WCSCD emergency grant for practitioners in Former Yugoslav Region www.old.wcscd.com what.could.curating.do@gmail.com 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. ELIGIBILITY Relief will be provided to practitioners who can demonstrate that they have had an engagement canceled or postponed due to the COVID-19 pandemic in visual arts sector and this is their main form of income Applicants must be individual artists, curators, or an individual representing an artist or curatorial collective , or group. Organizers, organizations, or arts presenters are not eligible to apply. Practitioners based in any former Yugoslav region are eligible to apply including Serbia, Northern Macedonia, Kosovo, Montenegro, Croatia, Slovenia. Bosnia and Hercegovina Applicants must be living in the any of the above-mentioned countries PROCESS Please send us your CV portfolio so we can understand your practice (please write in letter head where are you based and year of birth) Please explain how many projects have been cancelled and your situation description in no more than one page The support grant is based of precarity. Application process is open NOW (June 22th 2020) and as soon number of applicants have been received application will be reviewed and funds transferred. Please send your material via email to: what.could.curating.do@gmail.com with subject WCSCD Emergency grant Emergency grant has been supported through the online curatorial program Post-Pandemic Condition with mentors Natasa Petresin Bachelez, Maria Lind and Biljana Ciric

Speaking (with, ‘n, from) Nearby “I don't intend to speak about, just to speak near by.” Using Trinh T. Minh-ha quote we would like to suggest to think of your own position of speaking near by someone or something and what kind of relationality it implies. An invited tutor for this task is Toby Üpson, an art writer currently based in London (UK). His interests lie in ideas around realities and how these (so often framed as this) can be mediated and consumed. Specifically, how realities can be mediated and consumed otherwise. Often drawn to quotidian matter, Üpson uses ekphrastic modes of writing to abound linear understandings of things. In turn, questioning the system that surrounds. Üpson has written for numerous international publications, most recently Art Monthly, Art & Education, FAD_, and Garageland. Intro This is an exercise in close writing. In slowness, and the potentials of ekphrastic prose to resist systemic forms of op- and re- pression. That is the task’s ‘aim’, beyond creative fulfillment, is to use poetic language to get beyond the stereotyped way we receive our everyday existence and to afford an opportunity for a writer, indeed a reader, to escape the streamlined flows of a reality made in and as a disposable commodity. This task seeks to create air. To afford slow breaths. To allow us to think anew from a position of proximity. Here slowness and a collection of written prompts will be used to make sensorial something of a space between the I of the writer and an everyday object before their eyes. And in this way, this task seeks to give new, anomalous, visibility, to something otherwise ‘known’, something overlooked. Further, as a metaphorical excise, the task asks us to consider the critical (not only liberatory but revolutionary) potentials of creative writing, of poetic and indirect language, of slowness, and how these expressions could be applied to everyday life as a way to resist a colonial-capitalist world system, where ‘efficiency’ of movement is foregrounded for wholly extractive ends. The output of this task will be a short 100-word text. Rather than an appendage to an encounter with a thing, my hope is that this exercise will allow you to produce a text that has its own creative agency. A text that provides a reader with a point of departure for their own creative thinking. And, in this way, this text will be something of a creative relay. You will need (exercise equipment) Paper and a pencil, or a pen; or a laptop, or a phone (your preferred writing media) The ability to go into the world. That is, to sit in a cafe or park, for example (this task could be undertaken from within one's home however) Slowness and time. Though the physical output from this task is a short 100 word text, the task itself should be performed with beautiful slowness; with careful and carefilled thinking. Task (exercise instructions) Go somewhere you go everyday or very regularly (for example, a cafe, a park, or a railway station) Sit in this place and notice. What are the small, overlooked, things that constitute the performances of this place? Note these down as a short list. (ie, the teaspoons in a cafe, the benches in a park, the tickets that flutter between hands at a railway station.) Choose one of these small, overlooked, things, and in 100 words describe this.(Please do not name this thing. We do not want 100 words of ‘this spoon is grey.’ This is a rather dull description.) Now, thinking across your senses (sight and smell and sound and taste?) use 100 words to describe how you experience this thing. (ie, ‘It's cold and sleek. Sounding with a clatter as I twist and turn cappuccino foam…’) Stay close to this thing, and also stay close to how you are experiencing this thing at this moment. Note down one association that comes to mind. (This could be a memory, or an analogy, a story, or a theory - try to avoid thinking too academic, however. For example, a teaspoon might remind you of an oyster shell.) Now, use 100 words to describe this association. (ie, why does the teaspoon remind you of an oyster shell?) We are going to shift perspective now. Write down, in 100 words, why this place is everyday, and also mention the performance(s) you enact in this place. (‘I come to this cafe every day. It is a large space in the centre of the city. I always get a cappuccino before work….’ You have 100 words, think carefully.) From this perspective, use 100 words to describe how the thing of your previous attention operates within this space. Also, consider, why is it overlooked, and how does this thing enable you to perform what you do in this place? You should now have a total of 500 words - five sets of 100 word notes - which describe a thing in a space and something of your relation to this. As an exercise in creative editing, take these 500 words and weave them together into a singular text of no more than 100 words. This text can take any form - a single paragraph, a series of short verses, a score or a script - think creatively. (I am asking you to condense a space of relation down into something small and indeed reductive. The aim of this challenge is, however, to make you think about words carefully, precisely; to make you consider how to caress a space of relations (that space between you - a speaking ‘I’ - and an overlooked thing - the thing before your ‘eye’) into existence.) You can now leave this everyday place. (Enjoy the rest of your day!) Additional materials Leonid Bilmes, 2023, ‘Introduction: On seeing prose pictures,’ in Ekphrasis, Memory and Narrative after Proust: Prose Pictures and Fictional Recollection . Bloomsbury Publishing Marcel Proust, c.1927, In Search of Lost Time. Volume 6: Finding Time Again [trans. Ian Patterson], pages 180-207. Penguin Books (2003). Georges Perec, c. 1975, An Attempt at Exhausting a Place in Paris Tina M. Campt, 2017, Listening to Images Self-feedback What unexpected happened during your performing of the task? Did something break your shell? How do you envision applying this exercise in an institutional framework (museum/ gallery visit, meeting and artist/ curator)? What change may it bring to your approach? Can you articulate your individual voice - where does it come from, what it aims for?

WCSCD 2023/2024 Educational Program Participants Anna Ilchenko (b. 1987, Sri Lanka) is a curator based in Belgrade. She holds MA in Contemporary Art Theory from Goldsmiths, University of London and MA in Art History from the Russian State University for the Humanities. Her curatorial practice is inextricably linked to visual culture studies, and implements interdisciplinary and transhistorical approaches. Over the years her line of work has been related to institutional critique, politics of memory and amnesia, notions of public space, and questions around image production and distribution. Her current interests also include the exploration of a large spectrum of performativity, body and gender issues in the age of Big Tech and queer practice. Recent residency projects and exhibitions include: In their own words: The Next Generation Women Artists Residency(2021–2022); General Rehearsal. A show in three acts from the collections of V-A-C, MMOMA and KADIST (Moscow, 2018); Vladislav Shapovalov. Image Diplomacy (Moscow, 2017); Space Force Construction (Venice, 2017); Process. Case Studies at the Museum. (Moscow, 2016–2017). Anna has lectured on methodologies of art history and artistic practices in museums and contributed articles to several art journals and online platforms. In 2019 she became a research fellow at Delfina Foundation where she further studied various residency programmes and cultural initiatives in London. Based on this research in 2021 she launched a residency programme for artists working at the intersection of theatre, music, dance and video. Asida Butba is co-founder of and a curator at SKLAD, the first contemporary art space in Abkhazia. SKLAD is a self-organized initiative, working at the conjunction of art, education and international cooperation with the aim of providing the best structure to support the capital Sukhum/i’s creative minds in the context of scarce resources and international isolation. Since it’s opening in late 2015 it has been home to 30 local and international art exhibitions and more than 250 public events such as film screenings, artist talks, lectures and workshops. These include In the shade of Big Trees (2022), Back to the Archives (2018), Deletion Marks (2017) and Games in the Open Air (2016). SKLAD has hosted 25 artists from across the globe and from 2016 has worked in partnership with the Swiss Artas Foundation. In the face of Russia's invasion of Ukraine, SKLAD now has to deal with a much harsher isolation and look for new ways to keep up the exchange. Laura Rositani is an art writer and independent curator from Vicenza, Italy. After a degree in foreign languages and literature, she attended a master in economics and management of art and cultural events at Cà Foscari University in Venice. She collaborated with several galleries, museums and foundations in Paris, Amsterdam, Bologna, Milan and Venice. After her experience at Fondazione Bonotto, she specialized in Fluxus and Experimental Poetry. She is co-founder of the art platform Contemporary Caring and art writer for the independent magazine Mulieris. Mirjana Savic is an artist working within the spaces of sculptural and installation practice. Attending to materials and material determination. Shifting, transforming, sliding. Contained and coming undone. Un-restricting materials and re-contextualising through transformative processes. Materials existing as themselves. Bringing attention to, observing; transformations. Revealing the materiality of materials. Focusing on potentials, on marks, columns, walls, weight, on dust, cracks, expansion, tension, space, bodies moving. Actions and reactions. Actions that ask questions. Stacking, folding, compressing. Interrogating the space. Waiting for what will happen. Transformations, whether they are physically visible or not. What happens when you construct an action (visible or invisible) to be open to the effects of chance? Actions: waiting to happen, in motion, on the verge but never arrive, eventual. Limits that reveal uncertainty, chance. Following a path of resistance. Mirjana has completed her undergraduate degree in Fine Art at the Royal Melbourne Institute of Technology. Her Honours research project at RMIT, 2022, considered a deep material investigation,focusing on actions that question and reveal potentials within structured spaces. I live and create on the unceded sovereign land of the Wurundjeri people of the Kulin Nation. I pay my respects to their Elders, past, present and emerging. Andrey Parshikov (b. 1985, Podolsk, Moscow region) is a curator and art-critic, curator in V-A-C foundation, Moscow. He has made numerous (around 30) exhibitions in Russia, US and Europe, including General Rehearsal (in collaboration with curatorial group of V-A-C, KADIST and MMOMA, Moscow, 2018), A Rose Has Teeth in a Mouth of a Beast (APALAZZO Gallery, Brescia, 2015), Underneath the Street, the Beach (Fondazione Sandretto Re-Rebaudengo, Turin, 2015), We Have Nothing that is Ours Except Time (Central Park, Vienna), I Remember It Differently from You (MUZEON park of Arts, Moscow, 2013), Great Repression (White Box gallery, New York, and SB gallery, Paris, 2008), Ultra-New Materiality (MMOMA, Moscow, 2009). He has been a teacher in British Higher School of Art and Design, Moscow Institute of Contemporary Art, Moscow School of Gender Studies, Academy of Fine Arts in Helsinki, Russian State University for the Humanities. His texts were published in Springerin magazine, Manifesta Journal, Moscow Art Magazine, Art Chronicles magazine, Openspace.ru web-site. He made residencies in Fondazione Sandretto Re-Rebaudengo in Turin. He also made a class of Maria Lind and Juan A. Gaitan in Salzburg Academy. Сurator’s career of Andrey Parshikov began from the keen interest to the systems of creative industries and relations within them (Ultra-New Materiality project). Now, for a few years already, he has been involved in the issues of non-materialistic knowledge and options of its re-appropriation at right-hand discourse. This was the topic of the large exhibition in an ancient castle in Italy — A Rose Has Teeth in a Mouth of a Beast. Within investigation of everything magic and weird in art he also distinguishes the queer-theory issue as the last bulwark of the system as it is (capitalist, androcentric, religious) and post-internet practices which the curator directly relates to sealed knowledge, for ‘telepathy is just the well-developed peer-to-peer technology. < About Educational Program Alumni >

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 >

Program Participant Activities Program Participant Activities 2022 2021 2020 2019 2018 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 < Participants Educational Program Programs >

Events Lecture Series Participant Activities < Mentors Educational Program How to Apply >

Open call: WCSCD Educational program 2025/2026 Drawing by Stefan Ilic Start of Open call: January 7th 2025 Deadline for submission: February 28th 2025 We will reach shortlisted candidates for interview by March 10th 2025 Final program participants list to be announced: March 20th 2025 Program starts: end of August 2025 (final date to be confirmed after participant selection). Duration of program: eight months on site: three months total (end of august to end of October 2025 + April 2026). In between onsite sessions there will be online workshops and gatherings twice a month from November 2025 until March 2026. The WCSCD educational program is open to artists, curators, and cultural workers seeking to develop different working methodologies that respond to urgent challenges facing cultural work today. Through collective learning and rooted in our shared realities we will explore and practice different methodologies, embracing failure as an essential part of the learning process. Our learning gestures are aimed towards deconstructing how, where and with whom knowledge is produced and made public, and who we cite in the process. The 2025/2026 educational project continues WCSCD’s self-reflective development of instituting through collective thinking and practicing. Together, we explore possible institutional models that transcend traditional binaries: rural/urban, culture/nature, and woman/man. This work builds on the foundations laid by previous program participants, creating bridges between different generations' methodologies and knowledge. While previous program participants looked at historical examples of artistic practices in rural areas of the Balkans, the focus of the upcoming program will be researching situated practices of instituting in the region that are still active and that offer different propositions on relationality and ways of instituting. Special emphasis throughout the program will be given to exploring ways of practicing in times of scarcity and ways to continue situated work in a meaningful way. We will question and practice responses to questions such as: What kind of exhibitions do we really need? Can we re-define the purpose of the exhibition? Can we practice the exhibition as a learning opportunity? How can we reinstall learning in exhibition making as Chus Martinez asks? The program is conceived by Biljana Ciric, founder of WCSCD, in collaboration with curator Laura Rositani, who participated in a previous WCSCD program. It is locally coordinated and situated in collaboration with The Shock Cooperative and S.K.U.P. The program mentors are: Chus Martinez (director of the Art Institute at the FHNW Academy of Art and Design, Basel, where she also runs the Institute’s exhibition space Der Tank), Nina Montmann (Professor of Art Theory at the University of Cologne, curator, writer, and PI at the Global South Study Center (GSSC) at the University of Cologne), Sergio Montero Bravo (architect, designer, researcher, and member of Inland), Lara Khaldi (director of de Appel), Toby Upson (writer), Robida (collective that works at the intersection of written and spoken words – with Robida Magazine and Radio Robida – and spatial practices developed in relation to the village of Topolò/Topolove , where the collective is based). This edition of the program will be situated in Novi Sad city, 30min by train from Belgrade. WCSCD’s educational program was established in 2018 and is mostly situated in Belgrade. It is an international program for artists and curators. Having both curatorial and artistic positions in close proximity is very important for WCSCD. In many places that lack an art infrastructure, these positions constantly merge, complement and support one another. The WCSCD educational program has been a testing ground for creating a collective learning site and a space to think about how to institute differently. The central place of the educational program in WCSCD’s activities has been vital to the institution. The program has helped guide us, creating a space to collectively consider many practical questions as well as to think about our future. Practical information No prior degree in art or art history are required in order to apply. The program is organized through different sequences. Workshops are held four days a week with mentors and WCSCD colleagues. Selected participants will be provided reading material and instructions for preparation prior to the program. The course fee is charged according to your country income (you need to be a passport holder of that country). For lower income countries, the 2025/2026 program fee is 450 euros. For lower and middle-income countries, the 2025/2026 program fee is 750 euros. For middle and upper-income countries, the 2025/2026 program fee is 1300 euros. For high income countries the program fee is 2200 euros Please use this reference for your country income: https://datahelpdesk.worldbank.org/knowledgebase/articles/906519-world-bank-country-and-lending-groups Payments should be made in advance and in instalments if needed. We encourage individuals and institutions to support cultural workers’ education through supporting their participation in the program. About your stay: The program fee doesn’t include cost of travel to Serbia and Novi Sad, or research trip costs. For the two-month stay in 2025, seven days of the program will take place in the countryside on land that WCSCD has taken custodianship of, while the rest of the program will be in Novi Sad. Food and accommodation in the village will be covered by WCSCD, while participants will need to cover accommodation costs in Novi Sad as well as costs of the research trip. The research trip will be to Topolo Robia for a duration of four days in 2025. For the one month stay in 2026 the same conditions apply. How to apply Applications should include the following items as a single Word or PDF document: a letter of interest stating your reasons for applying to the program your biography and CV portfolio Send your application by email to what.could.curating.do [at] gmail.com with the subject line: Educational program -WCSCD 2025/26

Anne Bourrassé < Back Art as barrier gestures Anne Bourrassé Early mornings collide with long evenings. Tuesday is like Friday, and Saturday runs without sleep. News are so often repeated that it falls into the norm. The days pass by. Without natural light in the apartment my shadow disappear. It appears behind my back, twice a week, on my way to buy basic necessities. All that remains to be done then is to reconquer the “infra-ordinary”, as Georges Perec calls it, to enchant the usual. There is nothing usual about the crisis. It does, however, impose new attitudes on us, by freezing the binary rhythm. It defines a space for our movements and its choreography of useful gestures. Locked up, the right foot more rarely exceeds the left foot, and vice versa. Big is the magnitude of the situation, small is the space of our condition. How can we extract ourselves from it and apprehend it in new forms? See this crisis as an object in its own right, understanding its language and the tone of its appearances, deducing from it the means of artistic action, even ephemeral and solid. How can we propose an image for the invisible ? How can we lend a material to the impalpable? Artists, curators, critics, operate at a distance to make the sensation of reality take off and allow creation to emit new frequencies. Geographically isolated, but united in the experience of the environment. The studio moved to the home, in a context that constrains us in our possibilities and tools. At the same time, the situation delivers its own atmosphere, it defines its point of view, its materials, its sonorities, and its colours. Resource of inspiration, it sets the tone of time. Art thus becomes a rampart to agitation with its own barrier gestures. Respect the distance with your subject. Listen to your environment. Favour the tools at your disposal. Use your hands regularly. Anne Bourrassé is an independent curator, fostering the interactions between visual arts and humanities. Previous Next

WCSCD Defining curating Defining WCSCD Situating Our Vision Our Values Our Priorities Programs & Inquiries Plans 2022-2025 Thinking with. Our Team 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 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. Our Team Founding Director Biljana Ciric what.could.curating.do@gmail.com WCSCD previous team members: Sasa Tkacenko, Katarina Kostandinovic, Ana Anakijev, Aigierim Kapar. Defining WCSCD Situating Our Vision Our Values Our Priorities Programs & Inquiries Plans 2022-2025 Thinking with. Our Team