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As an historian of modern architecture and urban-planning Bocharnikova has over the past eight years been combining research on and teaching Second World Urbanity, and developing cultural policies for various cultural institutions in Belgium. Originally from a small industrial town in Russia, she lived and worked in Yekaterinburg and St. Petersburg, and did postgraduate studies in Italy and the USA. Bocharnikova completed her PhD at the European University Institute in Florence (2014) and was a postdoctoral fellow at Harvard University. From 2015 to 2022 she worked for the Center for Fine Arts (Bozar) in Brussels as institutional advisor to the CEO and Artistic Director, and as a curator of Russian and Eastern European programs. In 2022 she joined the Cinquantenaire 2030 team to help shape the project aimed at animating museum collections, communities, and commons in the heart of the European Quarter of Brussels. Over the years her research interests have expanded to include topics such as re-imagining museums and cultural institutions of the future, and the role of cultural mediation and experimental pedagogies in projects involving the socio-cultural transformation of urban and rural territories.
Photo: Participants of Curatorial School Nemoskva. Reanimate: Practives of Care and Critical Thinking in Curatorial Work.
Photo by Elena Anosova.
Her research interests lie at the intersection of animal studies and art history, with a focus on the representation of politicised relationships of care between humans and other-than-humans in contemporary art. Erdősi is currently a PhD candidate at the Edinburgh College of Art, University of Edinburgh. She is the former Postgraduate Convenor and an active member of the Edinburgh Environmental Humanities Research Network, and recently collaborated on the Climate and Colonialism Reading Group at the Paul Mellon Centre in London. Erdősi holds a BA in History of Art and French from the University of Bristol and an MA in History of Art from the Courtauld Institute, London. When not reading, reflecting, or writing, Eszter can be found trail running someplace hilly. She lives and works between Budapest and Edinburgh.
As an artist and art pedagogue Feiks focuses on sustainable art practices, more-than-human communication, and laws of nature. She studied fine art with Harun Farocki, Dorit Margreiter, Carola Dertnig, and art pedagogy with Elke Krasny and Elke Gaugele. Currently she is completing her PHD and working at the Academy of Fine Arts and the Haydngymnasium in Vienna.
Her work focuses on the intersection of art, critical spatial practices, ecology, and active citizenship. Jurman is an art historian and a sociologist of culture. She is active as a curator, editor, and writer in the filed of contemporary art. She is a co-founder of the Obrat Culture and Art Association with which she also co-initiated the community garden Beyond a Construction Site (Ljubljana, 2010–22). Among her curatorial projects Ready 2 Change (with Polonca Lovšin, P74 Gallery, Ljubljana, 2004) is especially close to her heart. She is the editor of several publications, including Sanja Iveković: Public Works catalogue(P74 Gallery, Ljubljana, 2006), a thematic issue of AB – Architect's Bulletin on participation in architecture and urban planning (with Apolonija Šušteršič, 2011), Beti Žerovc: When Attitudes Become the Norm – The Contemporary Curator and Institutional Art (2015), and architecture ≠ art reader(with Vid Zabel, 2017).
In 2021 she co-initiated (with Elke Krasny) the Ecologies of Care group. Since 2013, Jurman has been the programme director of the Igor Zabel Association for Culture and Theory in Ljubljana.
Photo: community garden Beyond a Construction Site, Ljubljana, 2019. Photo by Toni Poljanec
Krasny is a feminist cultural theorist, urban researcher, curator, and author. Her scholarship addresses ecological and social justice in the global present with a focus on caring practices in architecture, urbanism, curatorial work, and contemporary art. Together with Urška Jurman she initiated Ecologies of Care in 2021.
With Angelika Fitz, Krasny edited Critical Care: Architecture and Urbanism for a Broken Planet (MIT Press, 2019), and with Angelika Fitz and Marvi Mazhar she edited Yasmeen Lari: Architecture for the Future (MIT Press, 2023). The volume Curating with Care, edited with Lara Perry (Routledge, 2023), brings together curatorial work that responds to and counteracts social and ecological crises of care. Her book Living with an Infected Planet: Covid-19 Feminism and the Global Frontline of Care develops a feminist perspective on the rhetoric of war and the realities of care in times of pandemic (transcript, 2023). Elke Krasny is a Professor of Art and Education at the Academy of Fine Arts Vienna.
Photo: Anne Dubos, Wounded Planet
Her projects explore broad life cycles of buildings and address human-induced accidents in (de)industrialized territories. Moreira works as a curator, researcher, and university lecturer. She is Principal Investigator in Visual Arts (Laboratory of Landscapes, Heritage and Territory, University of Minho). She completed her studies at the Faculty of Architecture – University of Porto, Master in Urban Culture (Universitat Politécnica da Catalunya/CCCB), obtained a PhD in Curatorial/Knowledge (Goldsmiths College, University of London), and completed a Post-Doctorate in Art History (Universidade Nova de Lisboa), where she created the Cluster Curating the Contemporary: On Architectures, Territories and Networks (2018–22). Her projects include: Aftermath and Resonance! (2009), Buildings and Remnants: A project-essay on post-industrial spaces (2012), the European projects Technical Unconscious (2014) and Materiality (2012–14), and the Post-Nostalgic Knowings platform (2019), among others. Currently, she seeks to understand contemporary legacies and unwanted heritages, such as post-WWII monuments, infrastructures, and industrial and military architectures.
Pomarico (PhD) is an independent curator, writer, and educator working at the intersection of arts, pedagogy, and community building. She is the founder of the art-activist Free Home University, the residency program Sound Res, and the trans-local Ecoversities Alliance. Alessandra’s research currently focuses on the ecology of knowledge, care, and relational epistemologies. Recent projects include firefly frequencies radio; the Mediterranean Ecofeminist, Decolonial Union for Self-Education M.E.D.U.S.E; the School of the We (<rotor>, Graz); Grounding~Seeding (Tranzit, Bratislava); The New Alphabet School #Commoning (HKW, Berlin), and #Healing (Dakar). She is editor at artseverywhere, curated the volume Pedagogies Otherwise (Ecoversities Publications, 2018), co-edited What’s there to learn (Publication Studio Guelph, 2018) and When the Roots Start Moving: Resonating with Zapatismo (Archive Books, 2021).
Rucli is an architect, community activist, and editor based in the small village of Topolò, Italy. In 2014 she co-founded Robida magazine, a situated magazine that speaks of Topolò, the place where it comes to life, never mentioning it directly but operating with concepts that the place generates. Rucli co-curates the public program and projects of the Robida collective, working in the intertwined territory of theory and practice by writing and taking care of the abandoned landscape surrounding the village. She is interested in rural epistemologies, in the relation between margins and centers (in the spatial and cultural senses) and in feminist ways of approaching, working with, and taking care of landscapes.
Photo by Robida
Her work focuses on art and the public sphere and contemporary collaborative methodologies. Scardi works as an art historian, contemporary art curator, writer, and professor. She collaborates internationally with art museums and institutions, curates exhibitions, public projects, and lecture series.
Scardi is a co-director of Animot magazine, an academic journal exploring the topic of animality in the context of animal studies; a member of NAHR, Nature Art & Habitat Residency, an ECO-Laboratory of Multidisciplinary Practice, located in Taleggio Valley, Bergamo, Italy; the director of a course in Socially Engaged Art at Accademia Unidee, Fondazione Pistoletto, Biella.
Her publications include Alberto Burri’s Teatro Continuo (ed. Corraini, Mantua, 2015); Paesaggio con figura: Arte, sfera pubblica, trasformazione sociale (ed. Allemandi, Torino, 2011).
Scardi's most recent contributions include Scardi G., Permeabile e performativa: l’opera pubblica come potenzialeelemento cardine tra luogo, tempo, soggetto, istituzione, in Art and Public Space (Silvana Editoriale, Milano, 2023) and Scardi G., Art as Spatial Dramaturgy: The Polish and Italian Povera, in Magdalena Abakanowicz (Tate Publishing, London, 2022).
Nada Rosa Schroer
With a preference for feminist science fiction and posthuman philosophy Schroer focuses on curatorial practices that address the eco-social consequences of the colonial capitalocene. She seeks radical proposals aimed at transforming curation, research, and institutional practices for climate justice. Schroer studied Cultural Studies (University of Leipzig and Hildesheim) and Cultures of the Curatorial (Academy of Visual Arts Leipzig).
She served as a research assistant at the Institute for Art & Art Theory (University of Cologne, 2017–20), and as curatorial assistant at the Academy of the Arts of the World Cologne (2020). Her curatorial projects include Resist! The Art of Resistance (Rautenstrauch-Joest-Museum, Cologne, 2020–21), FUTUR 21: Art Industry Culture (LWL-Industrial Museums, Dortmund, 2020–22), Towards Perma-Cultural Institutions (Künstlerdorf Schöppingen, 2022), Instituting in Circles: Ecological Approaches in Art and Art Institutions (CCA Temporary Gallery, Cologne, 2022–23), Vibrant Waters (Internationale Photoszene, Cologne, 2023). Schroer is a co-founder of FLUID CIRCULATIONS: Hydrofeminist Explorations in Post-Industrial Landscapes (2022–) and is currently a PhD candidate at TU Dortmund / Institute for Art and Material Culture researching (post-)mining water stories through the lens of hydrofeminism.
Strauss is an artist and activist. She was born Mari, one of Europe’s last Indigenous cultures with a shamanic tradition, and lives and works in Athens and Berlin. Her sculptures, paintings, performances, drawings, and video works have been presented in solo and group exhibitions at the Pergamon Museum and Martin-Gropius-Bau in Berlin and the Tate Modern in London, as well as at the Tirana Biennale, the Stedelijk Museum Amsterdam, the Athens Biennale, the Kyiv Biennial, the ZKM | Center for Art and Media Karlsruhe, and documenta14, among others. She also plays on a reconstruction of an Ancient Greek lyre. Strauss is currently training for her fourth stripe in Việt Võ Đạo Kung Fu and is the founder and organizer of Avtonomi Akadimia in Athens. This durational art work and an open grassroots university in the Akadimia Platonos transforms the European educational system and works on the legislative agenda of environmental personhood toward the protection of urban biotopes from ecocide.
Yasmín Martín Vodopivec
Ljubljana-based curator and cultural manager. In her work she focuses on social engagement and the ecologies of curating. Standing at the intersection of the poetic and the committed by taking diverse creative exhibition approaches, Yasmín addresses current, significant, distinct, dialogic art practices that connect issues of community, art, and nature. Since 2011, she has been Assistant Director at the International Centre of Graphic Arts (MGLC) in Ljubljana, where she breathed the centre's mission and implementation into the newly established MGLC Švicarija Residency Centre with its outreach programme. Her inaugural project Švicarija: Community, Art and Nature received the Živa Award for the Attention to Visitors and Openness by the Forum of Slavic Cultures in 2019.
In addition to her Bachelor of Arts in International Cultural Cooperation and Management, Yasmín Martín Vodopivec also holds a Master of Arts in Management of Cultural Institutions as well as a Master of Education in Museums: Heritage, Identity and Culture Mediation with a specialisation in museum programmes for people with dementia and their carers. Along with her contributions to various publications, she is the series editor of Art in The Park Tivoli.
Photo: Natural Faith. My Lifeline workshop, Barbara Bulatovič. Photo by Gregor Gobec