Events Lecture Series Participant Activities Comradeship: Curating, Art, and Politics in Post-Socialist Europe by Zdenka Badovinac This is the third book in the PERSPECTIVES IN CURATING series, which offers timely reflections by curators, artists, critics, and art historians on emergent debates in curatorial practice around the world. Venue:Ostavinska , Kraljevica Marka 8, Belgrade Date: September 21st 2019 19:00 Comradeship is a collection of essays by Zdenka Badovinac, the forward-thinking Slovenian curator, museum director, and scholar. Badovinac has been an influential voice in international conversations rethinking the geopolitics of art after the fall of communism, a ferocious critic of unequal negotiations between East and West, and a historian of the avant-garde art that emerged in socialist and post-socialist countries in the last century. She has been, moreover, an advocate for radical institutional forms: museums responsive to the complexities of the past and commensurate to the demands of the present. Gathering writings from disparate and hard-to-find sources alongside new texts, this book offers an essential portrait of a major thinker, and a crucial handbook of alternative approaches to curating and institution-building in the 21st century. “Whip smart, politically astute, curatorially inventive:
Zdenka Badovinac is nothing less than the most progressive and intellectually rigorous female museum director in Europe. This anthology includes key essays accompanying her series of brilliant exhibitions in Ljubljana, and is essential reading for anyone interested in the differences between former east and former west. For anyone seeking curatorial alternatives to the neoliberal museum model of relentless expansion and dumbed- down blockbusters, Badovinac is a galvanizing inspiration.” —Claire Bishop, art historian and critic About the Speaker: Zdenka Badovinac is a curator and writer, who has served since 1993 as Director of the Moderna galerija in Ljubljana, comprised since 2011 of two locations: the Museum of Modern Art and the Museum of Contemporary Art Metelkova. In her work, Badovinac highlights the difficult processes of redefining history alongside different avant-garde traditions within contemporary art. Badovinac’s first exhibition to address these issues was Body and the East—From the 1960s to the Present (1998). She also initiated the first Eastern European art collection, Arteast 2000+. One her most important recent projects is NSK from Kapital to Capital: Neue Slowenische Kunst – The Event of the Final Decade of Yugoslavia, Moderna galerija, 2015 (Traveled to Van Abbe Museum , Eindhoven, (2016), Garage Museum of Contemporary Art, Moscow (2016) and the Museo Reina Sofía Madrid (2017)); NSK State Pavilion, 5tth Venice Biennale, 2017, co-curated with Charles Esche; The Heritage of 1989. Case Study: The Second Yugoslav Documents Exhibition, Modena galerija, Ljubljana, 2017, co-curated with Bojana Piškur; Sites of Sustainability Pavilions, Manifestos and Crypts, Hello World. Revising a Collection, Hamburger Bahnhof – Museum für Gegenwart – Berlin; Heavenly Beings: Neither Human nor Animal, Museum of Contemporary Art Metelkova, Ljubljana, co-curated with Bojan Piškur, 2018; Her most recent book is Comradeship: Curating, Art, and Politics in Post-Socialist Europe (Independent Curators International (ICI), New York, 2019. Founding member of L’Internationale, a confederation of six modern and contemporary art institutions. Badovinac was Slovenian Commissioner at the Venice Biennale from 1993 to 1997 and 2005. and Austrian Commissioner at the Sao Paulo Biennial in 2002 and is the President of CIMAM, International Committee for Museums and Collections of Modern Art, 2010–13. The event is free and open to the public. The WCSCD curatorial course and series of public lectures have been initiated and organized by Biljana Ciric. The lecture by Zdenka Badovinac is produced by WCSCD < Mentors Educational Program How to Apply >

Past Programs 2022 2021 2020 2019 2018 2022 Program Archive Open call: What Could Should Curating Do educational program 2022 February 13, 2022

Alumni 2022 2021 2020 2019 2018 2020 Alumni Devashish Sharma has a BFA in Painting from the Maharaja Sayajirao University, Baroda, and an MFA from the Shiv Nadar University, Greater Noida. After completing his MFA, he joined the Kiran Nadar Museum of Art (KNMA), New Delhi as a trainee, and was part of the team responsible for the physical verification and documentation of the art collection. In 2017, he received the Public Art Grant from the Foundation for Indian Contemporary Art (FICA), New Delhi and was able to pursue his interest in setting up a museum for the children of the villages of Kumharpara and Balengapara, Chattisgarh. The Museum of Questions and Imagined Futures is a space for children to think about the future of history in a rural context. Research on architecture and landscapes is a key part of his practice, and in 2019 through a grant funded by the Max Mueller Bhavan, New Delhi he was able to initiate Road Number Zero, a research project that explores the cusp between rural and urban landscapes within India. His practice revolves around the ideas of bodily experience and movement, and the politics of curating. Devashish is currently based in Bangalore. Beatrice Rubio-Gabriel is an independent curator, writer and performance artist based in Naarm/Melbourne. She finished a double-degree BA in Art History and Theory alongside a BFA from the Monash University School of Art, Design and Architecture, and was the recipient of the BAHCxMUMA Curatorial award at the MADANOW19 exhibition. Centring around a collaborative and experimental practice, she has curated projects that aim to challenge current curatorial and euro-centric modes of exhibiting, and experiments with writing as artform. Her curated projects include /dis/location, MPavilion, Melbourne (2019); The Art of Consumption and The Answers You Need Are Right Where You Are, Intermission Gallery, Melbourne (2019); Revisiting the Quadriennale, CareOf Facility, Milan (2018) and Dwelling Inbetween Here and Some Other Place, Monash Prato Centre, Prato (2018). The former artistic director of Intermission Gallery, she is now currently researching systems of care and intersectional spaces of Resistance Aesthetics. She is also exploring the Baybayin script of the Philippines as a gateway for cultural understanding and re-connection, and how this may be engaged through performance and mark-making. Christophe Barbeau Following a BFA in Quebec City at Université Laval, Christophe Barbeau completed the Master of Visual Studies, Curatorial Studies, at the University of Toronto, Canada, during which his research looked for a political understanding of the position of the “curator” through a specific concept of “authorship”. His projects, as an artist and a curator, have been presented in different group and solo exhibitions in Quebec City, Montreal, Rouyn Noranda, Toronto, Boston, and Nice. Notably : The Die Has Been Cast (2014 Villa Arson, Nice), dans la petite galerie. […] (2014, L’Oeil de Poisson, Quebec City), Dans ce cas-ci (si), […] (2015, Quebec City), Dans le but de décentraliser […] (2016, L’Écart, Rouyn Noranda). In this first stage of projects, the research focused on developing artist’s curated situations of exhibitions where a curatorial strategy was embedded within an artistic practice, specifically through display structures as well as employing strategies of copies, re-makes, re-enactments. Barbeau’s latest exhibitions were entitled : «Qu’avons- nous fait? […] (2019) presented in Toronto; and «and I am the curator of this show1» (2018) presented at the Art Museum University of Toronto in 2018. In this stage of projects, the focus was redirected towards the power relationship specific to the position of the curator, through the use of institutional critique and self-reflexive curatorial gestures, the projects were aiming at deconstructing the conventional and naturalized authorities of the curator, uncovering the political challenges that this figure is facing. < Participants Educational Program Programs >

Program Participant Activities Alumni 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 >

Current Program WCSCD 2025/2026 educational program participants Open call: What Could Should Curating Do Educational Program 2025/2026 Open call: What Could Should Curating Do Educational Program 2023/2024 Past Programs 2022 2021 2020 2019 2018

Events Lecture Series Participant Activities Regenerative living-creating spaces for the multi species co-existence Learning through doing -educational program Open call from August 4th to September 5th Duration of program from September 26th to October 1st 2024 Mentors: Luigi Coppola, Sergio Monterro Bravo, Petra Pavleka, Jelica Jovanovic, Marko Bajic, Biljana Ciric This educational module will be hosted in pedagogical center in rural of WCSCD in village of Gornja Gorevnica with aim to develop and test a set of spatial practices within WCSCD that respond to the urgencies of this contemporary moment, including decolonization, decarbonization, scarcity, climate change, as well as mitigation of public sphere. Through program we aim to revive creative responses to the condition of scarcity drawing from the ancestral ways of knowing and making, learning about possibilities of surviving with joy. The point of departure of the module is climate change and understanding that science and technology cant solve our problems, but we need to start changing the way we live, the food we eat, the way we understand world around us and its potentiality. The educational program is based on concept of situated response and through learning by doing. No prior knowledge is required, we welcome participants with different knowledge backgrounds. Focus of the program are following: How to preserve margins – understanding margins in natural and social context, margins as a central space for re- starting the relationships with more than human world, margins as a space where two worlds touch each other, margins as a space for preserving fertility, understanding margins through biodiversity. Natural building – recycling and upcycling, making social spaces in natural environment with natural and locally found material, how to coordinate and plan the space that is always growing, understanding co living spaces through seasons. Sustainable kitchen: understanding of eco system, seasonal food, no waste concept, eating locally, traditional dishes in contemporary living, foraging among others. Program fees: Fees: for participants from Balkan countries 200 euros For all other participants 400 euros For WCSCD alumni 20% off discount This price includes three meals and accommodation. Accommodation is distributed to first come first serve bases and for the rest of participants camping spots are available. How to apply Send us Motivation letter why u want to be part of the program Short bio no more then 200 words Application send to what.could.curating.do@gmail.com with title Regenerative living program application About Mentors: Petra Pavleka is a landscape architect, permaculturist, and educator focused on agroecology and sustainable living. She worked as an external professional associate on landscaping projects. She is also involved in green volunteerism, advises local councilors as an expert associate, and participates in several working groups and civic initiatives such as the "Initiative for a Public Orchard on Jarun". For the last decade, she has been experimenting with gardening, preparing food for winter storage, making natural creams for friends and family, making bread, and learning to sew clothes and weave baskets. 6 years ago, she moved from the city to the countryside. She is focused on creating more stable food systems and seed conservation programs for the associations ZMAG (where she was once the head of the Community Seed Bank and food program) and Biovrt - in harmony with nature. Her greatest passion is sharing knowledge, so she holds trainings all over Croatia and beyond. Sergio Monterro Bravo As an architect his work evolves around communal projects, pedagogy, art and design. The main focus are the many ways in which social and ecological perspectives transforms how we feel, think and make. This runs through all of his works today, exemplified in his current research Territorial, Art, Design and Architecture at Konstfack. The research operates on the basis of unfolding a place-sensible practice concerned with peri-urban and rural living environments. With collaborators, students and stakeholders he explores territorialization of space and place where there is less human intervention, as means to feel different and change mindset. The research unfolds through communal projects in peri-urban and rural locations, relational to species and systems made invisible through urban ecologies. Jelica Jovanović is an architect, architectural historian, heritage preservation professional and researcher. She is a PhD student at University of Technology in Vienna, working on thesis on preservation of mass housing of Yugoslavia, graduated from Faculty of Architecture in Belgrade with a revitalisation project of the Museum of Yugoslavia History. She is a founding member and president of the NGO Grupa arhitekata, within which she organizes summer schools and workshops revitalizing vernacular architecture in Serbia and works on architectural heritage and sustainability related research projects. She is a founding member and former secretary of Docomomo Serbia, within which she works as the digitization coordinator and on documentation projects. She was coordinator of the project “Unfinished Modernisations: Between Utopia and Pragmatism” for Association of Belgrade Architects, coordinator of the regional platform “(In)appropiate Monuments”, curatorial assistant of the Museum of Modern Art in New York (MoMA) for the exhibition “Toward a Concrete Utopia: Architecture in Yugoslavia 1948–1980”, coauthor of the platform “Arhiva modernizma”, coauthor of the research project and the book "Bogdan Bogdanović Biblioteka Beograd". Luigi Coppola (born in Lecce, Italy) is an artist, agroecologist, upholder of participatory projects driven by an innovative approach to the politics of the Commons and author of actions designed to activate collective potentials. His work is rooted in site-specific research of social, political and cultural subjects, collectivization of goods, activation of relational dynamics and processes of emancipation and imagination. Since 2013 he is engaged with Casa delle Agriculture in Castiglione d'Otranto (Lecce, Italy) as co-activator of a complex and multilayered process of participative agriculture, recuperation of polluted lands, creation of a participative economy, which revolves around the annual festival Notte Verde: Agriculture, utopias and community, the Parco Comune dei Frutti Minori (Common Park of the Minor Fruits) and Scuola di Agriculture (School of Agricultures), a pedagogical platform that combines agroecological knowledge with artistic strategies and builds relationships with migrant communities, students, farmers and activists. Luigi led a research and workshop revolving around soil, agriculture and pollution in Lubumbashi and Katanga and developed a long term path with a small group of cultural practitioners involved in Ateliers Picha. Marko Bajić , a young chef, with experience working in restaurants and hotels in Zagreb, as well as summer positions in Makarska Riviera, Pag, Korčula, Hvar, and Istria. There, he honed his passion for gastronomy and broadened his perspective on local and seasonal products. Although he enjoys traveling and finding inspiration in the flavors and traditions of many cultures, the plates he makes are generally made with regional products with a strong focus on simplicity. In the last restaurant, he created his own menu in which the ingredients were from a narrow region, with known methods of growing them. The thought behind everything is simplicity. Eat fresh, organic food that grows in your region. < Mentors Educational Program How to Apply >

About educational program Introduction of program 2018-2022 About educational program Introduction of program 2018-2022 2022 2021 2020 2019 2018 Due to the lack of formal education related to curatorial and artistic work in the Balkan region (while in the former West there has been a proliferation of MA and PhD programmes in curating and artistic research), WCSCD was initiated with the goal of fostering the new generation of curators and artists as well as to raise awareness of the importance of curatorial and artistic knowledge and positions when thinking of art institutions and their role within the larger social context. The intention is to bring together key international and local figures engaged in decolonizing curatorial and artistic discourse, who are specifically able to offer diverse knowledges to the program participants. Through the program, we invite mentors from non-western contexts, local practitioners and also colleagues from the former West. In the last three years our participants were young practitioners from different parts of the world including the Balkans, EU, Asia, Central Asia, Russia, Australia, New Zealand, Latin America making it a unique program in Europe. Due to very limited funding structures for the arts within Serbia, funding of the program was dependent on the support of cultural institutions. The program has also charged a participation fee in line with the monthly salary of the country from which the participants is a passport holder. This was an attempt to generate more equal access to participation for everyone who applied. We also offer special grants for colleagues in need and in 2022 we have granted program access to the colleagues from Russia. Furthermore, in collaboration with Kadist Foundation in 2022 we have enable grant for practitioners from the region in order to participate in the program. The program is intensive, with daily programs of workshops, writing sessions, studio visits, and research trips in the region. Some of the research trips we have done so far include: Kosovo, Bosnia, Romania, Slovenia and Austria. Every year the program would accept up to 15 participants. Besides closed-door workshops for participants, all invited mentors would present public lectures to the larger cultural sector, sharing their ways of working and instituting. From 2023 educational program will be biennial and spread across two years in order to facilitate deeper and longer research of program participants. < Participants Educational Program Programs >

As you go … Online Journal Editorial Statement As you go... roads under your feet, towards the new future is transitioning from a long-term research curatorial inquiry into a sustainable, autonomous, transnational, and multiplatform organization. Biljana Ciric conceived and initiated this project in 2019, and it has since developed into a network of organic research cells comprising independent art practitioners, small-scale organizations, state/private museums, and researchers from various fields. As you go… aims to generate alternative modes of working together that debunk the hierarchy of the artistic institution, encouraging creative interplays amidst the vast scope of cultural production and interdisciplinary research. The initiative has organized two encounters, the first in Addis Ababa and the other in Bor, a symposium, and provided support to numerous artists, collectives, and researchers. The transition to a sustainable, autonomous, transnational, and multiplatform organization is a significant step forward for As you go… and its partners. The organization will continue to connect and relate with localities on the margins and expand its network to like-minded individuals, communities, and institutions in various regions. As you go… will nurture art and research as political and solidarity practice within its organization members and beyond, using opacity and visibility as active choices. As you go… transnational organization funding partner cells include: Biljana Ciric , What Could Should Curating Do, Belgrade Larys Frogier , OW Ocean & Wavz, Paris Aigerim Kapar , Artcom Platform, Almaty/Astana Jelica Jovanovic, Belgrade/Vienna Sinkneh Eshetu , Fruitycity Children’s World, Addis Ababa Among our other activities and platforms that we use to connect to and engage with artists, art institutions, and the public, we will continue our online journal. As a journal, we are committed to supporting initiatives that challenge the usual definition of curatorial practice and academic research and aim to generate alternative modes of working together. We believe that As you go… has the potential to make a significant contribution to contemporary arts and humanities by fostering collective and critical learning, building a sense of intimacy, and amplifying unheard voices of shared struggles within different contexts. As you go… member cells in different parts of the globe commit to continuing to contribute to our journal, sharing their personal as well as institutional experiences and learning, as they act within their local contexts with a shared vision as an organic unit. We also encourage and welcome contributions from individual and institutional partners of As you go… to lend impetus to our shared goal of playing constructive roles in contemporary arts and humanities through channeling unheard voices and ‘quoting from the margins’. As you go… funding partner cells will also serve as members of the online journal editorial board. Written by Sinkneh Eshetu April 2023 Addis Ababa Stories from the Room – Conversation A disturbing Chinese dream: scattered thoughts on the cultures of involution and art institution in China Shore Seeing Stillness Non-Alignment Summit Anniversary a difficulty to re-member Seeing the invisi ble The cultural interweaving of China and the Balkans: A textural understanding of artistic exchanges under the Bri < Activities Curatorial Inquiries Projects >

WCSCD 2025/2026 educational program participants Giulia Gaibisso Giulia Gaibisso (Rome, 1993) is an art historian and curator. With a strong vocation for research, she is interested in building relationships between voices of the present and stories from the cultural past, coordinating projects of a performative, exhibition and editorial nature. Since 2021 she has been part of the team of IUNO, an independent research centre for contemporary art founded by Cecilia Canziani and Ilaria Gianni. She was a member of the artist-run space In Spazio In Situ, and has curated performances (CircoTornio by Chiara Camoni and the Centro di Sperimentazione, Rome 2021), exhibitions (The Good Company , Rome 2025; But it did happen , Rome 2023) and workshops dedicated to writing and conceived in collaboration with young Italian artists (Allineamenti - Roberto Casti; Resta sveglia , Davide Sgambaro; La memoria delle cose , Andrea Martinucci). She was co-curator of Rome's Portrait . Festival delle Accademie e degli Istituti di Cultura at Palazzo delle Esposizioni, Rome, 2023. She has worked as curatorial assistant for projects hosted by institutions such as MAXXI L'Aquila and GAM - Turin, and as editorial assistant for Treccani and NERO Editions. In 2022 she joined the editorial staff of Radio GAMeC 30 years. Xia Chengwei Xia Chengwei (b. 1994, Chengdu, Sichuan, China) is an artist currently living between London and China. She holds a BA in Architectural Studies with First Class Honours from the University of Hong Kong (2016), an MA in Fine Art (Painting Pathway) with Distinction from the Slade School of Fine Art, UCL (2022), and completed The Drawing Year at the Royal Drawing School in 2023. Rooted in non-linear time, embodied knowledge, and relational ways of understanding, Chengwei’s practice moves across writing, drawing, painting, and making. Her works often blur the lines between artistic creation and everyday labor, using materials as clues to weave together place, memory, and community. She sees painting and drawing as acts that access psychic realities and delve into deep inner landscapes. A key concern in her practice is feminine and care-based labor—acts of “knitting” and “growing” that hold the energies of the body and the passage of time in rhythms that resist capitalist acceleration. Place is fundamental to Chengwei’s work. Born in a red-clay village in Sichuan, she draws inspiration from local agrarian life, ecological rhythms, and folk-shamanic beliefs. Her experience of otherness while living in London also feeds into her artistic inquiry. She is currently researching the salt-field ecosystem in Laoshi Village (Danzhou, Hainan), with the aim of nurturing an art and research space rooted in the local community while fostering translocal connections. She is also tracing family histories and disappearing knowledge systems in her hometown of Fangjiasi Village (Jianyang, Sichuan), gathering oral traditions and plant-based knowledge through drawing and writing as invocation. Chengwei perceives art as a slow, relational unfolding—less about representation than about co-presence, care, and cultivation. Marie Tatjana Niederleithinger Photo by Amiel Pauli Marie Tatjana Niederleithinger is a Vienna-based curator, moderator, and researcher who loves all kinds of moving and expressing through the body. Their two foci regarding exhibition projects are community-focussed, politically engaged art and Art & Science. Marie previously initiated exhibition days on collective mourning in an interim use neighbourhood meeting place in Vienna (»Wie wir Trauern. On loss and Transformation«, Jul 2023). In December 2024, they curated an exhibition on artificial photosynthesis (»Of Light and Water. Striving for Superficiality«) commissioned by CataLight Collaborative Research Center at Kunstverein Ulm, Germany. Since 2021, they are amongst the organizers of the residency program »künstlerische Tatsachen« (artistic facts) in Jena, Germany, and co-founded the association »Zentrum für künstlerische Forschung« (center for artistic research, coming soon) in 2024. Marie formally trained in molecular biology and adjacent disciplines in Germany, France and Chile before entering the arts via an internship at former STATE Studio in Berlin, as well as co-creative modes of carrying out health research and health intervention development (Ludwig Boltzmann Gesellschaft, Vienna). In their current one-year educational leave, Marie spontaneously became a not-for-profit yoga instructor. Their personal intellectual and sensual inquiry in 2025 is investigating collective wellness practices. Irene Coscarella Photo by Alberto Nidola Irene Coscarella (Alba, 1997) is an Italian curator and educator with a background in visual arts. Over the years, she has developed and researched projects that promote collaboration within the cultural field, experimenting with different methodologies and frameworks that foster dialogue and shared learning Between 2019 and 2021, she co-founded and ran INFERNOTTO, an independent art space in Turin dedicated to supporting emerging artists. Since 2021, she has been part of the Education Department at the Fondazione Sandretto Re Rebaudengo, a contemporary art institution in Turin. During this time, she has managed and developed several educational projects aimed at fostering engagement, participation, and critical dialogue. Through her practice, she seeks to create more accessible spaces for dialogue and understanding, focusing on the role of institutions in our time. Through art and education, she engages with the public sphere and reflects critically on the world around us. Sara Kecman Sara Kecman was born in 1998 in Novi Sad, where she completed her undergraduate studies in photography at the Academy of Arts, and is currently pursuing a master’s degree in Art Education at the same institution. She is a co-founder of the Association of Artists “Project EXP” and a member of its curatorial collective, through which they have curated three exhibitions of young artists in Novi Sad since 2022, developed a regional project in collaboration with partner organizations from Zagreb and Skopje (2024), and participated in a cultural mobility program in Oslo (February 2025). She has exhibited her photography work in several group exhibitions, notably the Student Photography Biennial (SKC "Fabrika", Novi Sad, 2021), where she received the Third Prize and the Special Award for the Best Student Work from Serbia, as well as the project Photography as a Method of Visual Research (Cultural Station "Svilara", Novi Sad, 2019). Her documentary film "You're Still Thinking About That?", created as part of the Ateliers Varan workshop, was screened at film festivals in Novi Sad, Belgrade, and Paris. She was awarded a one-year internship at the Photography Department of the Academy of Arts (APV, 2023/24), the prize for the best graduation project in the artistic discipline of photography (2022), and a scholarship from the Personal Development Fund (OPENS, 2021).

Program 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 < Educational Program Participants >