November 2012 Postgraduate Certificate in Higher Education, University of Aberdeen
May 2008 PhD, Art History, Rutgers, The State University of New Jersey
May 1997 MA, Art History, The University of South Carolina
May 1995 BA, magna cum laude, Art History, Boston University
February 2009-present, Lecturer, History of Art, University of Aberdeen
Miervaldis Polis: Painting as Performance (Neputns, Latvia; with press, forthcoming in 2014)
Performing the East: Performance Art in Russia, Latvia and Poland Since 1980 (I.B. Tauris, 2013)
Peer Reviewed Journal Articles
“Games Played by Different Rules: Performance Art in Poland, 1970-2000,” Centropa: a Journal of Central European Architecture and Related Arts XIV/1 (January 2014): 8-22.
“Kozyra and Controversy/Cultural Norms and the Catholic Church,” Atlantica 49-50 (May 2009): 62-83.
“Truth and Trompe L’œil: Miervaldis Polis’s Paintings in the Context of Late-Soviet Latvia,” Makslas Vesture un Teorija (March 2009): 34-45.
Chapters in Edited Volumes
“Afrika and Marilyn Monroe – Post-Soviet Appropriation, East and West,” Russia’s fin de siècle: Contemporary Culture Between Past and Present, Birgit Beumers, ed. (London: Intellect, 2013), 81-98.
“The Bronze Man and the Homeless Man: Performance Art in Latvia Then and Now,” chapter in From Recognition to Restoration: Latvia's History as a Nation-State, David J. Smith and David J. Galbreath, eds. (Amsterdam/New York: Rodopi Press, 2010), 133-157.
Guest Editor for a themed edition of Centropa, “Performance Art in Central and Eastern Europe,” XIV/1 (January 2014). (together with Dr. Pavlina Morganova (Czech Republic))
www.performingtheeast.com (launched June 2013)
AWARDS AND FELLOWSHIPS
Leverhulme Research Fellowship (£44,988), 2013
Carnegie Trust Research Grant (£2,200), 2013
Royal Society of Edinburgh CRF Visiting European Fellowship (£2,000), 2013
Royal Society of Edinburgh Small Research Grant (£7,500), 2013
Royal Society of Edinburgh Bilateral Exchange, Slovak Academy of Sciences (£550), 2012
Royal Society of Edinburgh Bilateral Exchange, Hungarian Academy of Sciences (£245), 2012
Latvian State Culture Capital Fund for monograph on Latvian artist Miervaldis Polis ($2,000), 2011
Association for the Advancement of Baltic Studies Grant for Emerging Scholars ($1,000), 2011
Royal Society of Edinburgh Bilateral Exchange, Academy of Sciences, Czech Republic (£550), 2011
Carnegie Trust Illustration Grant (£1,000), 2010
British Academy Small Research Grant (£6,800), 2010
Carnegie Trust Research Grant (£2,240), 2009
British Academy Overseas Conference Travel Grant (£400), 2009
Daniel Grúň (1977) is an art historian, curator, and writer. In 2009 he published Archeology of Art Criticism. Slovak Art of the 1960s and its Interpretations, book dealing with artistic discourse in Czechoslovakia during the democratization process of the socialist regime. He is also author of poetry book titled Manual (Ars Poetica, 2009). He works as a lecturer at the Department of Theory and History of Art, Academy of Fine Arts and Design in Bratislava. He is researching and writing in the field of post-communist studies, archival and documentary practices in contemporary arts, artists’ archives, practices of their display and how they counter dominant art history narratives. As a researcher of the Július Koller Society he was involved in exhibition and publication series of trans-institutional network L’Internationale. Recently he co-curated Mutually. Communities of the 1970s and 1980s (together with Barbora Klímová and Filip Cenek).
RELEVANT WORK EXPERIENCE AND ACTIVITIES
Research Fellow; GWZO Leipzig, Projektgruppen „Ostmitteleuropa Transnational” and „Kulturelle Ikonen: Das Nachleben der Romantik” (since 2011)
Global and European Studies Institute, University of Leipzig; Visiting Lecturer (current)
Department of Gender Studies, Central European University, Visiting Lecturer (2009-11)
Roma Access Program, Central European University; tutor in Gender Studies (2005)
Other positions, projects and initiatives:
Project leader and curator of the research-based exhibition project Agents and Provocateurs; with Franciska Zólyom (2008-10)
Editor of Praesens: Central European Contemporary Art Review, covering 11 countries from the Central European region (2003-06)
Research Fellow, Artpool Art Research Center, Budapest (1998–2002)
Independent curatorial projects:
Visual Art Programme of Dorchester Festival, UK, featuring Roddy Hunter (UK), Antal Lakner (H), Vassya Vassilleva (BG) and Martin Zet (CZ) (2007, with Judit Bodor)
1/4 Hungarian (international group exhibition), Insitute of Contemporary Art, Dunaujvaros (2007), with Franciska Zólyom
Róza El-Hassan’s retrospective exhibition R. Thinking/Dreaming about Overpopulation, Műcsarnok/Kunsthalle, Budapest, Hungary (2006)
Freelance and commissioned writings for local and international magazines and scholarly journals on gender-, film and visual arts-related subjects.
2009: Ph.D. in Comparative Gender Studies; Central European University, Budapest, chartered by the Board of Regents of the New York State Education Department (US). Doctoral dissertation’s title: “Gendered artistic positions and social voices: politics, cinema and the visual arts in state-socialist and post-socialist Hungary.”
2002: M.A. in Gender Studies; Central European University, Budapest
1999: M.A. in Aesthetics; Comparative Literature and Modern Linguistics, Eötvös Lóránd Tudományegyetem (ELTE), Budapest
Born Glasgow, Scotland in 1970, I an artist-educator-curator who lives and works in Cardiff, Wales and London, England. My practice engages with art as social and cultural encounter with different publics and sites through forms of curating, performance, exhibition and writing. I have exhibited internationally across Asia, Europe, Middle East and North America since the 1990s including Centro Galego de Arte Contemporánea (CGAC), Santiago de Compostela; Ludwig Museum of Contemporary Art, Budapest; The Center for Contemporary Art, Tel Aviv; CCA Ujazdowski Castle, Warsaw; Le Lieu, centre en art actuel, Québec; Site Gallery, Sheffield and Sculpture Square, Singapore. Some of this work appears in Ice Cream: Contemporary Art in Culture (Phaidon, 2007) and Civil Twilight & Other Social Works (Trace Samizdat, 2007). I have been a part-time doctoral student in Curating New Media Art at CRUMB, University of Sunderland identifying existing, and developing new, curatorial models of practice in the present era of globalisation that articulates the principles of The Eternal Network created by artists Robert Filliou and George Brecht in 1968, in which the network itself is the artwork. I am currently Principal Lecturer and Director of Programmes in Fine Art at Middlesex University, London and have formerly been Head of Programme, Fine Arts at York St John University and Field Director, Art at Dartington College of Arts.
Klara Kemp-Welch is currently Lecturer in 20th Century Modernism at the Courtauld Institute of Art (2012-13). She is currently working on a monograph entitled Networking the Bloc. East European Experimental Art and International Relations. Her first book, Antipolitics in Central European Art. Reticence as Dissidence under Post-Totalitarian Rule 1956-1989 was recently published by I.B. Tauris in London and New York.
Andrej Mircev was born in 1979 in Osijek, Croatia. He graduated Philosophy and History in 2005 at the Philosophical faculty in Zagreb with the thesis: “Analysis of political and religious symbols in the performances of Joseph Beuys”. In 2002 he enrolled at the Theatre sciences studies, which were completed in 2005 with the thesis: “Performative strategies of the body in the performances of Marina Abramović”. Simultaneously, from 2002 he participated in several group exhibitions, produced seven individual exhibitions, using video and photography and mix media and produced several videos for different performances. His theoretical works, essays and texts have been published in current contemporary art magazines such as: Frakcija, Tema, Zarez, Čemu, Remont, TkH, Kretanja, Kolo, Kontura, Interkulturalnost. The focus of his interest are issues of contemporary art within a wide range of media – from photography and a new media to contemporary theater, as well as hybrid forms of live performances. From 2006 he is employed at the Art Academy in Osijek (Department of acting and Departmen visual art), where he teaches performance, new media and spatial theory. In 2008 he published his first book (a photo-novel) entitled Danilo Kiš’s Dream. From 2008 to 2012 he was in the Comitee board of the Gallery for contemporary art in Pancevo, Serbia. For the year 2009/2010 he was awarded with the DFG scholarship (German Research Foundation). He finished his doctoral thesis in 2011 within the International Research Training Group Interart Studies at the Freie Universität Berlin, under the supervision of Prof. Erika Fischer-Lichte and with a thesis: “Intermedial Spatialities. Interaction Between Visual Arts, Theatre and Dance Since the 60ies”.
Ileana Pintilie is an art critic and curator, professor at the Arts Faculty, West University in Timisoara, Romania. Her books include Actionism in Romania During the Communist Era, 2002 and the volume Mitteleuropäische Paradigmen in Südosteuropa. Ein Beitrag zur Kultur der Deutschen im Banat (with Roxana Nubert), 2006. She has also published Ştefan Bertalan. Crossroads, 2010 and a number of articles and essays on contemporary art in Romania and abroad in international catalogues and volumes.
In 1994 Pintilie won a National Award for Art Criticism. She curated numerous monographic and collective exhibitions in Romania and abroad, including Zone Performance Festival (www.zonafestival.ro) in Timisoara, Body and the East from the 1960s to the present at the Museum of Modern art in Ljubljana (1996), Shaping the Great City. Modern Architecture in Central Europe, 1890-1937, Kunstforum, Viena, Getty Museum, Los Angeles (1999-2001), Kontakt…Works from the Collection of Erste Bank Group, MUMOK, Viena (2006), Beyond the frontiers. Romanian and Scottish artists in Richard Demarco’s Archive, Contemporary Art Gallery, Brukenthal Museum, Sibiu (2007), Space For New Dialogue, The Museum of Contemporary Art of Vojvodina in Novi Sad (2008) and Subversive Practices. Art under Conditions of Political Repression 60s - 80s / South America / Europe. Württembergischer Kunstverein Stuttgart (curator for the Romanian section), 2010.
Piotr Piotrowski is professor ordinarius at the Art History Department, Adam Mickiewicz University, Poznan, Poland, and its former chair (1999-2000). He also was the director of the National Museum in Warsaw (2009-2010), and visiting professor at Humboldt University (2011-2012), Warsaw University (2011, 2012-2013), Bard College, USA (2001), Hebrew University in Jerusalem (2003), as well as the fellow - among others - at CASVA, Washington D.C. (1989-1990), the Institute for Advanced Study, Princeton (2000), Collegium Budapest (2005-2006), and the Clark Art Institute (2009). He is the author of a dozen books including: In the Shadow of Yalta (2009), and Art and Democracy in Post-Communist Europe (2012). In 2010 Piotrowski received Igor Zabel Award for Culture and Theory (Barcelona).
Angelika Richter is a curator and art historian based in Berlin. She currently is preoccupied with the field of contemporary art production, film- and media-art and the cultural sphere of the GDR – here especially with gender issues and performance art.
Her exhibition und jetzt. Künstlerinnen aus der DDR, curated together with Beatrice E. Stammer and co-curated by Bettina Knaup at Künstlerhaus Bethanien, Berlin 2009, was dedicated to female artists from the GDR. The exhibition rediscovered idiosyncratic conceptions and artistic practices, strategies of resistance, subversion and deconstruction. It highlighted the special achievements of single women artists in the past and present and brought them (back) to the centre of attention, therewith contributing to balancing out the deficits in the recognition of artistic achievements.
Under the title Inszenierung des Eigensinns Angelika Richter has contributed to the exhibition Puzzle at Museum of Contemporary Art Leipzig (2010, curated by Julia Schäfer) with a selection of works relating to performativity in East Germany. In 2008, she conducted the GDR research for the exhibition Gender Check. Femininity and Masculinity in the Art of Eastern Europe (curated by Bojana Pejic) at MUMOK in Vienna.
Angelika Richter has been curator of the Marion Ermer Prize in 2010 (Neues Ausstellen) and 2013 (Die Herstellung von Sichtbarkeit), a prize and show for young and upcoming artists of the newly formed German States at Neues Museum Weimar.
Angelika Richter is curatorial consultant of RHContemporary Art, New York City, since 2012.
From 2003 to 2006 Angelika Richter was artistic director of the Werkleitz Gesellschaft, Centre for Media Art in Halle (Saale), Germany. Angelika Richter has been curatorial assitant of Liverpool Biennial 2002, UK, was director of the 6th Werkleitz Biennale Common property (2004) and co-curator of the 7th Werkleitz Biennale Happy Believers (2006). She has further cooperated on projects with Galerie Barbara Thumm, Berlin; Kunst Haus Dresden; Brandenburgischer Kunstverein, Potsdam; Biennial of Moving Image at LUX, London; Trafó House of Contemporary Arts, Budapest and Bunkier Sztuki, Krakow.
Angelika Richter has participated in international conferences and has authored numerous publications.
Sylvia Sasse is full professor for Slavic literature at the University of Zurich and co-founder of the Centre for Arts and Cultural Theory also in Zurich. In her research she focuses on literary theory and theory of theater throughout the 20th century, on the interrelations between literature, theater and law and on the interaction between Performance Art and theater.
Concerning her research projects I would like to mention only the current ones, which are „Sergey Tretyakov’s (anti-)sovietic spatial poetics“; „Literatur and Art on trial: focusing Eastern Europe“, which continues the recently finished project „Literature and Art on trial“ with a focus on contemporary Russia; and „Performance Art in Eastern Europe between 1950 and 1990“.
Her publications include – here I’m only going to mention mostly the books and leaving out numerous articles and anthologies – Art as punishment. On the aesthetics of disciplinary action (Kunst als Strafe. Zur Ästhetik der Disziplinierung), together with Gertrud Koch and Ludger Schwarte (2002); Texts in Action. Speech acts in Moscow Conceptualism (Texte in Aktion. Sprech- und Sprachakte im Moskauer Konzeptualismus, 2003); Word sins. Confessing in Russian Literature (Wortsünden. Beichten und Gestehen in der russischen Literatur, 2009), published in German and in Russian; an introduction intoMichail Bachtins ouevre (2010); and Nikolaj Evreinov. Theater for itself (Nikolaj Evreinov. Theater für sich selbst), a translation of Evreinov’s theatrical theory from the Russian, which is going to be published soon.
Sylvia Sasse is not only active in the academic sphere but also organized several exhibitions and similar events, for example (and to mention just one) in 2003 together with Stefanie Wenner and Anselm Franke the festival Art and Crime (Kunst und Verbrechen) in collaboration with the theater Hebbel am Ufer, better known as HAU.
Miško Šuvaković (Miodrag Šuvaković) was born in 1954, Belgrade, Serbia. He had been co-founder and member of conceptual artistic Group 143 (1975-1980), and was co-founder and member of informal theoretic and artistic "Community for Space Investigation" (1982-1989). He is colaborator of theoretical platform TkH (Walking Theory) from 2000. From 1988 he is the member of Slovenian Aesthetic Society. In March, 1993 he got PHD degree with theme "Analytical philosophy and visual art" (Faculty of Visual Art, Belgrade). He teaches applied aesthetics and theory of art, Faculty of Music, Belgrade (Professor). He teachs theory of art, Interdisciplinar studies, University of Art Belgrade. He teachs art history and aesthetics of architecture, Faculty of Architecture, Belgrade. He was co-editor of magazine Katalog 143 (Belgrade, 1975-78), Mentalni prostor (Belgarde, 1982-1987), Transkatalog (Novi Sad, 1995-1998), Teorija koja Hoda (Walking Theory, Belgrade, from 2001), and journal AM : Art Media (Belgrade, 2012). He has published 40 books on aesthetics, philosophy of art and culture, art theory, perfomance art, new media art, art and politics etc. Some books published on english are: Impossible Histories – Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918-1991, (co-editor with Dubravka Đurić; The MIT Press, Cambridge 2003, 2006); Epistemology of Art – Critical design for procedures and platforms of contemporary art education (TkH Belgrade, Tanzquartier Wien, PAF St. Erme (France) i Advanced Performance Training. Antwerp, 2008); The Clandestine Histories of the OHO Group (P74 Gallery, Ljubljana, 2010); The Power of a Woman: Katalin Ladik – Retrospective 1962-2010 (Museum of Contemporary Art Vojvodina, Novi Sad, 2010); Surplus LIFE: The Philosophy of Contemporary Transitional Art and Form of Life - Polona Tratnik (Transars / Horizonti, Ljubljana, 2011).
Jasmina Tumbas (b. 1981, Subotica, Serbia) is an Assistant Professor of Performance Studies in the Department of Visual Studies at the University at Buffalo. Her teaching and research fields focus on modern and contemporary art and theory, histories and theories of performance, body and conceptual art, art and activism, politics of contemporary visual culture, and critical theory. Tumbas completed her doctoral degree in Art History and Visual Studies at Duke University in 2013, where she received a number of fellowships to conduct extensive research at various archives in Serbia, Croatia, Slovenia, Hungary, and Germany. Part of her dissertation, “A Matter of Decision: Experimental Art in Hungary and Yugoslavia, 1968-1989,″ which analyzes performance, conceptual and mail art from former Yugoslavia and Hungary in the post World War II era, was published in ArtMargins in fall 2012. Tumbas has presented her research at a range of international conferences, and has co-organized events and conferences at Duke University, such as the first “Hemispheric Institute of Performance and Politics’ 2012 Convergence: The Geo/Body Politics of Emancipation” in Fall 2012, and served as a faculty advisor to graduate students during the last Hemispheric Convergence on “Experimental Collectivities” at USC, Los Angeles (October 2013). In 2010, Tumbas co-founded the Public School Durham, an independently run experimental learning community open to the public with branches in New York, Berlin, Paris, and Los Angeles, among other locations, and taught a number of classes on Contemporary Art, Queer Cinema, and East European Film for the public school. Tumbas also works with Roma artists and activists in Europe as a translator and editor, as well as a freelance assistant editor and translator for the ArtLeaks collective.