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 >

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

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 >