forth year: 2001/2002 series of lectures: lectures / conversations with lecturers / lecturers

course for curators of contemporary art: course participants / study excursions / program collaborators / exhibition / course participant's texts


Strategies of Presentation I

David DronetClÚmentine Deliss
Is an independent curator and publisher who lives in London. She currently works for Chelsea College of Art & Design. She has held professorships and visiting lectureships at several art academies in Europe including the National Academy of Fine Arts, Oslo, the fine art academies of Stockholm, Malm÷, and Copenhagen, and the Stńdelschule, Frankfurt. From 1992-95, she was the artistic director of africa95, a festival of contemporary arts from Africa produced in conjunction with the Royal Academy of Arts, London, and over 60 UK institutions. Since 1996, she has produced Metronome, a writers' and artists' organ in Dakar, London, Berlin, Basel, Frankfurt, Vienna, Bordeaux, Biella, Oslo, Copenhagen, and Stockholm. Amongst others she also curated the following projects: Lotte or the transformation of the object (Styrian Autumn 1990), africa95 (1995), Seven Stories about Modern Art in Africa (Whitechapel, 1990), Tempolabor, a libertine laboratory? (Kunsthalle Basel, 1998), Bureau d'Esprit (Cittadellarte, Fondazione Pistoletto, 1999), Magnetic Speech (1999/2000) and The Queel (CCAD and Tate Britain, 2002).

Branislav DimitrijeviŠ (1967)
Is an art historian, writer and curator working for the Centre for Contemporary Arts - Belgrade, where he is the Head of the Department for Education and Documentation.
He graduated from History of Art at the University of Belgrade, and in 1995 he received his MA degree in History and Theory of Art at the University of Kent with professor Stephen Bann.
He has written texts on contemporary art and politics in Serbia for local and international magazines and catalogues, and edited the book on interpretations of popular imagery, Pop Vision in 1996. He has written essays for catalogues of artists including Zoran Naskovski, Milica TomiŠ, Zdravko JoksimoviŠ, pRT and others.
With Branislava AndjelkoviŠ he curated exhibitions and edited catalogues such as Map Room (1995), Murder1 (1997), Beauty and terror (1998) and a site-specific show Overground (1998). He is one of the founders of the School for History and Theory of Images at the Centre for Contemporary Arts - Belgrade.
From 1999 onwards he teaches courses on Conceptual Art and Reading the Image at the School for History and Theory of Images in Belgrade. He has also held lectures at the Arts Academy in Belgrade and the Michaelis School for Arts in Cape Town, RSA. He participated at conferences and panel discussions in Canterbury, Stockholm, Innsbruck, Ljubljana, Skopje, Oslo, etc.

EuroVision2000 & labor k3000 Zurich
Susanne Perin, Peter Spillmann and Marion von Osten, all of them artists from labor k3000 Zurich initiated EuroVision2000. Labor k3000 is a Media Space created for technology sharing, content exchange and mutual forms of collective cultural practices. EuroVision2000 was a temporary, open network of Media activists and artists from western, central and south-eastern Europe. EuroVision2000 was created in opposition to the actual EU politics on border, migration and asylum laws. Debates and film screenings took place in Prague, Brussels and Bologna.

Mike Hentz (1954)
Polymeadia artist. Works in visual arts, philosophy, media art, sculpture, installation, events, performances, music. Produces publications and gives lectures. He also develops multifunctional systems. He is the director of the Medusa Festival in Poland. He participated at Documenta in 1986 and 1992. He also teaches in art schools (Art Academy of Hamburg 1979-1997). He is a co-founder of the following groups: minus Delta t (1978), Frigo and Code Public (1980) and he participated in the following projects: University TV (1991), Van Gogh TV (1988), Ponton (1986).

Marko Ko╣nik (1961)
Member of the Laibach group (1981-1983). In 1986 he founded the Egon March Institute with the aim to gain and transmit knowledge in the field of new media practice and theory. Within the frame of the Institute he directed and produced most of his projects. In 1996 he initiated the Ministry for the Experiment, an independent production unit for media projects in the frame of Radio Student. A multimedia artist, author of scenarios, music, computer programming and videos for performances, installations and multimedia projects. A pioneer in European interactive communication projects. In 2000 he conceived and organised the international multimedia festival Hexpo.

David DronetOliver Marchart (1968)
Works as a cultural and political theorist and as a lecturer at the Universities of Vienna and Innsbruck. Author and editor of books on art, new media and (cultural) politics.


David DronetOlesya Turkina
Works as a curator at the Contemporary Art department at The Russian State Museum, St. Petersburg. She has curated numerous exhibitions, among them The Evolution of an Image: Light, Sound, Material at the State Russian museum, St. Petersburg, 1996; Doctor and Patient. Memory and Amnesia, Pori Art Museum, Finland, 1996; Kabinet, Stedelijk museum,
Amsterdam, 1997(co-curator); MIR:Made in the XXth century Russian Pavillion at the 48th Venetian Biennale,1999.
She has published over 100 articles on contemporary art in various art magazines (Khudozhestvennyi Zhurnal, Paradoxa, Cultural Studies, Kabinet, Siksi) and catalogues (Europe, Kunst, Hannover, 1991; Manifesta 2,1998; After the Wall, Stockholm, 1999; Manifesta 3, 2000). She is also a contributor to Flash Art International and NU and took part in many international conferences. She teaches 20th Century art at the Baltic University of Economy, Ecology and Human Rights, St. Petersburg, and at the Pro-Arte Institute, St. Petersburg.

David DronetMiha Zadnikar (1962)
Is ethnologists and cultural sociologist. In the 1980's he operated mainly as a journalist, essayist and lecturer in the field of cultural and artistic - specialised mainly for music and film - criticism. He wrote for a number of publications in Yugoslavia. At the time he still had some sporadic hopes for institutions. With the declaration of Slovene independence he focused his activities and become an independent social - political activist - the problem of Metelkova as a whole, Intervention Bureau, etc. Today he deals with club micro-sociology (he is the head of the program activity at the Gromki Club, AKC centre Metelkova Mesto), the theory and organisation of 'new' subcultures and underground, promotion and organisation of boarder-line and overlooked musical practices (Cinema-ear at the Slovene cinema, 'Defony' in Gromki). He regularly presents his endeavours on radio stations, in publications (mainly the magazine Mladina) and is a lecturer at the Faculty of Arts at the University of Ljubljana where he holds the subject Anthropology and Sociology of Music.