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 >

Mentors Mentors 2022 2021 2020 2019 2018 Mentors of WCSCD program so far included: 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); < Participants Educational Program Programs >

Consider being part of the WCSCD growing community. This program is designed for people who want to engage in contemporary social issues through art. Join one of our groups to support our programs and vision, but also to gain special access to parts of the programs we present. Support could be on an annual basis or by a three-year engagement. Volunteers (no age requirement): If you would like to gain an insight into the work of WCSCD, all the while helping us with various activities, send us an email with a proposed timeframe and area of your involvement. We are happy to consider you becoming a part of our team in the short or long-term run! Artisans 30€ (up to 35 years old): For young art lovers who want to connect with the art world deeper. A gift from our publications’ catalog. Get personal with the WCSCD team and the people we work with. Invitation to join one close session during the educational program that is of interest to you. For each session, we invite a limited number of artisans, since we prefer to work in smaller groups. Exclusive invitation to a welcome dinner for WCSCD participants. Companion 500€: Invitation to join our team and educational program participants for a research trip we organize annually to another country (including meeting professionals in the field, and visiting institutions and galleries with us). Invitation to join us for artists' studio visits in Serbia. Invitation to a dinner with our mentors or invited guests and artists. A gift from our publications’ catalog. Artist production supporting circle, 1200€: You can directly support emerging artists in the production of their new work. Every year, through the educational program, we work with one artist on one of their developing new work. See some of the artists’ works we supported in the following link: sasatkacenko.com/wcscd Artist and curators education supporting circle, 1200€: Offer the opportunity to an individual to participate in the educational program. You can be anywhere in the world. We run an open call for artists and curators for our educational program. However, if you feel that any other artist or curator is in urgent need of the educational program we offer, we are open to your proposals. Revitalizing the land circle WCSCD is going through a transition while exploring its relationship to rural land. We are working with communities in the Šumadija region (Central Serbia) towards enabling the land to be used and incorporated into contemporary practice. If you need land access or are exploring similar topics, please don't hesitate to contact us.

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Events Lecture Series Participant Activities On WCSCD educational programme Collective reflections This conversation with What Could Should Curating Do (WCSCD) education programme participants happened in June 2024, during the final part of the 2023/24 education programme. The conversation took place in the rural (the village of Gornja Gorevnica, in central Serbia), as we spent one of the last weeks of the programme together in the WCSCD pedagogical centre.The heat challenged our abilities to focus and to be present during this discussion — the conversation was recorded as temperatures reached 35 degrees celsius in the shade. Writer Toby Üpson, who has been following the programme during its transition over the year, initiated the conversation with questions. Program participants Anna Ilchenko, Asida Butba, Andrey Parshikov, mentor Luigi Coppola and intern Min Chengxiang were present and took part in this conversation. Program participant Laura Rositani wasn't with us during the last visit to the rural. Her responses were introduced to this text later, as the conversation was being transcribed. Overall the conversation tries to reflect on the programme's focus and the embodiment of knowledge. WCSCD’s educational programme was established in 2018, mostly situated in Belgrade. It is an international programme for artists and curators. Having these two positions, curatorial and artistic, 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 programme has been a testing ground for creating a collective learning site, a space to think about how to institute differently. The central place of the educational programme in WCSCD’s activities has been vital to the institution; the programme has helped guide us, creating a space to collectively consider many practical questions as well as to think about our future. Biljana Ciric (BC): It’s the 21st of June 2024. Toby, Asida, Andrey, Anna, Luigi, Min, and myself are present. I think it's a good moment to reflect. Toby has some questions which I found interesting and I felt we could think about these together. Toby Üpson (TU): To start off, my first question is really broad and very subjective. The premise of the education programme this year, and its leading question was, what does it mean for an arts institution to become the custodian of land? So, that guiding question automatically implies that the programme is focused around the arts institution and its organisation beyond the programme. In that sense, as participants, I was wondering what and how have you ‘gained’ from the programme — to use a word I don't like —, or at least how have you experienced this process? Asida Butba (AB): You mean in relation to how through knowing our background, what sort of meaning we put into custodianship as a practice, as a way of thinking? TÜ: I think more generally. You signed up and applied to an education programme which is very, very specific. How do you think this process has formed you, if it has formed you, and what have you learned, if anything at all? Anna Ilchenko (AI): Or unlearned. TÜ: Indeed. AI: I was curious about the idea of custodianship, carrying in a larger sense, because of how this word operates in different contexts, in relation to Australian Indigenous communities for example. And how to practise different cultural strategies in order to have a more inclusive society, that sort of thing. I was curious to see whether this situation could somehow be applicable to other contexts. I mean as an experiment, an experimental educational, not practise per se but a condition. It was interesting not just to see but also to practise it [— custodianship]. Of course, I'm oversimplifying because it was purely a kind of artificial, I would say, laboratory situation. But I was curious to see how it could work. Do I know whether it works or if it can be universal, that sort of a strategy? I wouldn't say that I have a clear understanding of how this could be, these ideas come from engaging with knowledges from indigenous communities from other parts of the world. So this is still an open question for me. AB: My motivation to apply was more related to a question of alternative ways of instituting, since I’m organising a space myself that's something that I've been curious about. What are these methods, you know, especially when starting something from scratch with no infrastructural backing, where there’s not a lot of resources to build either or you have to inherit the resources. To me, that was what I found interesting. I'm not sure that the things I learned have anything to do with custodianship of the land. TÜ: How do you think you could apply what you have experienced with the programme to your daily practice? AI: I think that my experience of the programme has been very different. I would say that it fluctuated between inspiration and thoughts you apply to your work directly, but which also have a kind of vagueness or intuitiveness where it's not clear what's going on, where it's not clear how or what the result is going to be. It is an open process. And that's a huge thing. I can go on forever about this and what I can take from this. Andrey Parshikov (AP): After documenta14 I was interested in how and what the connection is between cultural production and the production of goods or food or something like that. I had never thought about that. Second, I never thought about these groups, those who are going into the woods and making something there, who are connected to the land and so on. ‘Land’ was not in my vocabulary as a contemporary practitioner. So it was out of this curiosity that I applied. I learned a lot from the tutors about how artistic value could add something to the production of food and now I understand better all these artists from documenta14, like what their artistic practice is, where their art is and how it works. Laura Rositani (LR): I can certainly relate to Asida's response. My initial motivation for applying was driven by a desire to reconsider my approach to curating, especially in light of my recent learnings. I was and still am particularly interested in exploring more ecological and caring methods of curating. This experience has prompted me to ask many questions: how can I curate a show without artworks? One of the most valuable lessons I've learned is the importance of the process over the material object. The programme made me rethink the methodologies and phenomenologies of new spaces, developing a critical eye and embracing failure sometimes. This was a new experience for me: I've come to realise that the current ‘likes culture’ may not be conducive to learning. This experience has pushed me to think outside of the box and challenge my assumptions. The opportunity to interact with such a diverse and talented group of people from around the world has made me realise how often I limit my view to my own bubble; being with the WCSCD group was enriching. TÜ: It sounds like you all approached the programme with a level of curiosity, an interest you wanted to learn more about. Is it right to say that you've become more knowledgeable about these things? AI: I have implemented the things I learned through the programme in a recent show. Not everything worked but at least this is just something that I felt I could naturally implement both as a curatorial strategy and also as a way to challenge the idea of how to engage with Indigenous context in Russia because these have their own layers of complexity, much more twisted than could be imagined. The exhibition talks about the earth as a political, economic and spiritual agent; we worked with a group of researchers from Yakutia, because of their relationship with the land and their understanding of its purpose as a support system. TÜ: Sounds like there was a knowledge transfer at a simple level taking place. AI: Yeah, I've never done anything before like that. AB: I’ll say there has been an expansion of how I understand what I want to do and what I want to do in the near future. Some of the issues we've discussed here, regarding the land, and some of the readings, give me a sense of the possibilities of what I could do in the environment I work in. Thinking about where I work, I was asking myself what is this? I don't quite understand because I was born in Russia; there are some things I really don't grasp enough and that I have no clue why they work like this. For example, there are activist groups uniting around land-based issues and they are really strong. Young people in their early 20ies have this gut feeling that this is our land, we're not giving it to anybody and so on. I can relate to that. I also work with an indigenous population, in a place where half of the population lives in the rural, it's basically a Caucasus tribe, one living in an unrecognised state [— Abhazia], and I’m actually working with some of these people now, on future programmes for the space I organise. TÜ: How useful was it to have the programme so focused on the rural, and not just in terms of curiosity, in terms of the reality of the situation? In other words, why choose an education programme with no aircon! when you could have been in a library? AP: I didn't want to read books. I wanted to be in dialogue with others and this was a good opportunity for that, an opportunity to learn from other professionals and not from the books, it's always better that way. BC: An embodied experience? AP: Yes, yes, an embodied experience, exactly! AB: It is also all those conversations had beyond the workshops, beyond the presentations and the lectures. For me, these were the spaces for the most fruitful discussions. They were also part of that educational process, for me anyway, and that's why it's important for everybody to be together in a situation like this. Luigi Coppola (LC): After this year, do you think there is a specific category that you can confine to the rural? Is it a specific category for curators or art context to engage with? Do you think there is a specific way of working in this context? AP: Of course, you need to be brave enough to do that. I mean doing an exhibition is one thing and creating the space for rural within contemporary production is another, that’s very different from a traditional art institution. LC: I don't think there is this categorisation. I think it's more a methodology or way to engage with an issue. I don't see the distinction because I don't find a big difference in terms of how the society is built. If we say we have the institution in the city or that an urban area is more educated to the art context what does it mean? Because there are so many rurals; I ema we talk about marginal places, peripheric places, indigenous places, and we categorise everything as a rural place. What we think of as rural is the space for the production of food but it's much more than this. Urban contexts are now also producing food maybe, more than you know. I live in a place where nobody is cultivating anymore there is no attachment to the land, and the people are living exactly with the same trauma, the same mechanism in the city, maybe missing some things in the city, but there is no difference in the way they are educated, they create society, they create a relation. In every context that I've been in, I'm not able to create a category and I don't feel I fit in this idea of rural art, rural artist. I feel all this construction around contemporary art is completely fake, and I don't find this categorisation worth the discussion to be honest, so I try when it's possible to destroy this because I don't feel it's for me. There are so many things that it's more interesting for me to talk about: methodology, engagement, connecting, the way to connect, the way to create, the way to act, the way to practise. We need to talk about situated practice and every time we are in a place we need to discover a methodology for this. AP: It's not about the context. It's very raw. I mean here there is no audience. There is no nothing. There is no… LC: And it is rural? AP: Of course. LC: But it's not part of urban-rural. We can go to many places in the city that are rawer than this. We can go into favelas and we can find people who are very raw. I can show you some raw context in the city. AP: Of course. I'm sorry, but I'm working in a museum. In a museum there is an audience, there is an infrastructure, there is everything. LC: Yeah, but this is an art institution. It's not rural. It's not a question of rural and not rural. AP: But we're building institutions, right? Or alternative institutions. So that's why I'm comparing it to. TÜ: I think it might be useful to reframe a way of thinking. You're in the programme, you're researching, how useful is it to have a specific, project-based, situation like this? To have this institutional project alongside the education programme’s research and the conversations? AI: I think it's very useful. Actually, I really loved this experience here in the village. Also all the rawness that Andrey mentions. Because you're trying to do something and you see the reality of what is really happening. You ask yourself and everyone else more questions, and I think that this is an extremely useful process. The first aspect of the programme was more of a scenery, like all the workshops and so on framed our thinking. I felt that the second part, engaging with this rural context, really required closer engagement with the people who have an understanding of how this place functions, maybe knowing the language. BC: I think that it's interesting that you mentioned this because it's something that I’m thinking deeply about. The majority of the physical programme happened in Belgrade, in a very urban setting. But it's fascinating that when we talk about the programme, we talk about the rural experience. It's very sensorial being together here, living together, eating together, cooking together… AP: Taking showers together… BC: Taking showers together… This experience creates a different bond within the group. This compliments the notion of learning as everyday practice. Figuring out these dynamics interests me; so too, hearing about how our experiences together, in the rural, has left an impression on you. Before moving to the rural we did a methodological preparation. For that we thought about positioning: how do you position yourself as a practitioner, etc., etc. We focused our research with case studies on rural practices from across the Balkans, undertaking a number of field trips to understand these histories and contexts. It was very important that you understood that there were practitioners before us and, like us, that they tried to decenter artistic work. Through this historical research, we learnt where the problems with these practices were, what the struggles were. Indeed, Whilst on our research trips we could actually taste the bitterness of these practices as we encountered their ruins, deepening our thinking about what and how we could learn from these practitioners. So yes, for me it's really interesting to hear how powerful our stay in this rural context was for you, I mean for me as well. AP: We keep forgetting about the part of the programme dedicated to the margins, to the people who went out of the system. This was very important for me as well. When I was living in Moscow I was researching different types of secs, all the case studies and communes we visited resonated with this research, especially in relation to spirituality. LR: To me the situation we experienced in the rural was not that new but still it was challenging. I am not used to sharing the same space with several people for ten days but I believe this brought me to new awareness of myself as a person and as curator. It made me think about the importance of time and slowness: it takes time to get in touch with a community, to take care of it and to come up with something valuable created together. TÜ: Do you think you've gone through a process of unlearning? AI: I wouldn't say ‘what have you unlearned’ is the best question. On a very practical level, I had this knowledge in me already. It's been there since I was a child, I would wash the dishes the same way as you, but I have forgotten all this knowledge after living most of my life in cities. So here the unlearning was more of a case of going backwards, mentally, and unpacking some of the things already embedded within me but which lie latent and unused, like riding a bicycle essentially. TÜ: When I say unlearning I don't just mean bookish knowledge, I mean body-knowledge too. AB: Yes and learning how your body's being socialised. AI: I felt this when we were working with Petra [Pavleka], physically thinking about biodiversity and how to implement this; you took a shovel and your body already knew what to do because you've done it so many times, so this is what I’m saying, it's like riding a bicycle. Growing up I was much more experienced living in the countryside — even though it's a very complex relationship for me because I grew up in the 90s — we had to know how to grow vegetables so we could have food on the table. Being a child you don’t want to go through with this labour, you want to be a kid not planting potatoes. So the rural can be a dark place in some way and that is why I hesitate to go back to something. There were moments of joy, of course, and moments of learning; my grandmother was so knowledgeable about countryside life and I would learn a lot from her. So, for me, an inter-generational relationship and knowledge also resurfaced here. And this is another thing that I asked Luigi when we were having discussion in the autumn; coming from a post-socialist context, for me, it's going back to the countryside and means going back to its models of producing food. I can remember after school or during the summer we would cultivate potatoes for free. Obviously, it was not ‘common wealth for god's sake’ , this was essentially exploitation. For me, this experience surfaces all those complexities. It makes me question the means of labour, its distribution across a labour force as well as all the power dynamics in place or that were in place. TU: I'm very interested in bodily knowledge. You've all grown up, gone down a specific route, normally followed an institutional pathway or a particular curatorial mode of thinking, becoming socialised to that way of working. I am interested to know if you have started thinking about and unthinking how you've been socialised. AB: I mean I can totally relate to Anna regarding the activation of forgotten parts of myself, like washing the dishes or taking a shower or enjoying the view from the window of the toilet. I know these things instinctively, some are active in my present life and others need to be reactivated. I was never really socialised in a... I mean, I do not come from an institution. BC: It's more grass roots. AB: Yeah, I'm not cultivated. I'm just grass root. Just grass. TÜ: Sorry to jump in and to directly ask about your artist space, is the logic you follow to organise this the same logic as the ‘big boy’ institutions? ie, applying for the same pots of funding. I would like to think about this experience in relation to alternative institutional models. AB: Despite my curiosity in alternative methodologies, to organise my space I currently apply to ‘normal’ funding streams. For me, this is the only thing that works honestly. I haven't figured out any other strategy and I don't think that looking at this programme I can see any other strategies that are immediately available to provide me with sustainability. To pursue an alternative system, in my context, I feel I would need to quit whatever I’m doing with my art space and spend two years or more researching alternative strategies. And this is not what I want to do. Our resources in Abhazia are scarce and I’m trying to learn how to do what I do better with these limitations. BC: Can I ask where you think the curatorial is here? AP: While you are creating you are cultivating something or are taking care of something probably. Trying to introduce alternative means of production into cultural institutions that have very traditional and conservative ways of working it's already something curatorial, even thinking about this and thinking about how to do this is curatorial. AB: I think there should be a certain sensitivity to the people we meet in rural areas. For me the curatorial would be to engage more, to try to enter from different angles, to experiment with different means of engagement and to see how people respond. AI: For me it's also about people first, finding people to have conversations with. But also, there is a necessity to care about this place. BC: I have a last question. If the field of curatorial is constituted by the questions we can ask, What is the one question that you would ask after experiencing all the hardship? LC: I'm not sure that the curatorial is constituted by the questions you ask. It's about the care that you put into things, be this an economic thought or the ecology of people. A question isn’t the starting point but a practice. AI: For me, the question, as a cultural practitioner, is about the idea of holistic unity. AB: Maybe my question would be how to create a space that could be productive for listening or how to create a space where everyone present could have a sense of the other or the unknown. LR: More than a question, mine is a thought and again it’s about time and what Luigi called the ecology of people. Working on margins and working on communities requires a lot of time spent on site and with people. < Mentors Educational Program How to Apply >

Mentors Alumni 2022 2021 2020 2019 2018 Mentors of WCSCD program so far included: 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); < Participants Educational Program Programs >

Events Lecture Series Participant Activities To be enjoyed endlessly – a zine final project by WCSCD2019 curators Seda Yıldız and Ewa Borysiewicz NOVEMBER 14, 2019