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

WCSCD Defining curating Defining WCSCD Situating Our Vision Our Values Our Priorities Our Team Programs & Inquiries Plans 2022-2025 Thinking with. Defining curating WHAT COULD/SHOULD CURATING DO?—WCSCD was initiated in 2018 in Belgrade as an educational platform focused around notions of the curatorial and is a registered civic association. WCSCD was established by Biljana Ciric and these two bodies are deeply entangled and define themselves as she/her. These two bodies are relational and hoping to be transformed by the relationships they are entangled with. Their mode of existence, visibility and opacity in the world is shaped by thinking and walking with an advisory group—which since 2020 has consisted of Matt Packer, Andrea Palasti and Ares Shporta—as an exercise in how to become more than yourself- pluralself (Rolando Vazquez). Defining these two entangled bodies as she/her, we are hoping to engage in larger conversations of deconstruction and of imagining institutions by decolonizing our expectations. What do we mean when we say curating? We understand curatorial practice as walking with. We mean walking not as a way of getting somewhere, but walking with, as sharing time and creating space for unevenness to co-exist. When writing about walking, Canadian geographer Juanita Sundberg separates this into two steps. The first step is positioning, which is locating my body-knowledge in relation to the existing paths I know and walk. Sundberg defines the second step as walking with. “Walking with means ‘reciprocal respect for the autonomy and independence of organizations’ involved in the struggle; in other words, respect for the multiplicity of life worlds. Step two, then, involves learning to learn about multiplicity.” What do we mean when we ask the question What Could/Should Curating Do? We propose this question in order to engage with practices and encourage curating to stay dynamic and responsive in the world around me, anchored in caring with. Situating We are situated in Belgrade, Serbia, where the work of cultural workers is undervalued. A very big part of myself is also situated in the places where our collaborators struggle working under similar conditions. We are also with many bodies that experience and fight against the extraction of natural resources and exploitation of human and more than human worlds. Our Vision We dream and practice contemporary culture as a political movement that stand against that moves away from certain economically bounded locations creating the conditions for us on the margins to participate in discussions where our futures are negotiated and our pasts reflected on. I dream of an instituting model that is attentive to human and more than human worlds, asking myself who I am in relation to others. Our Values Education and new methodologies Ambition and openness to failure as part of the learning process Professional network of colleagues and peers who think together with me Slow modes of working that allow for deeper entanglements Our Priorities Ways of doing based on a pedagogy of positionality Education and methodologies I use in creating new kinds of human Creating citations in art practices from the margins that contribute to the global Ways of working together that are long-term and based on the equal sharing of resources Creating conditions for equal participation within contexts that are economically uneven Contributing to practising towards sustainable art institutions Our Team Founding Director Biljana Ciric what.could.curating.do@gmail.com WCSCD previous team members: Sasa Tkacenko, Katarina Kostandinovic, Ana Anakijev, Aigierim Kapar. WCSCD existing programs and inquiries 2018-2022 WCSCD’s main program focus is an educational program and long-term inquiries towards decolonizing modes of relationality within the arts. WCSCD’s education program has been run on an annual basis every year since 2018. It is a three-month program for practitioners situated in Belgrade. In 2020 I started the first curatorial inquiry of WCSCD in the form of a long-term research project: As you go…roads under your feet, towards the new future looking at the impact of BRI in Central Asia, Balkan, Ethiopia and China. The project is structured around partner cells: Zdenka Badovinac (Ljubljana), Robel Temesgen and Sinkneh Eshetu (Addis Ababa), Public Library Bor (Bor), Rockbund Art Museum (Shanghai), Times Museum (Guang Zhou), Artcom platform (Almaty) and WCSCD (Belgrade). Our plans 2022-2025 My plan is to work with a group of colleagues to bring WCSCD into a new stage of positioning itself. In this phase WCSCD will consider itself in relation to merging the rural and the urban, through an open inquiry into what it means when an art institution becomes a custodian of the land. I am hoping to explore the role of art institutions within rural-urban, nature-culture relations and possible sustainable economies for both. I hope that our entanglement will bring long lasting alliances, bringing like-minded practitioners together to work collectively on deconstructing our methodologies of working within the arts. Thinking with. Since 2020 I have been thinking with Matt Packer (director of Eva International), Andrea Palasti (artist and educator Novi Sad) and Ares Shporta (director of Lumbardhi Foundation) as part of an active advisory group. From 2023 we will continue without Ares as he is starting a new chapter in his life and we thank him for his insight and knowledge. From 2023 we will welcome to the advisory group Amelie Aranguren (head of artistic programming at INLAND’s Center for the Approach to the Rural (CAR) in Madrid and Inland member since 2010.) Besides the Advisory Group we I have been accompanied in thinking and practising with Susie Quillinan and Madeliene Collie through Study Pattern. Defining WCSCD Situating Our Vision Our Values Our Priorities Programs & Inquiries Plans 2022-2025 Thinking with. Our Team

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

Alumni Alumni 2022 2021 2020 2019 2018 < Participants Educational Program Programs >

Events Lecture Series Participant Activities WCSCD 2025/2026 educational program lecture series Lecture by Nina Möntmann Decentring the Museum. Contemporary Art Institutions and Colonial Legacies Time September 10th , 2025, 19:00 Venue: SKUP Novi Sad Nina Montmann lecture is taking point of departure of her recently published book Decentering the Museum: Contemporary Art Institutions and Colonial legacy. Montmann in the book acknowledges transition processes towards decolonization, de-elitiziation, giving emphasis on importance of moving away from collection, exhibition policies that are based on European colonial legacy of institutional rituals that will be also addressed at the lecture. To counter their dwindling relevance in a post-migrant society more and more modern and contemporary art museums are seeking approaches to decenter their collections, policies and infrastructures. In doing so, they can benefit from engaging with the discourses triggered by the restitution processes of the anthropological museum as well as the working methods of small art spaces. In this talk I will introduce the concept and practice of decentring as it can be applied to the museum. I will have a look at the example of the MASP/Museu de Arte São Paulo and the HKW in Berlin and focus on a series of exhibitions and projects that performed the interweaving of diverse colonial histories with imperial modernity that the art historian Ruth Iskin calls for. Nina Montmann is mentor of WCSCD educational program 2025/2026 and she the lecture is organized as part of educational program public encounters in collaboration with SKUP and Sok Cooperative Lecture will be in English Nina Möntmann is Professor of Art Theory at the University of Cologne, curator and writer as well as Principal Investigator at the Global South Study Center (GSSC) at the University of Cologne. Before she has been Professor of Art Theory and the History of Ideas at the Royal Institute of Art in Stockholm and curator at NIFCA, the Nordic Institute for Contemporary Art in Helsinki. Curated projects include Naeem Mohaiemen: Langer Tag , Temporary Gallery, Cologne, 2023; Måns Wrange: Magic Bureaucracy , Tensta konsthall in Stockholm 2017; Fluidity , Kunstverein in Hamburg 2016; Harun Farocki A New Product (Deichtorhallen Hamburg, 2012); If we can't get it together. Artists rethinking the (mal)functions of community (The Power Plant, Toronto, 2008); The Jerusalem Show: Jerusalem Syndrome (together with Jack Persekian), 2009, Parallel Economies in India , (Frankfurter Kunstverein, 2006) and the Armenian Pavillion for the 52nd Venice Biennial. She participated in the long-term Israeli/Palestinian art and research project Liminal Spaces , and in 2010 was a research fellow at the Museo de Arte Reina Sofia in Madrid. She organized a number of symposia, such as Beyond Cynicism: Political Forms of Opposition, Protest and Provocation in Art , 2012, and New Communities , 2008 (both at Moderna Museet in Stockholm), We, Ourselves, and Us at the Power Plant in Toronto, 2009, and ReForming India - Artistic Collectives Bend International Art Practices at the Vera List Center for Art and Politics at the New School in New York, 2007. < Mentors Educational Program How to Apply >

Events Lecture Series Participant Activities Program Participant Activities Tonight we invite you to encounter a collective archive of the 2022 What could/should curating do educational programme, which took place in Belgrade and other locations around the Post-Yugoslav region, between September and December this year. The departure point for this archive is a proposal by Biljana Ćirić, program curator and facilitator, to consider the means by which the discussions, events, inquiries and relationships developed during this time might be recorded or documented. Archiving is never neutral. Determinations are always made—by individuals, by collectives, by collecting institutions—about what knowledge is worth saving, the means by which knowledge is indexed, housed and cared for, who has access and on what terms. Within the framework of an alternative educational platform—with a loose and evolving curriculum, and no formalised method of assessment or grading—this exercise presents an opportunity to consider what alternative measures we might allow ourselves for the production of knowledge when freed from institutional modes of transmission and circulation. As such, these archives—both individually and collectively—do not simply record a series of shared (and at times differing) experiences. They include questions around how the embodied, linguistic, political, intimate, relational nature of experience and remembering, ranging in scope from the personal, to the national. Each contribution is informed by the “baggage” we carried with us, as a group of individuals from many different geographic and cultural contexts, many of whom had little relationship with Belgrade, Serbia or the Balkan region prior to this course. This “baggage” includes our different relationships to contemporary art’s infrastructures; our different fields of knowledge and networks of relationships; cultural and linguistic differences; differing relations to histories of colonialism, resource extraction and capitalist exploitation; and varying habits of thought, modes of making, inhabiting and formulating questions about the world. Through differing strategies of presentation and circulation, we hope to open up questions about what we have in common, as well as what separates us; what of ourselves is dispersed, and what is withheld. But the physical “archive” we share with you tonight is only a part of a wider set of relationships, experiences, idea exchanges, occasional encounters, gossip and experimenting. Tonight we celebrate the beauty and fragility of these moments. Be our guests at the two tables. Read silently. Read aloud. Whisper. Describe what you see. Share what you feel. Eat. Drink. Embrace. This archive is staged as something living, developing and transformational, ever evolving as our moments with you. Thank you for sharing this journey with us. We hope it’s not the end, but only a stop on the way. WC/SCD 2022 Adelina, Anastasia, Ginevra, Giuglia, Jelena, Karly, Lera, Sabine, Simon < Mentors Educational Program How to Apply >

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. < Participants Educational Program Programs >

Our Team Founding Director Biljana Ciric what.could.curating.do@gmail.com Design Toby Tam tobytam06@163.com WCSCD previous team members: Sasa Tkacenko, Katarina Kostandinovic, Ana Anakijev, Aigierim Kapar.

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