Corina L. Apostol, Ph.D., is the Andrew W. Mellon Foundation Editorial Fellow at Creative Time, where she co-edits Making Another World Possible (Routledge, September 2019). Recently, she co-curated the 11th Creative Time Summit: On Archipelagoes and Other Imaginaries – Collective Strategies to Inhabit the World, taking place across Miami and featuring over a hundred eminent cultural practitioners, philosophers, activists and scientists. Since 2016, Corina serves as a board member and news editor of the Society of Historians of Eastern European, Eurasian and Russian Art and Architecture. Previously, she was the Dodge Curatorial Fellow at the Zimmerli Art Museum, where she curated the exhibition Leningrad’s Perestroika: Crosscurrents in Photography, Video and Music (2013). She is the co-founder of the activist art and publishing collective ArtLeaks, and editor-in-chief of the ArtLeaks Gazette. Her research has been published in journals, exhibition catalogues and magazines, and she has been long-listed for the Kandinsky Prize - Contemporary art history and theory. (2016)hnology vendors to use, all while maintaining and improving key performance indicators.
Ieva Astahovska is an art scholar, critic and curator. She works at the Latvian Centre for Contemporary Art, where she leads research projects related to art from the Socialist and Post-Socialist period. I. Astahovska has compiled and edited a number of research-based publications – Valdis Āboliņš. The Avant-garde, Mailart, the New Left and Cultural Relations during the Cold War (2018), Workshop of Restoration of Unfelt Feelings. Juris Boiko and Hardijs Lediņš (2016), Revisiting Footnotes. Footprints of the Recent Past in the Post-Socialist Region (2015), Recuperating the Invisible Past (2012). Her curatorial projects include exhibitions Valdis Āboliņš or How Fluxus Came to Aachen in Ludwig Forum, Aachen (2018), Archaeology of Kinetics in Riga Art Space (2016), Visionary Structures. Form Johansons to Johansons in Bozar, Brussels (2015) and Latvian National Library in Riga (2014), Berlin–Riga. Scores for Indeterminate Places (2013), and Parallel Chronologies. Invisible History of Exhibitions in Riga (2011).
Ivana Bago is an art historian, writer and curator based in Zagreb. She recently defended her dissertation “Inheriting the Yugoslav Century: Art, History, and Generation” at Duke University, where she earned a PhD in Art History and Visual Studies. She is the co-founder (with Antonia Majaca) of Delve | Institute for Duration, Location and Variables (www.delve.hr), dedicated to the intersections of academic, artistic, and curatorial practice, and with which she initiated a number of projects on Yugoslav and East European art. She has published extensively on contemporary art, including conceptual art, history of exhibitions and curating, performance, feminism, (post)Yugoslav art, and post-1989 art historiographies, and is a member of the editorial board of ARTMargins. Her curatorial projects include: Moving Forwards, Counting Backwards, MUAC, Mexico City, 2012; The Orange Dog and Other Tales, Zagreb, 2009; Stalking with Stories, Apexart, New York, 2007.
Sandra Bradvić is an art historian, curator and art critic. Currently she is a PhD candidate at the University of Bern (supervisor: Prof. Dr. Peter J. Schneemann), where she is working on her thesis “Curatorial practice in Bosnia-Herzegovina 1982-2011”. Previously, she was engaged as both, a scientific collaborator and curator, in several educational and cultural institutions, such as the Swiss Federal Institute of Technology (ETH Zurich), Kunsthalle Basel/CH or Van Abbemuseum, Eindhoven/NL. In 2017 she founded the Association for research, documentation & artist representation SKLOP, Sarajevo/BA (www.sklop.org), where among others she is organizing the ZVONO Award – The Young Visual Artist Award for contemporary artists from Bosnia-Herzegovina (www.yvaawards.org). For the spring term 2019 she was appointed lecturer of the colloquium “Self-organization and institution: Artistic and curatorial collectives in Bosnia-Herzegovina 1980-today” at the Institute of Art History, University of Zurich.
Hana Buddeus is a member of the Photography Research Center at the Institute of Art History, Academy of Sciences of the Czech Republic. She has been employed as the Director of the Gallery of the Academy of Performing Arts in Prague (2013-2015) and she has co-curated several editions of the Fotograf Festival in Prague. Author of Representation without Reproduction? Photography and Performance in Czech Art of the 1970s, 2017 and editor of Instant Presence: Representing Art in Photography (with Vojtěch Lahoda and Katarína Mašterová, 2017).
Juliane Debeusscher is a researcher based in Barcelona, Spain. Her current work addresses the circulation and visibilization of central European art across the Iron Curtain during the late Cold War. She is interested in questions of cultural transfers and exchange, as well as the impact of international exhibitions and biennials on the construction of narratives about and around central and eastern European art. She is currently PhD candidate in Art History at the University of Barcelona, with a fellowship from the Spanish Ministry of Science, Innovation and Universities (MICINN). She is a member of the research project MoDe(s)-Decentralized Modernities: Art, Politics and Counter-culture in the Transatlantic Axis during the Cold War.
Dessislava Dimova is an art historian and curator based in Brussels, Belgium and Sofia, Bulgaria. She holds an MA in Art History from the National Academy of Fine Arts, Sofia and in Philosophy from the Centre for Research in Modern European Philosophy, Middlesex, London. She is currently completing a research for a book – Art in Bulgaria in the 1990s, between the global and the local. At the moment she is curating a project of artistic collaborations for Bozar, Brussels (May 2019). In 2017 she initiated a project with the Centre George Pompidou, Paris for the constitution of a collection of Bulgarian art since 1960s. She is currently conducting research together with Pompidou curator Nicolas Liucci Goutnikov. An exhibition of the collection is planned for 2020.
Constanze Fritzsch holds a doctorate from the Catholic University in Eichstätt-Ingolstadt and is a former member of the À chacun son réel research project run by the German Forum for Art History in Paris. Currently she is completing an academic traineeship with Staatliche Kunstsammlungen Dresden at the Kupferstich-Kabinett. She has been on the academic staff at the Bauhaus University in Weimar and worked as an academic assistant at the Institut National d’Histoire de l’Art in Paris. She has curated several exhibitions in Germany, France and Croatia in a freelance capacity. She studied at the ENS de Paris as a foreign exchange student, at the Friedrich Schiller University in Jena as well as at both Université Paris I and Université Paris X
Dr. Maja Fowkes and Dr. Reuben Fowkes head the Postsocialist Art Centre (PACT) at the Institute of Advanced Studies, UCL and co-direct the Getty Foundation-supported research initiative Confrontations: Sessions in East European Art History. They are founders of the Translocal Institute for Contemporary Art, an independent research platform focussing on the art history of Central Europe and contemporary ecological practices. Recent and forthcoming publications include a co-authored book on Central and Eastern European Art Since 1950 (2019), Maja Fowkes’s The Green Bloc: Neo-Avant-Garde and Ecology under Socialism (2015) and a special issue of Third Text on Actually Existing Artworlds of Socialism (December 2018). They have recently contributed chapters to Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology (2018), Doublespeech: Hungarian Art of the 1960s and 1970s (2018) and Extending the Dialogue (2017). Their curatorial projects include the Anthropocene Experimental Reading Room, the Danube River School and they are also founding members of the Environmental Arts and Humanities Initiative at Central European University Budapest.
Johana Lomová studied art history at Charles University in Prague (MA) and got her PhD from the Academy of Art, Architecture and Design in Prague. She does research on institutional background of Czechoslovak art after the Second World War with a focus on the period from 1958 to 1974. She is interested in the relation between arts and politics and the way how contemporary social and political context shapes understanding of the past. In her recent texts she examined the role of artists´ unions in the 1960s Czechoslovakia, censorship in journals on visual arts and debates on relation of textile design to fine arts in 1950s and 1960s.
Asja Mandić is Associate Professor of modern and contemporary art and museum studies at the University of Sarajevo. She completed her undergraduate and graduate education in art history and museum studies in the United States of America and received PhD from University of Sarajevo (advisor Andrew McClellan, Tufts University, Medford/Boston). Until 2007 she worked as a curator of Ars Aevi Museum/Centre of Contemporary Art, Sarajevo. Over the years she curated over twenty exhibitions, including the first pavilion of Bosnia and Herzegovina at Venice Biennale. She is the author of a book Challenges of Museum Education (Bosnian language), six exhibition catalogues, co-editor of a catalogue/book Treasures of Socialism (with Michael Fehr) and Journal of Museum Education (with Patrick Roberts). Her articles were published in local and international catalogues, journals and books such as Third Text (Routledge, 2011) and book Participation in Art and Architecture (Tauris, 2006). She was a Fulbright scholar at Tufts University, Boston in 2005/2006.
Pavlína Morganová, Ph. D. is an art historian and curator, based in Prague, Czech Republic. Works as a director of the Research Center and vice-rector at the Academy of Fine Arts in Prague. She is an author of the book A Walk Through Prague: Actions, Performances, Happenings 1949−1989 (VVP AVU 2017) and Czech Action Art / Happenings, Actions, Events, Land Art, Body Art and Performance Art Behind the Iron Curtain (Karolinum Press 2015). She lectures on Czech Art of the 20th century, published number of texts in collected volumes, catalogues and professional journals. She has participated in several international conferences and worked as curator of exhibitions featuring Czech art of the 1990s and noughties. She is a member of the core-team of Confrontations: Sessions in East European Art History.
Magdalena Moskalewicz is an art historian, curator, and editor who was awarded a PhD for her research into experiments with painting in Poland in the aftermath of the post-Stalinist Thaw (Adam Mickiewicz University, 2012). She also published on the Eastern European neo-avantgardes, including their connections to the global network of Fluxus, and on the international circulation of Polish modern art during the Cold War. In 2012-2015, Moskalewicz was Andrew W. Mellon Postdoctoral C-MAP Fellow at The Museum of Modern Art in New York, where she conducted research and organized academic programs for the Eastern European branch of MoMA’a global program, C-MAP. In her curatorial practice, Moskalewicz focuses on collaborating with living artists; among her exhibitions was the Polish Pavilion at the 56th Venice Biennale (2015). Since 2016, she has taught history of modern and contemporary art as well as museum/curatorial studies at the School of the Art Institute of Chicago.
Agata Pietrasik (b. 1985) graduated from Freie Universität in Berlin (2017) with a doctoral dissertation titled “Art in Crisis - Artistic Practice from Poland 1939-1949”. Currently a fellow at the German Center for Art History in Paris where she works on a research project concerning Eastern European artistic discourses and exhibitions in the 1940’s and 1950’s in relation to the Second World War. She is coeditor of “Czas debat. Antologia krytycznych tekstów o sztuce z lat 1945-1959’’ [Time for Debate. An Anthology of Critical Texts in Art 1945-50] devoted to Polish art criticism of the period, published by the Academy of Fine Arts in Warsaw in 2016. Her research include postwar modernism in Europe and the questions of ethics in art.
Alina Șerban is an art historian and editor. Her researches address the post-war Eastern European art and architecture from a transnational and transdisciplinary perspective. In 2013, she founded the independent publishing programme P+4 Publications in Bucharest (www.pplus4.ro), dedicated to Romanian contemporary art and architecture. Since 2016, together with Ștefania Ferchedău, she develops the programme of The Institute of the Present, a research and an artist resource platform in the field of visual and performing culture in Bucharest (www.institutulprezentului.ro). She is a member of the core-team of Confrontations: Sessions in East European Art History.
Gregor Taul (b 1986) is a critic and curator based in Tallinn. He is currently a PhD student at the Lisbon Consortium working on a thesis on late Soviet monumental decorative art in Estonia, Latvia and Lithuania. Taul studied semiotics at Tartu University (BA in 2009) and art history at the Estonian Academy of Arts (MA in 2012). Since 2010 Taul has been active as an author writing on visual art and architecture. In 2012 he co-authored a book on Estonian murals published by Lugemik (recently published in English). In 2016 Estonian National Museum published his book on the architecture of the museum’s new building. He is currently finishing his first novel, a story about a retired professor of the architecture of digital minds. Taul has worked as a gallerist at the Estonian Academy of Arts and as a curator at the Kondas Centre of Outsider Art in Viljandi. He has taught at various schools and universities in Estonia and abroad. His main academic research topic is art in public space, besides Soviet era monumental-decorative art he is interested in contemporary public art commissions, especially the so-called One Percent Act.
Daniel Véri is an art and cultural historian, head of scientific affairs at the Ferenczy Museum Center in Szentendre, Hungary. His research interests include Central European art from the 1945–89 period, especially the artistic reception of Jewish identity and the Holocaust, as well as the cultural history of blood libels. He holds a PhD in the history of art from Eötvös Loránd University (2016); his dissertation was dedicated to János Major, a major Jewish figure of the 1960s–70s Hungarian neo-avant-garde (See ’Leading the Dead’ – The World of János Major. Budapest: MKE, 2013). Previously, he received MA degrees in art history (ELTE, 2009) and history (Central European University, 2010). Selected publications: “Holocaust and the Arts: Paths and Crossroads”, in: Art in Hungary 1956–1980: Doublespeak and Beyond, London, Thames & Hudson, 2018; “The Tiszaeszlár Blood Libel: Image and Propaganda”, in: Nineteenth-Century Anti-Semitism in International Perspective, Göttingen, Vandenhoeck & Ruprecht, 2019.
Tomasz Załuski is and art historian and philosopher, he works as an assistant professor at the Department of Media and Audivisual Culture at the University of Lodz. He also teaches at the Wladyslaw Strzeminski Academy of Fine Arts in Lodz, Poland. His research interests include modern and contemporary art; social, political and economic contexts of artistic culture; artistic activism and self-organisation; documentation and artistic archives; relations between art, praxeology and biopolitics; configurations of aesthetics, ethics and politics in the socio-cultural project of modernity; contemporary French philosophy. He is the author of the book: Modernizm artystyczny i powtórzenie. Próba reinterpretacji (2008) [Artistic Modernism and Repetition. An Attempt at Reinterpretation], he co-edited (with Aleksandra Sumorok) the volume Socrealizmy i modernizacje (2017) [Social Realisms and Modernisations], and currently he is working with Daniel Muzyczuk on the book on Galeria Wschodnia (established 1984-now) in Łódź. He is also an editor of the journals: “Art and Documentation” and “Hybris. The Online Philosophical Magazine”. He is a member of the core-team of Confrontations: Sessions in East European Art History.
Magdalena Ziółkowska lives and works in Warsaw. PhD in art history, curator, graduate of the Institute of Art History at the University of Warsaw, the School for Social Sciences in Warsaw, as well as the Curatorial Training Programme at de appel arts centre in Amsterdam (2006/2007). In 2013, she received her doctoral degree for a dissertation on the concept of the Museum of Current Art in Wrocław by Jerzy Ludwiński and Polish post-war museology. From 2006 to 2010 she was a visiting curator at the Van Abbemuseum in Eindhoven, where she curated projects: Notes From the Future of Art. Selected Writings of Jerzy Ludwiński (2007), solo exhibition of Minerva Cuevas and Andrzej Wróblewski. To the Margin and Back (2010). She worked at Muzeum Sztuki in Łódź from 2008 to 2014, where she organised projects including Art Always Has Its Consequences (2008–2010), Working title: Archive (2008–2009), Sanja Iveković Practice Makes the Master (2009), Eyes Looking for a Head to Inhabit (co-curator, 2011), Hüseyin Bahri Alptekin. Incidents, Events, Circumstances, Accidents, Situations (co-curator, 2013–2014). Editor of anthology Teoria Sztuki Zbigniewa Dłubaka (Warszawa 2013) and co-curator of Only to melt, trustingly, without reproach (Škuc galerija, Ljubljana 2013–2014). Since 2012 co-founder and vice president of Andrzej Wróblewski Foundation. Co-curator of Andrzej Wróblewski. Constantly Looking Ahead (The National Museum, Krakow, 2012–2013) and co-author of a bilingual artist's monography Avoiding Intermediary States. Andrzej Wróblewski (1927–1957) (2014). Between 2015–2018 director of Bunkier Sztuki Gallery of Contemporary Art in Krakow.
Marta Zboralska is finishing her PhD on the studio of Henryk Stażewski and Edward Krasiński in the History of Art department at University College London, where she also completed her undergraduate and Masters degrees. Her thesis is supervised by Professor Briony Fer and funded by the Arts & Humanities Research Council. Between October and December 2017 she was a Smithsonian Arts and Humanities Research Council Fellow at the Archives of American Art, Smithsonian Institution, Washington DC. She is project assistant for Confrontations: Sessions in East European Art History.
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