art historian, freelance curator, cultural manager and researcher
What I find intrinsically valuable in working with (predominantly) visual artists is creating a temporary or long-term collaboration which is not pre-made, but rather built along with the creative process, aiming towards the equality (in relations) of both actors. We define how we work together based on mutual goals. As a curator, I want to support the artist, the idea, and the work, and find best applicable ways how to bring it forth with care.
For me, each piece of research about new artwork and working with artists presents an opportunity for mutual creativity and inspiration, regardless of the scope of the collaboration in question (text, exhibition setting, concept, educative activities, among others). Also, I find this work an excellent point of intersection of new, different and compatible fields of knowledge, ideas and experiences.
In my practice, research and exploration of the art world undoubtedly tends to be understood and interlinked in a broader field of (primarily) social sciences, with a necessary critical reflection of my own position as a researcher (politics of location), and a focus on context of the artwork in question. Juxtaposing perspectives I see as valuable means towards reaching a less-authoritarian and more conscious, multi-layered approach. In working with artists, rather than making a direct critique, I tend to propose solution through (joint) action.
As an art curator coming from an “independent”, freelance position, in working with art projects I perceive creative challenges of my profession (such as research, curating, writing, etc.) equally important as organizational ones, such as coordination, project writing, among others, which I see to serve the mutual goal. Organizationally, I incline towards participation, horizontal management and Do-It-Together ethics.
Ideally, I pay much attention to context and interpretation, nurturing in-depth conversations with artists, seeing the work in person (if possible), before initiating a project. After finding ways organizationally how to make the idea come to life, I tend to dedicate myself to “accompanying program”, that is activities aimed towards the public. Mediation between the artworks/artists and concepts behind it, aided with an intersection of different fields (such as history, music, cultural policy, etc), and a variety of audiences I see as a key element in achieving communication and fostering dialogue.
My main fields of experience, study and interest so far are art history, contemporary and African arts, inter/trans-culturalism, street art, anthropology, curatorial practices, arts management, human – animal relations, queer studies, science fiction, feminism, experiential learning and post/de-colonialism studies, with a tendency to be expanded with new work challenges.
So far, my work has been mostly focused on working in Serbia and the Balkan region, countries of the European Union and the Mediterranean sea, shifting towards a more cross-cultural and trans-national work.
With a dynamic and multi-faceted profession such as the curatorial one, I see a curator’s role in constant reflection, re-discovery and re-adjusting to its artistic, cultural and social challenges.
Spring 2015 / updated June 2020
queer space of love, memory and resistance | kvir prostor ljubavi, sjećanja i otpora
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