Jennifer Allen (Berlin) is an art critic and publicist for artforum.com (New York), frieze (London) and Mousse Magazine (Milan). She was awarded the ADKV-Art Cologne prize for art criticism in 2009. Since 1994, she has published more than 500 articles about contemporary art and culture in international publications (monographs, books, magazines, catalogues, online, newspapers). She has lectured at many European art academies and at the Salzburg International Summer Academy of Fine Arts.
Edit András is an art historian, art critic and lecturer based in Budapest and Long Island, NY. She is affiliated by Institute of Art History, Research centre of Humanities of the Hungarian Academy of Sciences, Budapest. Her research field is critical theories, contemporary art in the post-socialist Eastern and Central Europe, gender issues, public art, critical practices and nationalism. She has widely published in art magazines such as Springerin, ThirdText, e-flux and Artmargins. She is member of the editorial board of Artmargins online and Ars Hungarica. In 2008 she got the art criticism award of the Hungarian section of AICA.
Boris Buden is a philospher, cultural theoretician, writer and translator. He studied philosophy in Zagreb and received his PhD in Cultural Theory from Humboldt University, Berlin. In the 1990s, he founded and was chief editor of the magazine and publishing house Arkzin in Zagreb. He is a board member of the European Institute for Progressive Cultural Policies, Vienna. His essays and articles cover topics related to philosophy, politics, translation, linguistics, the post-communist condition, and cultural and art criticism. Buden’s writings appear in numerous books, including Concerning War: A Critical Reader in Contemporary Art (2006/2010) and Art and Contemporary Critical Practice: Reinventing Institutional Critique (2009). He has co-edited and authored several books, including: Zone des Übergangs: Vom Ende des Postkommunismus (2009, 2014 in the Slovene translation); Übersetzung: Das Versprechen eines Begriffs (with Stefan Nowotny, 2008); and Der Schacht von Babel: Ist Kultur übersetzbar? (2004). He is currently Visiting Professor at the Faculty of Art and Design, Bauhaus University, Weimar. Buden lives and works in Berlin.
Lina Džuverović (Zagreb/London) is a curator and PhD candidate at Royal College of Art/Tate Modern. Between 2011 and 2013 she was Artistic Director at the Calvert 22 Foundation in London – the UK’s only not-for- profit foundation dedicated to the presentation of contemporary art and culture from Russia, Eastern Europe and CIS countries. Prior to that she was an Executive Director of Electra, a London-based contemporary art agency which she co-founded in 2003; and a Media Arts Curator at the London’s Institute of Contemporary Arts. Her writing has appeared in several art magazines, including Contemporary, Art Review, Artforum, and The Wire. Currently she is pursuing a PhD in critical writing at the Royal College of Art in London.
Klara Kemp-Welch is lecturer in 20th Century Modernism at the Courtauld Institute of Art in London where she teaches East European and Latin American art history. She has an MA in Russian and East European Literature and Culture from the School of Slavonic and East European Studies in London (2002) and a PhD in the History of Art from University College London (2008). As a post-doctoral researcher, she was awarded fellowships from the Phillip Leverhulme Trust and the Arts and Humanities Research Council, and a working Grant from the Igor Zabel Foundation. She has published catalogue essays and book chapters on experimental artists such as Ion Grigorescu and KwieKulik and her monograph Antipolitics in Central European Art. Reticence as Dissidence Under Post-Totalitarian Rule was published in 2013. Since 2009, she has been working on a research and book project entitled Networking the Bloc: Rethinking International Relations in European Art.
Elke Krasny is a curator, cultural theorist, and writer. She is a Senior Lecturer at the Academy of Fine Arts Vienna, Austria. In 2014 she is City of Vienna Visiting Professor at the Vienna University of Technology. In 2013 she was Visiting Professor of Architecture and Urban Research at the Academy of Fine Arts Nürnberg. Her theoretical and curatorial work is firmly rooted in socially engaged art, architecture and spatial practices, urban epistemology, post-colonial theory, and feminist historiography.
Jayme Mclellan is an artist, educator, curator, writer, and gallery director. She is the founding director of Civilian Art Projects, a gallery supporting emerging and established artists located in Washington, DC. McLellan has worked in the arts since the mid-nineties curating hundreds of exhibitions and organizing events in galleries, museums, and alternative spaces in DC, Baltimore, New Orleans, Minneapolis, New York City, Miami, Canada and Europe. Prior to Civilian, McLellan co-founded and served as co-director of Transformer (2002–2006), a non-profit arts organization dedicated to serving emerging artists. In addition to running Civilian, she is adjunct faculty at the Maryland Institute College of Art where she leads classes on professional development for graduate students. She has also taught professional development, curatorial practice and art history at the Corcoran College of Art + Design, American University, and St. Mary’s College of Maryland. She is also project manager and co-curator for HARD ART DC 1979 (Akashic Books), a book and traveling exhibition about the birth of the D.C. punk movement. The HARD ART exhibition will be on view at the Center for Documentary Studies at Duke University from May until October 2014.
Suzana Milevska (Skopje) is an art historian, curator and theorist of visual art and culture. She holds a Ph.D. in Visual Cultures from Goldsmiths College in London. Her academic research and curating interests include postcolonial critique of hegemonic power in art, gender theory and feminism(s) in art practices and socially engaged and participatory projects. She has curated over 70 international exhibitions, mostly committed to searching for new curatorial formats and models of presenting critical discourses and socially and politically engaged art practices. She publishes extensively, including among others Gender Difference in the Balkans and The Renaming Machine: The Book (both in 2010). In 2012, she was awarded the Igor Zabel Award for Culture and Theory, and in 2013 she was appointed as the first Endowed Professor for Central and South Eastern European Art Histories at the Academy of Fine Arts Vienna.
Paul O’Neill is a curator, artist, writer and educator based in New York and Bristol. He is Director of the Graduate Program at the Centre for Curatorial Studies, Bard College in New York. Paul has co-curated more than 50 exhibition projects across the world including: The Curatorial Timeshare, Enclave, London (2013); Our Day Will Come, Part of Iteration: Again, Hobart, Tasmania (2011); We are Grammar, Pratt Institute, Manhattan Gallery, New York (2011); Coalesce: happenstance, SMART, Amsterdam (2009); Making Do, The Lab, Dublin (2007); General Idea: Selected Retrospective, Project Art Center, Dublin (2006); Tonight, Studio Voltaire, London, (2004); Are We There Yet? Glassbox, Paris (2000) and Passports, Zacheta Gallery of Contemporary Art, Warsaw (1998). He is international tutor on the de Appel Curatorial Program since 2005, Amsterdam and he has held numerous research and lecturing positions at Goldsmiths, University of London; Middlesex University; The Graduate School of Creative Arts and Media, Dublin and the University of the West of England, Bristol. Between 2001–03, he was the Gallery Curator-Director of London Print Studio Gallery, where he curated group shows such as Private Views; Frictions; A Timely Place…Or Getting Back to Somewhere; All That is Solid and solo projects: Albers; Being Childish Billy Childish; Phil Collins Reproduction Timewasted; Harrowed: Faisal Abdu’ Allah and Locating: Corban Walker. He was Artistic Director of Multiples X from 1997–06; an organisation that commissioned and supported curated exhibitions of artist’s editions, which he established in 1997 and included exhibitions at spaces such as the ICA, London; Temple Bar Gallery, Dublin; Ormeau Baths, Belfast; Glassbox, Paris and The Lowry, Manchester.
Paul’s writing has been published in many books, catalogues, journals and magazines and he is a regular contributor to Art Monthly. He is reviews editor for Art and the Public Sphere Journal and is an editor of Afterall’s Exhibition Histories Series. He is on the editorial board of The Exhibitionist and The Journal of Curatorial Studies. He is editor of the curatorial anthology, Curating Subjects (2007), and co-editor of Curating and the Educational Turn with Mick Wilson (2010), both published by de Appel and Open Editions (Amsterdam and London), and author of Locating the Producers: Durational Approaches to Public Art (Amsterdam, Valiz, 2011), edited with Claire Doherty. He is author of the critically acclaimed book The Culture of Curating and the Curating of Culture(s), (Cambridge, MASS., The MIT Press, 2012). His forthcoming book Curating Research (de Appel and Open Editions) co-edited with Mick Wilson will be published in 2014.
Piotr Piotrowski is professor ordinarius at Art History Department, Adam Mickiewicz University, Poznan, Poland, which he has been chairing between 1999-2008, and permanent research fellow of the Graduate School for East and South-East European Studies, Ludwig-Maximillians-Universität, München/ Regensburg Universität. Former director of the National Museum in Warsaw, 2009-10, and visiting professor at Humboldt University (2011-12), Warsaw University (2011, 2012-13), the Center for Curatorial Studies, Bard College USA (2001), Hebrew University in Jerusalem (2003). He was a fellow – among others – at the Center for Advanced Studies in the Visual Arts, Washington D.C. (1989-90), Columbia University (1994), the Institute for Advanced Study, Princeton NJ (2000), Collegium Budapest (2005-06), and the Clark Art Institute, Williamstown, MA (2009). He is the author of a dozen books including: Meanings of Modernism (1999, 2011), In the Shadow of Yalta. Art and the Avant-garde in Eastern Europe, (2005, English 2009, Croatian 2011), Art after Politics (2007), Art and Democracy in Post-Communist Europe (2010, English 2012), and Critical Museum (2011, Serbian 2013), as well as editor, co-editor and co-author of many others. For his scholarly achievements Piotrowski received among others Jan Dlugosz Award Krakow 2006, and Igor Zabel Award for Culture and Theory, Barcelona 2010.
Jelena Vesić is an independent curator, writer, editor and lecturer based in Belgrade. She was co-editor of Prelom – Journal of Images and Politics 2001–2009 and co-founder of the independent organization Prelom Collective 2005–2010. She is active in the field of publishing, research and exhibition practice that intertwines political theory and contemporary art. She is also co-editor of Red Thread – Journal for Social Theory, Contemporary Art and Activism and a member of the editorial board of Art Margins.