mentors Natasa Petresin Bachelez, Maria Lind and Biljana Ciric. Online program participants: Louise Hobson, Ainsle Roddick, Kirsty Màiri Robertson, Aglaya Zhdanova, Julia Gelezova, Ariana Kalliga, Cushla Donaldson, Teodora Jeremic, Sophie Davis, Dunja Rmandic, Agata Szymanek, Amal Al Ali, Yin Shuai.

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

Events Lecture Series Participant Activities Lecture by Elena Filipovic / Marcel Duchamp, the most influential curator of the 20th century? Saša Tkačenko, Flags from the WCSCD series, 2018. Photo by Ivan Zupanc THE CURATORIAL COURSE WHAT COULD/SHOULD CURATING DO? IS PLEASED TO ANNOUNCE A PUBLIC TALK BY: ELENA FILIPOVIC Marcel Duchamp, the most influential curator of the 20th century? MUSEUM OF CONTEMPORARY ART BELGRADE MONDAY, OCTOBER 15, 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 Elena Filipovic — the director and curator of Kunsthalle Basel. The series is designed to offer new and different perspectives on the theories and practices of exhibition-making. The lecture by Elena Filipovic, entitled Marcel Duchamp, the most influential curator of the 20th century?, will evolve around the history of art as a discipline that has been constructed through the analysis of individual artists and their objects and images. Monet’s Water Lilies, Picasso’s Demoiselles, Giacometti’s Walking Man… And it is no different for Marcel Duchamp, who is largely celebrated for the objects he produced—whether a store-bought urinal named Fountain or a cryptic, erotic-mechanical diagram known as the Large Glass. But what if the impact of the most influential artist of the 20th century lay elsewhere? This lecture asks you to take seriously Duchamp’s activities not normally seen as artistic—from his art dealing, administrating, and reproducing to his publicizing and exhibition-making. Across a variety of projects spanning from 1913 to 1969, we will see that Duchamp’s “non-art” labor, and in particular what could be seen as his curatorial strategies, were both central to his conception of the work of art and deeply influential to generations of artists after him who learned from him that the frame around the artwork might actually make the artwork as such. ABOUT THE LECTURER: Elena Filipovic has lead Kunsthalle Basel as its director and curator since November 2014. She previously served as senior curator of WIELS from 2009-2014, and co-curator of the 5th Berlin Biennial in 2008 with Adam Szymczyk as well as editor or co-editor of a number of anthologies on global exhibition histories, including The Artist as Curator: An Anthology (Mousse Publications, 2017), The Biennial Reader: Anthology on Large-Scale Perennial Exhibitions of Contemporary Art (Hatje Cantz, 2010), and The Manifesta Decade: Debates on Contemporary Art Exhibitions and Biennials in Post-Wall Europe (MIT Press, 2005). She has curated numerous solo exhibitions of emerging artists in addition to organizing several traveling retrospectives. She is author, most recently, of The Apparently Marginal Activities of Marcel Duchamp (MIT Press, 2016) and David Hammons, Bliz-aard Ball Sale (Afterall Books, 2017). 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 >

Open Call | The Unlearning Curriculum 2024 Application deadline: June 20, 2024 Inform of selected participants: July 10-15, 2024 Intensive dates: August 17-23, 2024 The Unlearning Curriculum in 2024 is a five-day intensive conceived for cultural workers, artists, curators, writers and researchers who share interest in practicing different methodologies of working within art and culture. It aims at exploring methodologies based on decolonial principles, and ways of knowing that engage not only mind but also our whole body and a variety of senses. It is a process of co-learning and un-learning, and of challenging the divide of culture, nature and human. By “staying with the trouble”, as Donna Haraway states, we may recuperate alternative literacy, tools and relations to cultivate an ecology oriented to the future. We will spend days and nights together by sharing common space and time through learning, reflecting, making, listening led mentors but also all the participants. During these five days we will decentralize our position as urban dwellers, and address the eco-social crisis from the perspectives of practical hope, to recover the collective input of local community and knowledge. The intensive is situated in an old village nearby Taishan in Guangdong province of China. The building has been renovated and sustained by Huan Jiajun, who is an activist of conserving the local culture. Taishan is historically home for a lot of overseas Chinese, who emigrated to north America to work as indentured workers in plantations, mines and railways in late 19th century and early 20th century. The architecture of the village preserves such diasporic history in its synthetic style. * The intensive is conceived and initiated by Biljana Ciric and Nikita Yingqian Cai; organized by Guangdong Times Museum and “What Should/Could Curating do?”; and generously supported by De Ying Foundation. This intensive is a greate opportunity, if you are: Interested in learning from others and from nature, and generous in sharing; Willing to engage in disciplines and conversations beyond your educational or academic training; Willing to share your insights and specialties with others, including but not restricted to yoga, knowledge of nature, craft-making, cooking etc. Requirements: A short bio including your educational background and recent experiences in cultural or social projects; A short intention letter (less than 500 words) which states what you would like to learn and unlearn with others; Your contact info including email, mobile and social media account. Fee: 3800 RMB or 490 EUR (The fee includes meals and accommodation of the five days; transportation from your city of residence to Taishan/China is not included） Please be noted: The Unearning Curriculum is open for local and international participants; The intensive will take place at Tosen’s Garden, Paobu Village, Taishan City, Guangdong, P.R. of China ; The working language is English; All participants are expected to arrive no later than August 17th and to commit to the whole duration; Further information about international or domestic travel will be provided after your enrollment is confirmed; Detailed information on day-by-day activities will be notified once all participants are confirmed. Tasks for preparations will be shared and discussed by zoom meeting in July; After the intensive in Taishan, additional visits to independent spaces, studios and institutions in Guangzhou will be organized in the following 2 days. The visits are not part of the curriculum, and you need to plan your stay and cover your own expences in Guangzhou. Please apply by submitting the following materials to contact@timesmuseum.org by June 20, 2024 and visit www.timesmuseum.org for further information. About mentors Amelie Aranguren (she/her) has been a member of Inland since 2011. Campo Adentro/Inland is an association and collaborative project that approaches rural issues from an artistic perspective while addressing significant social issues and advocating for the reconnection between rural areas and cities as a basis for sustainable development strategies. She is currently the director of the Center for the Approach to the Rural, a space in Madrid where creators, curators, researchers, and rural agents can engage in production and investigative residencies, and experiment with art forms linked to social contexts and ecological perspectives. Aranguren, along with a team of nine other collaborators, has recently initiated a new association, Paisanaje Project , which explores the capacity of artistic practices in order to address the eco-social crises and inequalities generated from these issues. Aranguren has worked before in institutions as Museo Reina Sofía Madrid, Federico García Lorca Foundation, Madrid and Jeu de Paume, Paris. Nikita Yingqian Cai lives and works in Guangzhou, where she is Deputy Director and Chief Curator of Guangdong Times Museum. She has curated such exhibitions as Times Heterotopia Trilogy (2011, 2014, 2017), Jiang Zhi: If This is a Man (2012), Roman Ondák: Storyboard (2015), Big Tail Elephants: One Hour, No Room, Five Shows (2016) , Pan Yuliang: A Journey to Silence (Villa Vassilieff in Paris and Guangdong Times Museum, 2017), Omer Fast: The Invisible Hand (2018), Neither Black/Red/Yellow Nor Woman (Times Art Center Belin, 2019), Zhou Tao: The Ridge in the Bronze Mirror (2019) and Candice Lin: Pigs and Poison (2021). She initiated the para-curatorial series in 2012 as a paratactic mode of thinking and working, which connects the curated contents of art and culture with pop-up modules of critical inquiry and field curriculum. She has maintained and expanded the research network of “All the Way South” and is the co-editor of On Our Times. She was the participant of de Appel Curatorial Programme (2009-2010) and was awarded the Asian Cultural Council Fellowship in 2019. Her writings have been published by Bard College and the MIT Press, Sternberg Press, Black Dog Publishing, Yishu, Artforum and e-flux. She is the co-editor of Active Withdrawals: Life and Death of Institutional Critique and No Ground Underneath; Curating on the Nexus of Changes. Biljana Ciric is an interdependent curator. She is curator of the Pavilion of Republic of Serbia at 59th Venice Biennale in 2022 presenting with Walking with Water Solo exhibition of Vladimir Nikolic. She is conceiving inquiry for first Trans- Southeast Asian Triennial in Guangzhou Repetition as a Gesture Towards Deep Listening (2021/2022). She was the co-curator of the 3rd Ural Industrial Biennale for Contemporary Art (Yekaterinburg, 2015), curator in residency at Kadist Art Foundation (Paris, 2015), and a research fellow at Henie Onstad Kunstsenter (Høvikodden, 2016). Her recent exhibitions include An Inquiry: Modes of Encounter presented by Times Museum, Guangzhou (2019); When the Other Meets the Other Other presented by Cultural Center Belgrade (2017); Proposals for Surrender presented by McAM in Shanghai (2016/2017); and This exhibition Will Tell You Everything About FY Art Foundations in FY Art Foundation space in Shenzhen (2017). In 2013, Ciric initiated the seminar platform From a History of Exhibitions Towards a Future of Exhibition Making with focus on China and Southeast Asia. The assembly platform was hosted by St Paul St Gallery, AUT, New Zealand (2013), Rockbund Art Museum, Shanghai (2018), Times Museum, Guangzhou (2019). The book with the same name was published by Sternberg Press in 2019 and was awarded best art publication in China in 2020. Her research on artists organized exhibitions in Shanghai was published in the book History in Making; Shanghai: 1979-2006 published by CFCCA; and Life and Deaths of Institutional Critique , co-edited by Nikita Yingqian Cai and published by Black Dog Publishing, among others. In 2018 she established the educational platform What Could/Should Curating Do? where different formats of instituting are tested and imagined through collective processes. Since 2023 WCSCD entered transition merging rural and urban taking over custodianship of the piece of land in rural Serbia. She was nominated for the ICI Independent Vision Curatorial Award (2012). Ciric initiated a long-term project reflecting on China’s Belt and Road Initiative titled As you go . . . the roads under your feet, towards a new future . She is undertaking practice based PhD in Curatorial Practice at Monash University, Melbourne. She is currently developing retrospective of Vietnamese artist Tran Luong that will open in Jameel Art Center, Dubai in 2024 and tour to AGWA(Perth), Govett Brewster Art Gallery (New Plymouth, NZ), Guang Zhou Fine Arts Academy Contemporary Art Museum among others. About Tosen's Garden The project is located in Taishan City, Guangdong Province, which is known as the hometown of overseas Chinese. This is an ancient historical village built a hundred years ago by overseas Chinese in Myanmar. There are woods behind the village and fish ponds in front of the village, which preserves good natural ecology. There are seven residential houses built by overseas Chinese in the village, all of which are well preserved. In the first phase of the project, a 400-square-meter historic property was restored. Visitors can stay in the historic house and experience the local life more than a hundred years ago. There is an organic vegetable garden and orchard which provide local specialties. About De Ying Foundation De Ying Foundation (DYF) is a charitable organisation that supports contemporary art in China and internationally. We believe that contemporary art has an essential place in today’s China, and are committed to widening access to the highest standards of arts programming. We take a patient, long-term approach that is collaborative and open-minded, supporting and learning from other organisations that share our aims and values, as well as launching our own initiatives when we feel there is a need. Arts education is especially important to us, since we believe both in its inherent value and in its potential for transformative impact. While our core focus as a foundation is on greater China, we also work with international partners whose work inspires us, and hope to engender and to be part of a genuine artistic dialogue between China and the rest of the world. De Ying Foundation has provided long-term sponsorship for the De Ying Associate Curator, Visual Arts, at M+. The foundation is Founding Patron of the Shanghai Centre of Photography and a key sponsor of the Hangzhou Triennial of Fiber Art at China Academy of Art. De Ying was a sponsor of the Beijing-based artist Cao Fei’s first major solo exhibition in China, “Staging the Era”, 2021, presented at UCCA, Beijing, as well as, the UCCA leg of “Who is He?”, the historical retrospective of Geng Jianyi, one of China’s pioneering conceptual artists in 2023. De Ying is the main supporter for Glen Ligon’s first UK solo exhibition “All Over the Place”, 2024, at the Fitzwilliam Museum, Cambridge. In 2018, we were also particularly excited to be early supporters of Steve McQueen’s Year 3 Project at Tate Britain. De Ying Foundation also provided support in 2019 for the production of the catalogue accompanying Cecily Brown's acclaimed survey exhibition “Where, When, How Often and With Whom” at the Louisiana Museum of Modern Art, Denmark. Village in Taishan, Guangdong Province of China.

Events Lecture Series Participant Activities Kalokagathia: On the Possibility to Think Together the Aesthetical and Ethical in Curating | WCSCD 2020/21 Annual Lecture Series The curatorial program What Could/Should Curating Do 2020 is proud to continue in 2020 with public program through lecture series The second talk in the 2020 series is titled: Kalokagathia: On the Possibility to Think Together the Aesthetical and Ethical in Curating By Suzana Milevska Date: November 28, 2020 Time: 12:00 pm Belgrade/ 10:00 pm Melbourne/ 07:00 pm Shanghai/ 6:00 am New York Venue: zoom link ID: 985 237 3109 Live stream/Facebook link In the lecture “Kalokagathia: On the Possibility to Think Together the Aesthetical and Ethical in Curating” Suzana Milevska will focus on the ongoing debate about the reciprocal relations and tensions between the categories of beautiful and good, between the form and content, and between other perpetual and artificially distinctions and dichotomies that emerged in art theory during modernism. This lecture will address the questions of whether such dichotomies are and have ever been viable and how curating helps different art practices in overcoming the hierarchy between aesthetics and ethics over time. More specifically, this lecture explores the ways in which theories of curating brought back to mind the ancient Greek notion of kalokagathia, the intertwinement of aesthetics and ethics and with it, other ethical responsibilities, principles, and values that art forgot to address while giving privilege to its formal aspects. Milevska argues that curating helps activating the catalyst potential of art without having to compromise its formal aspects, as a kind of leverage that redresses the otherwise imbalanced relationship between aesthetics and ethics. Curating in her view lends out to art its innocent and aspirational belief in such a balance because the ethical concerns in art theory and art criticism have long been toned down while form was prioritized over content. To discuss such critical position towards the phenomenon of curatorial – and to distinguish it from the curating as a profession – becomes ever more urgent in the precarious and dire pandemic period when the tensions between aesthetics and ethics, care, and self-care dominate our professional and everyday lives. Portrait credit “photo Corn, Der Standard” About Speaker Dr. Suzana Milevska is a theorist and curator of visual art and culture. From 2016 to 2019 Milevska was Principal Investigator of the Horizon 2020 project TRACES, Polytechnic University Milan, and she curated its final exhibition Contentious Objects/Ashamed Subjects. She was Endowed Professor for Central and South Eastern European Art Histories at the Academy of Fine Art Vienna (2013 – 2015). She holds a PhD in visual cultures from Goldsmiths College London and in 2004 she was Fulbright Senior Research Scholar. She curated numerous international exhibitions such as; The Renaming Machine (2008-2011), Roma Protocol, Austrian Parliament, Vienna, and Call the Witness, BAK Utrecht (2011). She initiated the project Call the Witness–Roma Pavilion, Venice Biennale (2010-2011). In 2015 she curated the exhibition Inside Out: Not So White Cube, City Art Gallery, Ljubljana (with Alenka Gregorič). In 2012 she won ALICE Award for Political Curating and Igor Zabel Award for Culture and Theory. She published the books Gender Difference in the Balkans, 2010, The Renaming Machine: The Book, 2010, and On Productive Shame, Reconciliation, and Agency, SternbergPress, 2016. WHAT COULD/SHOULD CURATING DO? (WCSCD) WHAT COULD/SHOULD CURATING DO? (WCSCD) was initiated and funded in 2018 in Belgrade as an educational platform around notions of curatorial. From 2020 WCSCD started to initiate its own curatorial inquiries and projects that should unpack above -mentioned complexities keeping educational component as a core to the WCSCD. The WCSCD curatorial program and series of public lectures have been initiated and organized by Biljana Ciric. WCSCD 2020/2021 public program series has been done in collaboration with Division of Arts and Humanities, Duke Kunshan University and they co-stream all public lectures. Strategic media collaboration is done with Seecult and they will co-host all public lecture series. Project Partners Media Partner 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 >