{"id":497,"date":"2011-09-16T13:27:19","date_gmt":"2011-09-16T11:27:19","guid":{"rendered":"http:\/\/www.worldofart.org\/current\/?page_id=497"},"modified":"2012-11-12T17:37:12","modified_gmt":"2012-11-12T15:37:12","slug":"workshop-tutors-20112013","status":"publish","type":"page","link":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/14th-year-20112013\/workshops-20112013\/workshop-tutors-20112013","title":{"rendered":"Workshop tutors 2011\/2013"},"content":{"rendered":"

\"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 On Normality<\/em>: Art in Serbia 1989\u20132001<\/em> (MOCAB, 2005), International Exhibition of Modern Art<\/em> (MOCAB, 2003), Pop 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

\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. As a curator she is the author or coauthor of various projects, amongst others the exhibitions New tendencies (UGM, Maribor 2010); We want to be as free as our fathers were (MGLC, Ljubljana 2010); International Biennial of Graphic Arts: Matrix \u2013 unstable reality: 6 monkeys, 300 envelopes and 1 love: \u2018Imperfect as always (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 and Delo, in Mladina weekly and Borec, ISH Monitor, Maska, Likovne besede, Ekran, Revija Fotografija, Zarez, \u017divot umjetnosti, Manifesta Journal and Art on Paper magazines. In 2008 she published a book on Slovenian painter Aleksij Kobal and in 2010 she was the editor of Authentic Interest by MSUM director Zdenka Badovinac.<\/p>\n

\n

<\/a>
\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","protected":false},"excerpt":{"rendered":"

Branislav Dimitrijevi\u0107 (1967) Dr. 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 […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":495,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-497","page","type-page","status-publish","hentry","category-woa"],"_links":{"self":[{"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/pages\/497","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=497"}],"version-history":[{"count":13,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/pages\/497\/revisions"}],"predecessor-version":[{"id":1220,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/pages\/497\/revisions\/1220"}],"up":[{"embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/pages\/495"}],"wp:attachment":[{"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/media?parent=497"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/categories?post=497"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/tags?post=497"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}