• 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).

    Performing Words, Uttering Performance
  • 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.

  • 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.

    The Body as an Indexical Reader
  • 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).

    Performing Words, Uttering Performance
  • 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). Since several years, she is part of a production e.V..

    The Suspension and Excess of Time
  • 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.

    We Are Family
  • 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).

    The Suspension and Excess of Time
  • 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.

  • 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.

    Performing Words, Uttering Performance
  • Markéta Jonášová

    Markéta Jonášová (1991) is a curator and researcher based in Prague, Czech Republic. She graduated from the University of the Arts, London (MRes: Exhibition Studies) and Maastricht University (MA: Arts and Heritage). She holds a curatorial position at the National Film Archive and etc. gallery in Prague, where she engages with both historical and contemporary forms of audiovisual art. As an independent curator, she has participated in a number of contemporary art projects in the Czech Republic and abroad. Her research is anchored in the field of exhibition histories and post-critical museology, investigating relations between national politics, moving image, and exhibition-making.

    Imagined Community VIII: My Significant Others
  • 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.

    Cosmos Cosmetics: Unresting Memoryscapes and Corpofictions
  • Nadja Quante

    Nadja Quante has been the artistic director and curator of the Künstlerhaus Bremen since 2018. She has been responsible for solo exhibitions by Dafna Maimon (2019), Nona Inescu (2019) and Jef Geys (curated by Gloria Hasnay and Moritz Nebenführ in cooperation with Nadja Quante), among others. From 2008 to 2015, she was project manager and curatorial assistant, as well as interim managing director (2013–14) at the Badischer Kunstverein in Karlsruhe, where she curated exhibitions with Pauline Boudry/Renate Lorenz (2013, co-curated with Anja Casser) and Michaela Melián (2014), as well as others. From 2016 to 2017, Quante was an editor for the project Untie to Tie – Colonial Legacies and Contemporary Societies at ifa-Gallery, Berlin and worked on the archive of the Kunstraum at Leuphana University Lüneburg, where she taught. She also worked as a freelance curator and author in Berlin.

  • 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.

    The Body as an Indexical Reader
  • 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)).

    We Are Family
  • 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.

    Cosmos Cosmetics: Unresting Memoryscapes and Corpofictions
  • 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).

    Cosmos Cosmetics: Unresting Memoryscapes and Corpofictions
  • Tatiana Bogacheva

    Tatiana Bogacheva is a researcher with an interdisciplinary background and cultural worker living in Berlin. She studied law, worked in human rights and humanitarian organisations until she developed an interest in postcolonial criticism and entered a graduate program at Potsdam University (Germany) in 2014. She collaborated on a Post-Postsoviet project of School of Engaged Art including exhibitions and publications reflecting similarities between post-soviet and post-colonial positions in the context of global art. From 2019–2021, she was engaged in a research project by the Getty Foundation Connecting Art Histories. Being a first-generation immigrant, she is interested in historical socialist internationalism. Accordingly, she is developing a doctorate project which will focus on the archives of Film University Babelsberg as an example of the related archival politics in Germany.

  • 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.

    Performing Words, Uttering Performance
  • Ulrike Gerhardt

    Ulrike Gerhardt is the artistic (co-)director of D’EST since its founding in 2016, nowadays leading the platform together with Suza Husse. As a cultural studies scholar and curator, she has been researching cultural memory concerning the reverberations of the post-socialist transformation. For her PhD, she analyzed the ways in which video works by female artists and collectives of the “generation transformation” deal with the experiences of Perestroika, migration, globalization, ecosystems of damage and indexical landscapes after 1989 / 1991. Currently she works as a postdoctoral researcher for the SNSF-project Artistic Strategies to Re-View History since the 1990s (short title: Images of History in Contemporary Art), an art historical research project exploring counter-historical imaginaries since the end of the Cold War.

    Imagined Community VIII: My Significant Others
  • 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.

    D’EST Prolog: O’ Mystical East and West


  • Alla Mitrofanova

    Alla Mitrofanova is a critic and philosopher working with media art, new ontologies, and feminist philosophy. She was active in the 90s cyberfeminist movement: a co-founder of the Cyberfemin Club in St. Petersburg (1994) and a member of Cyberfeminist International. He writes and lectures on contemporary philosophy, the theory of feminism, science, art, and performance. They live and work in St. Petersburg.

  • Daria Iuriichuk

    Daria Iuriichuk is a dance artist and a researcher of body politics, media, and visual culture based in Moscow. As an artist, she practices dance to investigate intersections of affect, perception, gender, and labor. Since 2017 she worked as part of zhvyu, a collaboration of movement researchers. Since 2019 she works for politically and socially engaged documentary theater projects with a focus on collaborative work. She has a BA in art history (Moscow State University) and an MA degree in cultural studies (Higher School of Economics, Moscow), where she works as visiting tutor. Besides researching, creating and performing, her practice also includes writing and lecturing.
  • Ilmira Bolotyan

    Ilmira Bolotyan, born in Chuvashia, is an artist and curator with a PhD in philology. She was a co-founder of the artist-run space Centre Red. Her paintings and graphic works explore figurative anthropomorphic imagery, as well as studies of the representation of gender and ‘femininity’ in contemporary visual culture. In her participatory projects, she creates different social situations. In 2018 she was nominated for the Sergey Kuryokhin Contemporary Art Award in the category ‘The Best Visual Art Project.’
  • Irina Gheorghe

    Irina Gheorghe is an artist. She works primarily with performance, in combination with installation, drawing, photography or video, to address the tensions inherent in the attempts to speak about things beyond our possibilities of observation, from extraterrestrial life to hypothetical planets. Since 2009, Irina has also worked with Alina Popa as part of the artist duo The Bureau of Melodramatic Research (BMR) to investigate how passions shape contemporary society. Since January 2019 she is also part of the Psychedelic Choir. She studied Painting and Photography at the National University of Arts Bucharest and has recently completed a PhD in Artistic Practice at GradCAM, TU Dublin.
  • Karol Radziszewski

    Karol Radziszewski is a multi-disciplinary artist based in Warsaw. His archive-based methodology intersects multiple cultural, historical, religious, social, and gender references. Since 2005 he is publisher and editor-in-chief of DIK Fagazine. Founder of the Queer Archives Institute. His work has been presented in institutions such as the Museum of Modern Art, Warsaw; Whitechapel Gallery, London; Kunsthalle Wien, Vienna; New Museum, New York; Videobrasil, Sao Paulo; Cobra Museum, Amsterdam; Wroclaw Contemporary Museum; Muzeum Sztuki in Lodz. He has participated in several international biennales including PERFORMA 13, New York; 7th Göteborg Biennial; 4th Prague Biennial.
  • Margaret Tali

    Margaret Tali is a cultural theorist, art historian and occasional curator. Originally from Estonia, she now calls Rotterdam her home. She has taught art history and theory in arts academies and universities in both countries, and is currently affiliated with Amsterdam School of Cultural Analysis (ASCA), where she has also completed her doctoral studies. She is the author of Absence and Difficult Knowledge in Contemporary Art Museums (Routledge, 2018) and editor of Archives and Disobedience. Changing Tactics of Visual Culture in Eastern Europe (2016, with Tanel Rander).
  • Mihaela Drăgan

    Mihaela Drăgan, born in 1986, is an actress and playwright who lives and works in Bucharest and Berlin. In 2014, together with other Roma actresses, she founded Giuvlipen Theater Company, for which she is an actress and playwright, a “revolutionary theater” according to Reuters. Giuvlipen’s performances have a feminist agenda and bring to life the issues of early marriage, anti-gypsyism hate speech, hyper-sexualization, eviction, and heteronormativity in order to promote discussion and critical thinking. She is currently working in Berlin at Maxim Gorki Theater. She also works as a trainer for Theater of the Oppressed where she works with Roma women on their specific issues. She is one of the six finalists for the 2017 Gilder/Coigney International Theater Award, New York.
  • Zofia nierodzińska

    Zofia nierodzińska is an artist, activist, and curator. Since May 2017 she has worked as Deputy Director at the Arsenal Municipal Gallery in Poznan. She graduated from the University of Arts in Berlin (M.A. in 2016) and the University of Arts in Poznan (2017 Ph.D) with a thesis about women at academies entitled “Where is the Academy? Critical Institution and Science Fiction, towards The Virtual Feminist University”. She is a member of Ciocia Basia collective.