Zdenka Badovinac is Director of Moderna galerija / the Museum of Modern Art, Ljubljana since 1993. She has curated numerous exhibitions presenting both Slovenian and international artists. She initiated the first collection of Eastern European art, Moderna galerija’s 2000+ Arteast Collection. She has been systematically dealing with the processes of redefining history and with the questions of different avant-garde traditions of contemporary art, first with the exhibition Body and the East – From the 1960s to the Present, staged in 1998 at Moderna galerija, Ljubljana, and travelling to Exit Art, New York in 2001. She continued in 2000 with the first public displaying of the 2000+ Arteast Collection: 2000+ Arteast Collection: The Art of Eastern Europe in Dialogue with the West at Moderna galerija, (2000); and then with a series of Arteast Exhibitions, mostly at Moderna galerija: Form-Specific (2003); 7 Sins: Ljubljana-Moscow (2004; co-curated with Victor Misiano and Igor Zabel); Interrupted Histories (2006); Arteast Collection 2000+23 (2006); The Schengen Women (2008), Galerija Škuc, Ljubljana, part of the Hosting Moderna galerija! Project; Old Masters (2008), Zavod P.A.R.A.S.I.T.E., Center in galerijaP74, Ljubljana, part of the Hosting Moderna galerija! Project; Museum of Parallel Naratives/In the Framework of L’Internationale, MACBA, Barcelona (2011); 1:1 STOPOVER, Museum of Contemporary Art Metelkova (+MSUM), Ljubljana (2013), NSK From Kapital to Capital. Neue Slowenische Kunst – An Event Of The Final Decade Of Yugoslavia, Moderna galerija, Ljubljana (2015). Her other major projects include unlimited.nl-3, DeAppel, Amsterdam (2000); (un)gemalt, Sammlung Essl, Kunst der Gegenwart, Klosterneuburg/Vienna (2002); ev+a 2004, Imagine Limerick, Open&Invited, different exhibition venues, Limerick (2004); Democracies/the Tirana Biennale, Tirana (2005). Badovinac has been Slovenian Commissioner at the Venice Biennale (1993–1997, 2005) and Austrian Commissioner at the Sao Paulo Biennial (2002). Together with 6 other European museums, she established the L’Internationale confederation. Badovinac is Honorary Member of CIMAM, of which she has been President from 2010 to 2013.
Charles Esche is a curator and writer living in Edinburgh, Scotland and Eindhoven, Netherlands. He is director of the Van Abbemuseum, Eindhoven; professor of contemporary art and curating at Central Saint Martins, University of the Arts, London and co-director of Afterall Journal and Books. He will co-curate a major Indonesian art exhibition in Bozar, Brussels in 2017. In 2016, he curated Le Musée Égaré for Printemps de Septembre, Toulouse. In 2015 he curated the Jakarta Biennale with 6 Indonesian colleagues and in 2014, he was curator of the 31st Sao Paulo Biennial with a team of seven. In addition, he has (co-) curated a number of major international exhibitions including U3 Triennale, Ljubljana (2011); Riwaq Biennale, Ramallah with Reem Fadda (2007 & 2009); Istanbul Biennale with Vasif Kortun (2005); Gwangju Biennale with Hou Hanru (2002); Amateur, Gothenburg with Mark Kremer and Adam Szymczyk (2000). He teaches on the Exhibition Studies MRes course at Central Saint Martins, at Jan van Eyck Academie. Maastricht and at the Dutch Art Institute, Arnhem. From 2000-2004 he was director of Rooseum, Malmö, Sweden and before that worked at Protoacademy, Edinburgh and Tramway, Glasgow, Scotland. He is a board member of Sonsbeek International and chair of CASCO, Utrecht, NL. In 2012 he was awarded the Princess Margriet Award for Cultural Change by the European Cultural Foundation; in 2013 the Minimum Prize by the Pistoletto Foundation and in 2014 the Audrey Irmas CCS Bard College Prize for Curatorial Excellence.
Öğüt, born in 1981 in Diyarbakır (Turkey), is an artist who lives and works in Berlin and Amsterdam. Working across a variety of media, Öğüt’s had institutional solo exhibitions around the world including ALT Art Space, Istanbul (2016); Van Abbemuseum, Eindhoven (2015); Chisenhale Gallery, London (2015); Künstlerhaus Stuttgart (2012); The MATRIX Program at the UC Berkeley Art Museum (2010); Künstlerhaus Bremen (2009); and Kunsthalle Basel (2008). He has also participated in numerous group exhibitions, including 11th Gwangju Biennale (2016), Okayama Art Summit (2016), the British Art Show 8 (2015-2017); Museum On/OFF, Centre Pompidou, Paris, FR (2016), the 13th Biennale de Lyon (2015); 8th Shenzhen Sculpture Biennale (2014); Performa 13, the Fifth Biennial of Visual Art Performance, New York (2013); the 7th Liverpool Biennial (2012); the 12th Istanbul Biennial (2011); the New Museum Triennial, New York (2009); and the 5th Berlin Biennial for Contemporary Art (2008). Ögüt has completed several residency programs, including programs at the Delfina Foundation and Tate Modern (2012); IASPIS, Sweden (2011); and Rijksakademie van Beeldende Kunsten, Amsterdam (2007-2008). He has taught at the Dutch Art Institute, Netherlands (2012); the Finnish Academy of Fine Arts, Finland (2011-ongoing); and Yildiz Teknik University, Turkey (2004-2006), among others. Öğüt was awarded the Visible Award for the Silent University (2013); the special prize of the Future Generation Art Prize, Pinchuk Art Centre, Ukraine (2012); the De Volkskrant Beeldende Kunst Prijs 2011, Netherlands; and the Kunstpreis Europas Zukunft, Museum of Contemporary Art, Germany (2010). He co-represented Turkey at the 53rd Venice Biennale (2009). He is currently working on a duo exhibition with Goshka Macuga at Witte de With Center for Contemporary Art and his upcoming solo shows at KOW gallery in Berlin and Kunsthalle Charlottenburg in Copenhagen (2017).
Mara Ambrožič is an expert of strategies of cooperation, curator, and cultural critic. She holds a MA in Visual Studies and Programming from IUAV University of Architecture of Venice, where she studied and worked with Giorgio Agamben, Angela Vettese, and Franco Berardi Bifo. She currently holds a PhD research position on international cooperation, research curating and new institutional policies at the LJMU University of Liverpool, as part of the UK Excellence Assessment plan, in conjunction with ERL, the first Exhibition Research Centre in the UK. She joined the NSK in 2015 as Director of the NSK State Pavilion, taking a leading role in developing the project strategy and its implementation. She has participated in the development of over fifteen international organisations, museum spaces, academic platforms and networks, including two five-year public Atelier Programmes (Fondazione Bevilacqua La Masa of Venice and Art Enclosures, Fondazione di Venezia); RAW Material Company in Dakar (2015); EARN and SHARE Educational European networks (2007-2012), as well as working as a consultant for the Ministère de la Communication de Paris. Ambrožič has lectured on art theory and the culture industry as fellow professor alongside Marta Kuzma at the Faculty of Arts and Design of IUAV, Venice (2007-2012), and served as visiting lecturer at the Sciences Po University in Paris (2013). She has published texts and edited books in several languages, including collaborations, among others, with Sternberg Press (Art as a Thinking Process, 2013), Archive Books (G. Andreotta Calò, 2015), Marsilio Editore (Art Enclosures, 2013), Kerber Press and the Smithsonian Institute of Washington (Divine Comedy, 2015). She has acted as a curator for various projects, such as Slovene Pavilion: Tobias Putrih, 52nd Venice Biennale in 2007 (co-curated with Francesco Manacorda), States of Opacity: 12th Edition of the Dakar Biennale in 2015 (forum co-curated with Elvira D. Ose), and as a researcher in charge of the reconstruction of the ‘Section des Figures’ as part of the retrospective exhibition on Marcel Broodthaers (Monnaie de Paris, 2015). In 2016 she initiated the model Libraries of the Future at the Centre Pompidou (Paris), with the aim of mapping new industrial claims on science and culture.
Dr. Jela Krečič was born in Ljubljana, Slovenia, in 1979. She graduated at the Faculty for Social Sciences, University of Ljubljana, with a thesis dealing with Slovene avant-garde manifestos. In 2008 she obtained a PhD at the Department of Philosophy, University of Ljubljana, with her research project Philosophy, Fantasy, Film. In her theoretical work she deals with philosophy of art, contemporary art, and film theory. In Ljubljana she has co-organized international conferences on contemporary TV series and on Ernst Lubitsch (which has been translated also into English and German), and she has also co-edited books with the acts of the conferences. She has published several texts in academic journals, such as Lubitsch kann nicht warten in “Neue Rundschau” and Superheroes: The Making and Unmaking of a Genre in a Stupid Culture in Slovene sociological journal “Teorija in praksa”. She was a contributing author for the volume NSK from Kapital to capital: Neue Slowenische Kunst: an event of the final decade of Yugoslavia (MIT Press) with a paper on NSK Manifestos and Programs. Krečič has also contributed to the volume NAME Readymade, with her text Janez Janša as media phenomenon. In 2012 she held a lecture titled Scipion Nasice Sisters Theatre: The Theatre of the Living Concept during the international symposium “Neue Slowenische Kunst: A Historical Perspective”, which took place at the Tate Modern (London). Jela Krečič is employed for more than a decade as a journalist at the main Slovene daily newspaper Delo where she covers cultural topics (film, TV, theatre, contemporary art critique, plus reviews and essays on philosophical texts). She also published several interviews with important thinkers (Alain Badiou, Ernesto Laclau, Jacques Ranciere, Robert Phaller, etc.) and public figures like Julian Assange. Last year her first novel None Like Her was published English.
Slavoj Žižek was born in 1949 in Ljubljana, Slovenia. He grew up in the comparative cultural freedom of the former Yugoslavia’s self-managing socialism. Here – significantly fact for his work – Žižek was exposed to the films, popular culture and theory of the noncommunist West. Žižek completed his PhD at Ljubljana in 1981 on German Idealism, and between 1981 and 1985 studied in Paris under Jacques-Alain Miller, Lacan’s son-in-law. In this period, Žižek wrote a second dissertation, a Lacanian reading of Hegel, Marx and Kripke. In the late 1980s, Žižek returned to Slovenia where he wrote newspaper columns for the Slovenian weekly “Mladina.” In 1990, he ran for a seat on the four-member collective Slovenian presidency, narrowly missing office. Žižek’s first published book in English, The Sublime Object of Ideology, appeared in 1989. Since then, Žižek has published over a dozen books, edited several collections, published numerous philosophical and political articles, and maintained a tireless speaking schedule. His earlier works are of the type “Introductions to Lacan through popular culture / Hitchcock / Hollywood …” Since at least 1997, however, Žižek’s work has taken on an increasingly engaged political tenor, culminating in books on September 11, the 2008 financial crash and the refugee crisis. As well as being visiting professor at the Department of Psychoanalysis, Université Paris VIII in 1982-3 and 1985-6, Žižek has lectured at the Cardozo Law School, Columbia, Princeton, the New School for Social Research, the University of Michigan, Ann Arbor, and Georgetown. In his work he also deals with the critical diagnostics of contemporary capitalism and of the twists and turns of today’s ideology. Žižek works as a Researcher at the Birkbeck College, University of London; he is also Visiting Professor at NYU, New York City, and at Kyung Hee University, Seoul. Among his latest publications: Disparities (London, 2016), Antigone (London, 2016), The Courage of Hopelessness (London, 2017).