{"id":447,"date":"2011-09-16T12:32:02","date_gmt":"2011-09-16T10:32:02","guid":{"rendered":"http:\/\/www.worldofart.org\/current\/?page_id=447"},"modified":"2013-11-20T12:29:02","modified_gmt":"2013-11-20T10:29:02","slug":"team-20112013","status":"publish","type":"page","link":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/14th-year-20112013\/team-20112013","title":{"rendered":"Team 2011\/2013"},"content":{"rendered":"

Internal Team<\/strong>
\n<\/a>
\nHead of the Program:<\/p>\n

\"Sa\u0161aSa\u0161a (Glavan) Nabergoj (1971)<\/strong>
\nArt historian, curator and critic. Assistant director at SCCA\u2212Ljubljana, Center for Contemporary Arts (Slovenia). A member of AICA (International Association of Art Critics) and IKT (International Association of Curators of Contemporary Art, Amsterdam). Writer, editor, curator and lecturer on contemporary art, focusing on curatorial and critical practices.
\nShe curated many exhibition, among them Line Stroke the Letter<\/em>\u00a0(Matchpoint Gallery, Ljubljana, Slovenia, 5. 9.\u201313. 10. 2013); with Barbara Bor\u010di\u0107, Du\u0161an Dov\u010d, Ida Hir\u0161enfelder,\u00a0Studio 6 Presents: Liminale<\/em> (Project Room SCCA, Ljubljana, Slovenia, 20. 6.\u201322. 7. 2013, exhibition was part of 7th Triennial of Contemporary Art in Slovenia); with Simona \u017dvanut, That\u2019s Doodles<\/em> (City Gallery Nova Gorica, Slovenia, 15. 3.\u20135. 4. 2013), Doodles<\/em> (Simulaker Gallery, Novo mesto, Slovenia, 26. 10.\u201321. 11. 2012), Studio 6 Presents: CAC Bukovje (SLO) and Studio Golo Brdo (CRO) <\/em>(Matchpoint Gallery, Ljubljana, Slovenia, November 2011), Tomislav Brajnovi\u0107: Ekspedition_ego<\/em> (Alkatraz Gallery, Ljubljana, Slovenia, November 2010); both with Sonja Zavrtanik, Around the world of art in <\/em>4.380 days. World of Art 1997\u20132009 (<\/em>Alkatraz Gallery, November 2009), Ola Pehrson. Retrospective. Ljubljana. Beograd. Stockholm<\/em> (\u0160kuc Gallery, Ljubljana, Slovenia, 19. 12. 2007\u201320. 1. 2008; Salon of Museum of Contemporary Art Beograd, Serbia, February, March 2008 and F\u00e4rgfabriken, Sweden, October 2009); with Joa Ljungberg. She has lectured extensively, recently:\u00a0Legends and Stories of the Parallel Reality<\/em> on symposia Archive as a Strategy: Conversations on self-historisation on the Case of East Art Map<\/em> organised by Calvert 22 and University College of London (May 2012), Curatorial Intervention<\/em> on a conference Applied Exhibiting<\/em>, ECM, Postgraduate educating, curating and managing studies at the University of Applied Arts in Vienna <\/strong>(May 2012) and A Praize of Lazyness<\/em> at TEDx<\/em> in Maribor, Slovenia (January 2011).
\nShe edited several publications, recently: Open Systems, Quaterly for Contemporary Art and Theory<\/em> (August 2013), Anthology Dilemmas of Curatorial Practices<\/em> (2012); with Barbara Bor\u010di\u0107.
\nSince November 2011, she is working on a research of visual art scene at Autonomous Cultural Center (ACC) Metelkova City (Ljubljana, Slovenia) in collaboration with Alkatraz Gallery and Simona \u017dvanut. Within this working process they prepared exhibition and research projects: The Closing Stop, <\/em>various locations in ACC Metelkova City,<\/em> 10. 9.\u20139. 10. 2013 (co-curated <\/strong>Metelkova Revived!<\/em>, documentary exhibition at the 20th Anniversary of ACC Metelkova City, Alkatraz Gallery, Slovenia, 10. 9.\u20139. 10. 2013; with\u00a0Ana Grobler, Sebastian Krawczyk, Jadranka Plut, Simona \u017dvanut) and A Mid-Stop,<\/em> various locations in ACC Metelkova, 6.\u2013<\/strong>25. 9. 2012 (co-curated M\u2019Art<\/em>, Alkatraz Gallery, Slovenia, 6.\u201324. 9.; with Jadranka Plut).
\nSince February 2013 she is a guest lecturer on the Department of Art History (Faculty of Arts, Ljubljana) at Seminar for Modern Art I (Assist. Prof. Rebeka Vidrih).
\nAt SCCA\u2212Ljubljana she is a head of\u00a0 World of Art, School for Curators and Critics of Contemporary Art (since 1998) and Studio 6 (since 2004). Currently she is preparing the third Port Izmir (Turkey), triennial of contemporary art (November 2013\u2013June 2014).<\/p>\n

Photo: Voranc Vogel, Delo Archive<\/em><\/p>\n

\n

<\/a>
\nCoordinator:<\/p>\n

\"SimonaSimona \u017dvanut (1985)<\/strong>
\nIn 2011 she graduated from art history, comparative literature and literature theory at the Faculty of Arts in Ljubljana.\u00a0At SCCA\u2212Ljubljana office manager and coordinator of\u00a0 World of Art and exhibition program Studio 6.
\nCo-curated Studio 6 Presents: Liminale<\/em>\u00a0(Project Room SCCA, Ljubljana, Slovenia, 20. 6.\u201322. 7. 2013, exhibition was part of 7th Triennial of Contemporary Art in Slovenia); with Sa\u0161a Nabergoj.\u00a0Since November 2011, she is working on a research of visual art scene at Autonomous Cultural Center (ACC) Metelkova City (Ljubljana, Slovenia) in collaboration with Alkatraz Gallery and Sa\u0161a Nabergoj. Within this working process they prepared exhibition and research projects:\u00a0The Closing Stop,\u00a0<\/em>various locations in ACC Metelkova City,<\/em>\u00a010. 9.\u20139. 10. 2013 (co-curated\u00a0<\/strong>Metelkova Revived!<\/em>, documentary exhibition at the 20th Anniversary of ACC Metelkova City, Alkatraz Gallery, Slovenia, 10. 9.\u20139. 10. 2013; with\u00a0Ana Grobler, Sebastian Krawczykom, Jadranka Plut, Sa\u0161a Nabergoj) and\u00a0A Mid-Stop,<\/em>\u00a0various locations in ACC Metelkova, 6.\u201325. 9. 2012.
\nBetween 2010 and 2011 she worked as a volunteer at National Museum (Ljubljana, Slovenia) where she was helping with digitalization of its collection. From 2007 she is also working in museum shop in National Gallery (Ljubljana, Slovenia).<\/p>\n

\n

Advisor:<\/p>\n

\"BarbaraBarbara Bor\u010di\u0107 (1954)<\/strong>
\nGraduated with B.A. in art history from the Ljubljana Faculty of Arts, University of Ljubljana and studied PhD media studies and antropology, Institutum Studiorum Humanitatis, Postgraduate Faculty of Humanities, Ljubljana). Since 2000 director of SCCA\u2212Ljubljana, Center for Contemporary Arts. Active in the field of contemporary arts as a free-lance curator, publicist and editor. Member of AICA, International Association of Art Critics and IKT, International Association of Curators of Contemporary Art. In frame of SCCA Bor\u010di\u0107 conceived and edited the documentation, archival and research project on video art in Slovenia under the title Videodokument. Video Art in Slovenia 1969\u20131998<\/em>. She is also curating video programs under the title Videospotting<\/em> and writing about video (in English: ‘From Alternative Scene to Art Video’, in Reader V2_East Meeting<\/em>, No. 1, Rotterdam, 1996; ‘Video Art from Conceptualism to Postmodernism’, in Impossible Histories: Historical Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918\u20131991<\/em>, MIT Press, Massachussetts, 2003). She was a leader of curated web project Internet Portfolio<\/em>, research projects What Is to Be Done with the Balkan Art<\/em> and What Is to Be Done with the Audiovisual Archives<\/em>, and editor of PlatformaSCCA<\/em> magazine. At the moment she is also a leader of No Nails, No Pedestals <\/em>presentation\/discussion program and of a physical and web archive of video art DIVA Station<\/em>. From 1980 on she worked in \u0160kuc Gallery, Ljubljana and was the artistic director of the gallery 1982\u20131985. Between 1982 and 1992 she was involved in video practice in frame of Ljubljana alternative scene<\/em> and collaborated on several art and documentary video projects. 1991\u20131992 she was editor-in-chief of the fine arts magazine Likovne besede<\/em> (Art Words)<\/em>. From 1993 she was an assistant to the director, from 1997 the director of the Soros Center for Contemporary Arts \u2013 Ljubljana.<\/p>\n

\n

PR and FR Advisor:<\/p>\n

\"Du\u0161anDu\u0161an Dov\u010d (1973)<\/strong>
\nStudied comparative Literature and Slovene Language at the Faculty of Arts in Ljubljana. His first working experiences in the art sector he gained at Emzin, Institute for Creative Production and Arts Magazine as an editor and head of the projects (1997\u22122002), continued at Pristop, consultancy and communications company as an assistant for public relations (June-December 2003). Since 2004 he is employed at SCCA\u2212Ljubljana as a production manager, responsible for coordination, public relations and fundraising. At SCCA\u2212Ljubljana he is also a member of a physical and web archive of video art DIVA Station<\/em> and coordinates No Nails, No Pedestals<\/em> program. He is active in the filed of cultural policy (a member of an expert group on mobility information standards at the European Commission, May\u2212December 2011, a member of management board at Asociacija, Association of Arts and Culture NGOs and Freelancers, Ljubljana since 2009).<\/p>\n

\n
\n

Team: 1st Year<\/strong><\/p>\n

\"BranislavBranislav Dimitrijevi\u0107 (1967)<\/strong>
\nDr. Branislav Dimitrijevi\u0107 is lecturer, writer and curator. He is Senior Lecturer in History and Theory of Art at Academia Nova, and also teaches at the School for Art and Design (VSLPUb), both in Belgrade. He collaborates on curatorial, educational and publishing projects with the Museum of Contemporary Art, Belgrade and teaches on the Curatorial Studies course at the University of Arts in Belgrade. His main fields of academic and curatorial research are visual art, film and popular culture of socialist Yugoslavia, and contemporary visual art in the Balkans.
\nHe has had a long-standing partnership and collaboration with Branislava Andjelkovi\u0107. With her and Branimir Stojanovi\u0107 he also co-founded and coordinated \u2018School for History and Theory of Images\u2019, an independent and interdisciplinary educational project in Belgrade (1999\u20132003).
\nHe has been publishing essays on contemporary art and theory of art, film and visual culture in books and journals in Serbia and internationally. He edited a series of publications and exhibition catalogues including\u00a0On Normality<\/em>:\u00a0Art in Serbia 1989\u20132001<\/em> (MOCAB, 2005),\u00a0International Exhibition of Modern Art<\/em> (MOCAB, 2003),\u00a0Pop Vision <\/em>(Aurora, Vr\u0161ac 1996) etc. His curatorial projects include: Murder1<\/em> (CKZD, Belgrade 1997), Overground<\/em> (site-specific project, Belef Festival, Belgrade 1998), Konverzacija<\/em> (MOCAB, 2001), Situated Self: Confused, Compassionate, Conflictual<\/em> (Helsinki City Museum; MOCAB, 2005), Breaking Step \u2013 Displacement, Compassion and Humour in recent art from Britain<\/em> (MOCAB, 2007), FAQ Serbia (ACF, New York 2010), No Network<\/em> (‘Time Machine’ Biennial, D0 ARK Underground, Konjic, Bosnia 2011). He was curator of the Yugoslav\/Serbian pavilion at the Venice Biennials in 2003 and 2009. He has been also involved in many European and regional art initiatives, most recently as the President of the Board (2006\u20132010) of the SPAPORT Biennial in Banja Luka, Bosnia.
\nDimitrijevi\u0107 holds an MA degree in History and Theory of Art from the University of Kent (UK) and has received his PhD in Interdisciplinary Cultural Studies from the University of Arts in Belgrade with the thesis entitled ‘Utopian Consumerism \u2013 Emergence and Incongruities of Consumer Culture in Socialist Yugoslavia’.<\/p>\n

\"PetjaPetja Grafenauer (1976)<\/strong>
\nHolds a PhD in Anthropology of contemporary art. She is a freelance independent curator, writer and lecturer. Her topics are mainly contemporary painting and its connection to other media and the construction of discourse in contemporary art. During 2005\u22122006 she was the editor of Department for arts and humanities at Radio \u0160tudent, one of the oldest and biggest European non-commercial radio stations. Between 2007 and 2009 she was a curator at Ganes Pratt gallery in Ljubljana. Since 2005 she is a lecturer on history of contemporary art at School of Arts at University of Nova Gorica. She regularly collaborates with SCCA\u2212Ljubljana and is coeditor of Slovenian art magazine Art Words<\/em>. As a curator she is the author or coauthor of various projects, amongst others the exhibitions New tendencies<\/em> (UGM, Maribor 2010); We want to be as free as our fathers were<\/em> (MGLC, Ljubljana 2010); International Biennial of Graphic Arts:<\/em> Matrix \u2013 unstable reality: 6 monkeys, 300 envelopes and 1 love: ‘Imperfect as always<\/em> (MGLC, Ljubljana 2009). In January 2012 she curated one man retrospective exhibition of Austrian artist Dejan Kaludjerovi\u0107 in City Gallery in Nova Gorica (January 2012). Since 2001 her art criticism and analitic and scientific texts have been published at Radio \u0160tudent, in national daily magazines Dnevnik<\/em> and Delo<\/em>, in Mladina<\/em> weekly and Borec<\/em>, ISH<\/em> Monitor<\/em>, Maska<\/em>, Likovne besede<\/em>, Ekran<\/em>, Revija Fotografija<\/em>, Zarez<\/em>, \u017divot umjetnosti<\/em>, Manifesta Journal<\/em> and Art on Paper<\/em> magazines. In 2008 she published a book on Slovenian painter Aleksij Kobal<\/em> and in 2010 she was the editor of Authentic Interest<\/em> by MSUM director Zdenka Badovinac.<\/p>\n

\"Tev\u017eTev\u017e Logar (1979)<\/strong>
\nCurator and artistic director of \u0160kuc Gallery in Ljubljana, Slovenia. He has curated various group and solo exhibitions in galleries and art institutions in Slovenia and abroad and periodically publishes texts on contemporary visual art. Recent projects include a exhibition and publication Become<\/em> of Dutch artist Ulay in \u0160kuc Gallery (2009); international group exhibition Displaced divisions (2010) in \u0160kuc Gallery and co-curated the group exhibition Accretions in the Museum of Contemporary Art in Lodz, Poland (2011). In 2009 Logar was assistant commissioner of Slovenian Pavilion at 53rd Venice Biennial. Between 2004 and 2007 he worked as an assistant of curatorial program World of art at SCCA-Ljubljana. Currently he also lectures 20th Century Art History at A.V.A. \u2013 Academy of Visual Arts, Ljubljana. Logar lives and works in Ljubljana.<\/p>\n

\"AndrejAndrej Pezelj (1978)<\/strong>
\nBorn in Rijeka in Croatia. After graduating from high school of Eugen Kumi\u010di\u010d in Opatija, he undertook studies at the Natural Sciences and Technical Arts in Ljubljana. After two years, in 1998 he began studying at the Academy of Fine Arts, where he graduated in 2003. During the study under the Erasmus program he attended the National College of Art and Design in Dublin. In 2004 he moved to Paris, where he graduated at the Faculty of Paris VIII. For some time he worked as a technical consultant for the Paris gallery Laurent Godin. In 2009 he returned to Ljubljana, where he entered doctoral studies at the Faculty of Arts, majoring in sociology of culture, under the mentorship of Rastko Mo\u010dnik. He currently works at the Institute for Contemporary Arts SCCA-Ljubljana and writes for the cultural version of Radio Student. He has participated in several group exhibitions in Slovenia and abroad. In 2002 he participated at the Croatian Triennial of drawings, organised by the Croatian Academy of Arts and Science.<\/p>\n

\"Mi\u0161koMi\u0161ko \u0160uvakovi\u0107 (1954)<\/strong>
\nMi\u0161ko \u0160uvakovi\u0107 was born in 1954 in Belgrade (Serbia). He holds a PhD from the Faculty of Fine Arts, University of Arts in Belgrade since 1993. Full professor at the Faculty of Music, University of Arts in Belgrade, where he additionally teaches art theory at the Interdisciplinary postgraduate program. Formerly a member of the conceptual art group Grupa 143 (1975\u201380) and informal theoretical community Zajednica za istra\u017eivanje prostora \u2013 ZzIP [Space research community \u2013 ZzIP] (1982\u201389). Editor of the independent journal Mentalni prostor<\/em> [Mental space<\/em>] (Belgrade, 1982\u201387). Member of the editorial board for the journals Transkatalog<\/em> (Novi Sad, 1995\u20131998) and Teorija koja Hoda<\/em> [Walking theory<\/em>] (Belgrade, since 2001). Honorary member of the Slovenian Society of Aesthetics. His books include Scene jezika<\/em> [Scenes of language<\/em>] (Belgrade, 1989), Pas Tout<\/em> (Buffalo, 1994), Prolegomena za analiti\u010dku estetiku<\/em> [Prolegomena for analytical aesthetics<\/em>] (Novi Sad, 1995), Postmoderna<\/em> [Postmodernism<\/em>] (Belgrade, 1995), Asimetri\u010dni drugi<\/em> [The asymmetrical other<\/em>] (Novi Sad, 1996), Estetika apstraktnog slikarstva<\/em> [Aesthetics of abstract painting<\/em>] (Belgrade, 1998), Pojmovnik moderne i postmoderne likovne umetnosti i teorije posle 1950<\/em> [Glossary of modern and post-modern visual arts and theory after 1950<\/em>] (Belgrade and Novi Sad, 1999), Paragrami tela\/figure<\/em> [Paragrams of body\/figure<\/em>] (Belgrade, 2001), Anatomija angelova<\/em> [Anatomy of angels<\/em>] (Ljubljana, 2001), Figura, askeza in perverzija<\/em> [Figure, asceticism and perversion<\/em>] (Koper, 2001), Martek \u2013 Fatalne figure umjetnika: Eseji o umjetnosti i kulturi XX stolje\u0107a u Jugoisto\u010dnoj, Isto\u010dnoj i Srednjoj Europi kroz djelovanje umjetnika Vlade Marteka<\/em> [Martek \u2013 Fatal figures of the artist: essays on 20th-century art and culture in South-Eastern, Eastern and Central Europe through the work of Vlado Martek<\/em>] (Zagreb, 2002), Impossible Histories \u2013 Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918\u20131991<\/em> (Cambridge Mass, 2003), Politike slikarstva<\/em> [The politics of painting<\/em>] (Koper, 2004), Pojmovnik suvremene umjetnosti<\/em> [Glossary of contemporary art<\/em>] (Zagreb and Ghent, 2005), Konceptualna umetnost<\/em> [Conceptual art<\/em>] (Novi Sad, 2007), Epistemology of Art<\/em> (Belgrade, 2008) etc. He has curated more than 20 exhibitions since 1978. Artistic Director of the Museum of Contemporary Art Vojvodina in Novi Sad, 2009\u20132010.<\/p>\n

\"RebekaRebeka Vidrih (1976)<\/strong>
\nDr. Rebeka Vidrih is an assistant professor of art history at the Department of Art History at the Faculty of Arts in Ljubljana. She studied Art History at the Faculty of Arts in Ljubljana, graduated in 2004 and presented her PhD thesis (Theory of art and art history in the second half of the 20th century: classical tradition and new art historiography<\/em>) in 2008. She lectures on Modern and Contemporary Art in Western Europe I (16th-18th century) and II (19th-20th century) and on Contemporary Theory and Methods in Art History.<\/p>\n

\n
\n

<\/a>
\nTeam: 2nd Year<\/strong><\/p>\n

\"MiranMiran Mohar<\/strong>
\nPainter, designer an set designer based in Ljubljana. He is a member of the Irwin artists group and a co-founder of the Neue Slowenische Kunst movement, the graphic design studio New Collectivism and the Scipion Nasice Sisters Theatre. He is also a lecturer at the Academy for Visual Arts Ljubljana it\u2019s vice-dean and co-funder of Maja Farol movement for open architecture.<\/p>\n

<\/div>\n

\"NevenkaNevenka \u0160ivavec (1963)<\/strong>
\nCurator and editor. She received her degree in Comparative Literature and Art History at the Faculty of Arts in Ljubljana. Before she became the director of International Centre of Graphic Arts (MGLC) she worked as a curator at the Center for Cultural Programmes in Celje where she organized and curated different exhibitions and exhibitional projects. She also developed the international residential program Air Celeia. For many years she was co-editor of the magazine Art Words. In 2009 she finished the educationl program European Diploma in Cultural Project Managment<\/em> (Fondation Hicter Brussels).<\/p>\n

.<\/div>\n","protected":false},"excerpt":{"rendered":"

Internal Team Head of the Program: Sa\u0161a (Glavan) Nabergoj (1971) Art historian, curator and critic. Assistant director at SCCA\u2212Ljubljana, Center for Contemporary Arts (Slovenia). A member of AICA (International Association of Art Critics) and IKT (International Association of Curators of Contemporary Art, Amsterdam). Writer, editor, curator and lecturer on contemporary art, focusing on curatorial and […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":441,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-447","page","type-page","status-publish","hentry","category-woa"],"_links":{"self":[{"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/pages\/447","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/comments?post=447"}],"version-history":[{"count":49,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/pages\/447\/revisions"}],"predecessor-version":[{"id":1629,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/pages\/447\/revisions\/1629"}],"up":[{"embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/pages\/441"}],"wp:attachment":[{"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/media?parent=447"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/categories?post=447"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/tags?post=447"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}