Marko Stamenkovic was born in 1977. He is a freelance curator based in Belgrade and a member of IKT – International Association of Curators of Contemporary Art (Luxembourg). He holds his BA in Art History at the University of Belgrade (BA Thesis: “Gaze Theory and Reading Visual Images”, 2003), and MA in Cultural Policy and Cultural Management at the University of Arts in Belgrade (MA Thesis: “Status of Curatorial Practices in Postsocialist Conditions”, 2005). Among his projects and exhibitions curated in Serbia and abroad the most recent are: After a Few Days in Our New Cave (We Found the Perfect Spot), Savremena Galerija, Zrenjanin (2011), Withdrawal Syndrome, Galerija savremene likovne umetnosti, Nis (2011), Josef Nadj – The Spirit of Nature, 14th Biennial of Contemporary Art, Pancevo (2010), Hamam, Old Turkish Bath, Vranje (2010), Zirkus Grau: Préparations pour un miracle, Karlin Studios, Prague (2010), One Little Indian and Then There Were None, La Générale, Paris (2010), and Splav Meduze, Center for Contemporary Art, Celje (2009). He has participated in numerous international curatorial programs and has been lecturing in European Union, Western Balkans, South Caucasus, Northern Africa, and Latin America. His writings on contemporary art have been published internationally. His current interest is centred on the transformation of suicide from an ultimate modernist paradigm to a new, trans-cultural media paradigm of radical withdrawal.
Jasmina Tumbas’s 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, feminist art, 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. She has published her research on Hungarian post-1945 art in ArtMargins in fall 2012 and in Sztuka i Dokumentacja (Art and Documentation) in spring 2014, work that highlights alternative forms of connectivity through the organization of experimental art spaces and archives, and through the clandestine circulation of mail art in socialist Hungary. Her research on experimental Yugoslav art will be featured in Performing Arts in the Second Public Sphere (2016). Tumbas’ second book project engages with the question of ethnic Roma in East and Central Europe, the largest and most discriminated minority in Europe predominately left out of histories about avant-garde art in the region. Tumbas also works with artists and activists as a translator and editor, such as Austrian Roma, artist, and activist Marika Schmiedt’s books, What remains. Fragments of a continuous past (2014) and “Thoughts Are Free” Anxiety is Reality for Roma in Europe (2013). In addition, Tumbas has served as a freelance assistant editor and translator for the activist art and publishing collective ArtLeaks.
Natalija Paunić is a curator based in Belgrade. Through her practice, she aims to engage immediate experience, contemporary culture and personal memory as the most intimate tools of perception. Her most recent research is on luxury and privilege as controversial, yet fundamental parts of art, placing exhibitions alongside leisure, service and commodity production, looking at wellness and beauty treatments, recreational sports, tourism and dark tourism, fashion, etc.