• TOK (The Creative Association of Curators)

    TOK (The Creative Association of Curators) is a female curatorial duo from St. Petersburg founded by Anna Bitkina and Maria Veits in 2010 as a platform for conducting interdisciplinary projects in the fields of contemporary art and social sciences. TOK’s research-based art and educational projects have a strong social component and deal with current issues that are widely discussed both in Russia and internationally, such as public space and citizens, the development of education, the deprivation of social resources, collective memory, the growing role of the media in global society, changing political climates, migration policies among many others.

  • Suzana Milevska

    Suzana Milevska is a curator and visual culture theorist from Macedonia, currently Principal Investigator at the Politecnico di Milano (Horizon 2020). She was the Endowed Professor for Central and South European Art Histories, Academy of Fine Arts Vienna. She holds a PhD in Visual Cultures from Goldsmith’s College and was Fulbright Research Scholar. Her interests include postcolonial critique of the hegemonic regimes of representation, gender theory and feminism, and participatory art. In The Renaming Machine (2008–2011) she addressed the politics of overwriting histories and memories through renaming in arts and culture. In 2012 she won the Igor Zabel Award for Culture and Theory (2012).

  • Nataša Ilić

    Nataša Ilić is a curator, critic, and member of the curatorial collective What, How & for Whom / WHW, formed in Zagreb in 1999. Since 2003 WHW has been directing the program of the city-owned Gallery Nova in Zagreb. Nataša Ilić has worked internationally in various contemporary art contexts. With WHW, she curated the 11th Istanbul Biennial in 2009 and the Croatian Pavilion for the Venice Biennial in 2010. Among others, the curatorial collective’s international shows include Collective Creativity (2005), Really Useful Knowledge (2014), Meeting Points 7: Ten thousand wiles and a hundred thousand tricks (2013–2014), My Sweet Little Lamb (Everything we see could also be otherwise (2016–2017)).

  • Naomi Hennig

    Naomi Hennig lives in Berlin, where she works as researcher, artist, curator, editor, and project coordinator. She graduated from ECA Edinburgh and UdK Berlin and has since been involved in a number of artist-run initiatives. She collaborated in curatorial projects including an exhibition on the Artist Placement Group (APG) with Ulrike Jordan, presented at Kunstraum Kreuzberg / Bethanien, Berlin, and Summerhall, Edinburgh (2015/16). She co-curated the research and exhibition project Spaceship Yugoslavia at nGbK Berlin in 2012. Between 2013 and 2015, she organized the exhibition program at Galerie im Turm.
    Her artistic and curatorial research revolves around the memorialization of political micro-histories, as well as the relationships of place, history, ecology, and economy.

  • Miona Bogović

    Miona Bogović is a film director who works between Berlin and Belgrade. She holds a diploma in filmmaking from the German Film and TV Academy (dffb) and moves professionally between film industry productions and collaborations with visual artists. She is currently preparing her next film Der Andere Zenit / Drugačiji Zenit as part of an artist-in-residence program Pixel, Bites and Films in Vienna – supported by ORF III, arte creative, and the goEast Film Festival in Wiesbaden.

  • Katja Kobolt

    Katja Kobolt (PhD) works on junctures of art, writing, and teaching. Katja worked for almost a decade with the City of Women Festival Ljubljana (2000-8). Katja co-founded the feminist curatorial platform Red Mined (Living Archive, 2011-15; 54. October Salon Belgrade, Endless Red Mined Symposium 2017–present). She has curated, initiated, or produced art and discursive events all over Europe. Currently she is working with a Munich collaborative art space Lothringer13 Florida and no stop non stop, a forum on post-migratory society. Katja teaches and writes on art, life, and feminism and holds a PhD on the topic of feminist canonization.

  • Kathrin Becker

    Kathrin Becker studied art history and slavic literatures at Bochum University and Leningrad State University. She is a curator and writer and head of the Video-Forum at Neuer Berliner Kunstverein (n.b.k.). Her curatorial practice focuses on the social role of art in society and on the complex of exclusion / inclusion in contemporary cultures. Her latest projects include: Claire Fontaine (n.b.k., 2017); Bani Abidi (n.b.k., 2017); Halil Altındere. Space Refugee (n.b.k., 2016); Elizabeth Price (n.b.k., 2016); Rosa Barba (n.b.k., 2016); A Sense of History (with Marius Babias, Nordstern Video Art Center, Gelsenkirchen, 2016).

  • Jelena Vesić

    Jelena Vesić is an independent curator, writer, editor, and lecturer. She has published numerous essays exploring the relations between art and ideology. Her most recent exhibition is Story on Copy at the Akademie Schloss Solitude, Stuttgart. She also curated Lecture Performance (MoCA, Belgrade, and the Kölnischer Kunstverein) as well as the collective exhibition project Political Practices of (post-) Yugoslav Art, which critically examined art historical concepts and narratives on Yugoslav art after the dissolution of Yugoslavia. Her recent book, On Neutrality (with Vladimir Jeric Vlidi and Rachel O’Reilly) is part of the Non-Aligned Modernity edition of the Museum of Contemporary Art, Belgrade.

  • Jana Seehusen

    Jana Seehusen’s practice as an artist and writer focuses on modes of language and action in relation to concepts of in-betweenness, otherness, and transitionings. Her work in the field of art theory, aesthetic theory in film, and cultural studies relates to questions on in/visibility, subject and gender theory, and identity politics. Her most recent publications are: “Performing Documentary. Birgit Kohler im Gespräch mit Jana Seehusen” (2014), “Echo: Lauter widerständige Entwürfe. Künstlerische Praktiken von Korrespondenz und Transfer” (2015), “How to perform entangled memories: Vom Sehen im Nichtsehen” (2016). Visualität und Abstraktion. Eine Aktualisierung des Figur-Grund-Verhältnisses, with Hanne Loreck (ed.) (2017).

  • Inga Lāce

    Inga Lāce lives in Riga and is a curator at the Latvian Centre for Contemporary Art. She has been a curatorial fellow at de Appel arts center, Amsterdam (2015–2016), working on the research and events program Instituting Ecologies (2016). In Amsterdam she also co-curated the exhibition It Won’t Be Long Now, Comrades! at Framer Framed (2017). Lāce has been curator of the 7th, 8th and 9th edition of the contemporary art festival SURVIVAL KIT (2015–2017) and is currently working on a research project Portable Landscapes tracing and contextualizing Latvian artists’ emigration and exile stories throughout 20th century (at Villa Vassilieff, Paris, and the Latvian National Museum of Art, 2018).

  • Eva Birkenstock

    After studying in Cologne, Berlin, and Havana, Eva Birkenstock has worked in various positions at the Kunstverein in Hamburg; the Halle für Kunst, Lüneburg; and Ludlow38, New York. From 2010–2016, she was curator of the KUB Arena, the KUB Billboards, and the KUB Projects at Kunsthaus Bregenz, where she edited the publications On Performance (with Joerg Franzbecker), Beginning Good. All Good (with Kerstin Stakemeier, Nina Köller), Art and Ideology After 1989 (with Max Jorge Hinderer Cruz, Jens Kastner, Ruth Sonderegger), and KAYA. Currently she is the director of the Kunstverein Düsseldorf, curator of the Performance Project of LISTE Art Fair Basel and one of the five initiators of the ongoing magazine, exhibition, and debate project Class Languages.

  • Bettina Knaup

    Bettina Knaup works internationally as a curator with a focus on performance and gender. She was program coordinator of the International Women’s University, Hannover, co-curator of the City of Women Festival, Ljubljana, and contributed to the In Transit Festival at the House of World Cultures Berlin. Recent projects include the festivals performing proximities (Brussels) and performance platform. body affects (with S. Bake, Berlin) as well as the long term exhibition and archive project re.act.feminism #2 – a performing archive (with B. E. Stammer, Berlin, Tallinn, Gdansk, Barcelona a.o.). She is an international lecturer; since 2015, she has been a PhD research fellow at the Department of Drama, Theatre and Performance, Roehampton University, London.

  • Anna Bitkina

    In her curatorial practice, Anna Bitkina focuses on socio-political processes that occurred in Russia and the post-Soviet territories after the collapse of the Soviet Union. Her research looks at the local and global implications caused by the acceleration of capitalism in the region. Anna also explores the changing role of cultural workers, the possibilities of creative practices, and the agency of artists in different social spheres. In different years, she has contributed to 3rd Moscow Biennale of Contemporary Art (2009), 2nd Moscow International Biennale for Young Art (2010), 10th Manifesta Biennale (2014). She curated Nordic Art Today: Conceptual Debts, Broken Dreams, New Horizons (2011), United States of Europe (2011-2013) as well as the on-going public art project Critical Mass (2009-2017). Together with Maria Veits among others, she co-curated Propaganda News Machine: Creating Multiple Realities in the Media, and States of Control (2016-2017).

  • Maria Veits

    Maria Veits is based in St. Petersburg and Tel Aviv, and her current interests include migration experiences and strategies of different generations and their reflection in different artistic practices (“Dreamland Never Found”, 3rd Jerusalem Biennial, 2017, TOK’s new project “Russian Bar”). She is also interested in activist practices of young artists that belong to the last soviet generation and the ways they use public space for engaging socio-political discussion (Civic Media Lab, 2016 and 2017, Dnipro, Ukraine). In 2014, Maria curated “Mobile Archive,” a collection of video works traveling across Russia from the Israeli Center for Digital Art – one of the projects that inspired D’EST.

  • Ulrike Gerhardt

    Ulrike Gerhardt is the artistic director of D’EST. As a cultural studies scholar and curator, she is currently researching cultural memory concerning post-socialist transformation within the framework of her PhD project Language, Body, Indices. Cultural Memory on the Transformation in Post-Socialist Video Art. For this, she is analyzing the ways in which video works by female artists and collectives deal with language, corporeality, and cultural indices. In 2017 she co-organized the public seminar Female Identities in the Post-Utopian. Perspectives on Post-Socialism from Art and Theory (with Prof. Lene Markusen) as well as the international conference (Hi)Stories in Art after the End of the Cold War (with Prof. Dr. Melanie Franke).

  • Xandra Popescu

    Xandra Popescu is the curator and producer of the screening chapter and initial website D’EST Prologue: O’ Mystical East and West (2016). She works as a writer, filmmaker, and curator in Berlin and Bucharest. From 2012 to 2016, together with Larisa Crunțeanu she led Atelier 35, one of the most active project spaces in Bucharest. She has a background in political science and philosophy and studied dramatic writing at the National Film and Theater University in Bucharest. Popescu has written for cinema and works as a filmmaker at the intersection of the narrative and the visual. Currently she is in the process of setting up Eroika, a production framework for female artists and directors from the former East.

  • Suza Husse

    Suza Husse is interested in queer, feminist, and decolonial approaches to bodies, socialities, ecologies, and histories. Since 2012, she has been working as the artistic director of the interdisciplinary art space District Berlin with an emphasis on artistic research, collaborative practices, public space, critical education, and political imagination. In 2016 she co-founded the experimental publishing collective The Many Headed Hydra with artist Emma Haugh. She is currently a guest professor at the University of Arts Berlin where she initiated Sister Stones and Blocks of Anger. Queer Petrographies – a collective artistic inquiry into diasporic rocks in Berlin.