Call for Papers: Not Yet Written Stories. Women Artists in Central and Eastern Europe (CEE)
Call for Papers: Not Yet Written Stories. Women Artists in Central and Eastern Europe (CEE)
Arton Foundation (Warsaw), Latvian Centre for Contemporary Arts (Riga), SCCA-Ljubljana, Center for Contemporary Arts (Ljubljana), Office for Photography (Zagreb) invite for the conference Not Yet Written Stories. Women Artists in Central and Eastern Europe (CEE) will be held in Warsaw in the first week of September 2021. The conference will take place at the Academy of Fine Arts or and depending on the situation with Covid-19 will be organized also in a hybrid format offering online participation. Participants: early career humanities scholars, curators and artists are welcome to apply. Focus: visual arts before 1989 in relation to woman artist experiences and histories in Central and Eastern Europe.
The scholarly “sin of omission” and the exclusion of work by women from the canon of art history have resulted in the erasure of the achievements of numerous artists. Such omissions have been widespread, occurring regardless of socio-political situation. However, women artists as well as art historians, critics, curators, gallerists in culturally and economically “peripheral” countries, such as those formerly behind the Iron Curtain and former Yugoslavia, have been at risk of double exclusion on the grounds of both geography and gender. While rebuilding new states and socialistic societies after WW2., women built themselves up not only politically and culturally, but artistically as well. But instead of anticipated advancement of women in various fields, society continued to support the domination of the traditional patriarchal view. To counteract that situation and with the wish to raise bigger awareness of these issues as well as proposing new ways of history reading Arton Foundation (Warsaw), Latvian Centre for Contemporary Arts (Riga), – SCCA-Ljubljana, Center for Contemporary Arts (Ljubljana), and Office for Photography (Zagreb) in 2019 collectively started the project “Not Yet Written Stories: Women Artists Archives On-line”. The project studies the heritage of women artists in Poland, Latvia, Croatia and Slovenia with the aim to recuperate the lost or omitted histories of women artists and broaden our understanding of recent past. The project maps not only regional contexts and collaborations, but also aims to reconsider common points of history writing processes investigating gender in social, political, cultural, and artistic context within Central and Eastern Europe.
Taking the project initiative and research already completed as the starting point, partners are organizing a conference Not Yet Written Stories. Women Artists in Central and Eastern Europe (CEE)
Throughout the regions we are facing erasure of women from the art scene, followed by the notion that behind the Iron Curtain they are less recognised due to the low awareness of women artists while the “second wave” of feminism and the reception of feminist theories and practices in general are still unexplored in the context of art and potential connections between women artists and feminists. Women artists were culturally and economically peripheral, outside the mainstream of the art world, and at risk of double exclusion, due to issues of both geography and gender.
By this conference we want to recognize this situation, and educate a new generation of researchers, art historians and cultural experts who are aware of this state of affairs and have the knowledge and tools to bring some positive changes.
The conference aims to provide a space for researchers, scholars and artists to network on some topics of mutual interest, and through the event discuss the suggested topics, among others:
- How do we locate and treat “lost” women artists? What social and historical reasons have shaped domination over women in CEE? How can we define the reasons of women artists’ marginalization?
- How gender roles were conceptualized in Central and Eastern Europe and what discourses related to gender circulated in socialist states? Emancipated during WWII, marginalized in the post-war period: how patriarchal society treated women despite declarative gender equality (proclaimed by state), and how does this situation reflect in art circles? How can we shape the position of women artists in art history while reconsidering socialist unfulfilled equality?
- How did women artists see themselves during the Soviet period or in Yugoslavia? What were the problems they were facing? What was the treatment of women studying at the art academies (huge in numbers, almost invisible outside school)? Have there been local or global formal and informal initiatives / institutions / collectives devoted to women artists in Central and Eastern Europe?
- Women Artists’ practice – documentation and memorialisation of their work. How can we build an alternative future by revisiting the past and reinterpreting archives? What can we learn about current political, social and feminist struggle while rethinking recent past?
- What kind of strategies can we develop to appreciate women artists? Do we need institutions devoted exclusively to women artists? If yes, what kind of?
- How has “socialist solidarity” impacted history writing? How gender relations are imaged and represented in visual arts?
- What was the role of women in the art field in this period – curators, gallerists and art critics alike? Do we remember them in our art histories today or are they too marginalised and/or forgotten?Truth or dare: women art critics promoting women artists?
15. 1. 2021 – proposal submission deadline (in English only, max. 2000 characters, including spaces)
25. 1. 2021 – Notification of acceptance
5. 4. 2021 – delivery of papers with illustrations
6. 5. 2021 – editors comments sending to the authors
5. 6. 2021 – authors sending articles after the initial correction
5. 5. 2021 – 12. 7. 2021 – peer reviews process
12. 7. – 1.9. 2021 sending articles after reviews and preparing shorter versions of the articles as the conference papers
2.-3. 9. 2021 – the conference
December 2021 – launch of the new issue of “Miejsce” magazine
Papers selected for the conference will be published in the new issue of “Miejsce” http://miejsce.asp.waw.pl/en/, the magazine published by the Academy of Fine Arts, Warsaw (printed and online version, journal apply the procedure double blind review). The organizers of the conference will cover travel costs, accomodation and provide fees for the authors of accepted articles. The language of the conference: English.
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Supported by Creative Europe
Co-financed by Polish Ministry of Culture and Heritage
THE EXHHIBITION “I REMEMBER, THERFORE I AM. UNWRITTEN STORIES: WOMEN ARTISTS’S ARCHIVES” IN THE LATVIAN NATIONAL MUSEUM OF ART
From 14 November 2020 to 24 January 2021, the exhibition “I Remember, Therefore I Am. Unwritten Stories: Women Artists’ Archives” organized by the Latvian Center for Contemporary Art will be on display in the 4th floor exhibition halls of the Latvian National Museum of Art. The exhibition will bring to the fore different possibilities of interpreting art history through the experiences of women artists in the context of art, social and political events during the Soviet period.
An opinion that has been already long-established is that in writing world history, within the framework of the dominant patriarchal and hetero-normative social structures women’s experiences have continuously been “omitted”. The current socio-political events on the global stage, especially as revealed by the pandemic, also point out a necessity to change familiar views on world order by shaping a more open, inclusive and equal society. Despite determined attempts to change prevailing views, there has been a continuous need to produce new knowledge that would emphasis the ignored stories. It also raises the question why do we continuously forget and marginalize the achievements of women?
By re-examining events in Latvia and Eastern Europe in the second half of the 20th century, which are marked by the Soviet period and its cultivated illusion of “gender equality”, the exhibition will offer opportunities for interpreting the recent past, by turning against the established hierarchies in shaping historical narratives. The exhibition will expand different artistic practices, facts, memories, human and aesthetic values, which can comment not only on the position and influence of women artists in the social and cultural scene, but can also reveal new stories of our shared history. The core of this exhibition is the artists Rita Einberga (1921–1979), Laima Eglīte (1945), Maija Eliase (1924–1991), Mudīte Gaiševska (1935), Ruta Kreica (1946), Rasa Kalniņa-Grīnberga (1936) and Olga Neimane-Kateņeva (1908–2001). Each of them represents different artistic strategies which are linked to the alternative culture and attempts of diversifying visual language, as well as to the range of creative interests within the official art scene. Whereas considering questions of feminism and gender in present-day context, original works specifically for the exhibition will be created by the artists Anni Puolakka (Finland) and Marta Trektere, Evita Goze, Rasa Jansone, Liliana Piskorska (Poland).
The exhibition project is a collective research initiative which links ten researchers, with the purpose of understanding the ways how and what we can learn if we unite our knowledge, abilities and skills, and thereby bringing to attention questions of solidarity from the historical and today’s perspective. What shared considerations or circumstances can encourage the process of working together? What are the different approaches to knowledge that we can gain about our past in this way?
Latvian Centre for Contemporary Art, curator and producer for art events of international and national scale, is the largest institution of contemporary art in Latvia. Since 1993, LCCA has researched and curated contemporary art processes both in Latvia and internationally to provoke critical reflection on issues topical for contemporary society. The Centre is widely recognized for the largest annual contemporary art event in Latvia – the festival “Survival Kit”, regular exhibitions of contemporary art at the Latvian National Museum of Art, the year of Hardijs Lediņš, as well as Latvia’s representation at the Kochi-Muziris Biennale, Venice Biennale, São Paulo Art Biennial, “Manifesta”, Rauma Biennale of Contemporary Art, etc. LCCA maintains the only archive of contemporary art in Latvia.
The exhibition is organized and produced by Latvian Centre for Contemporary Art (LCCA)
Curator: Andra Silapētere (LCCA)
Research group: Evita Goze, Rasa Jansone, Toms Ķencis, Ieva Laube, Ieva Melgalve, Justīne Savicka, Paula Stutiņa, Terēza Šulca, Iliāna Veinberga
Curator of the education programme: Māra Žeikare (LCCA), Graphic design by: Evija Pintāne, Exhibition design by: Liene Mackus and Artūrs Arnis
Project Coordinators: Adele Bea Cipste, Margarita Ogoļceva (LCCA) and Ieva Kalnača (LNMA)
Head of Communication: Paula Jansone (LCCA), Gunta Turnele (LCCA)
The project is co-funded by the Creative Europe programme of the European Union, the Ministry of Culture of the Republic of Latvia, the State Culture Capital Foundation, FRAME Contemporary Art Finland.
THE EXHIBITION ORGANIZED BY SCCA-LJUBLJANA ‘3 + 3 = 6. THREE WOMEN ARTISTS, THREE PRACTICES, THREE DECADES’
Women artists: Ana Nuša Dragan, Zemira Alajbegović, Ema Kugler Curated by: Barbara Borčić & Peter Cerovšek
Production: SCCA-Ljubljana 2020
Project Room SCCA, Metelkova 6, Ljubljana: due the covid-19 dates will be announced soon
The City Hall Glass Atrium, Mestni trg 1, Ljubljana: due the covid-19 dates will be announced soon
The exhibition will present video works, films, documents and objects by three women artists: Ana Nuša Dragan, Zemira Alajbegović and Ema Kugler who were/are active in the field of action/performance, film and video art in Slovenia. The beginnings of their activities date back to different periods of the 20th century: the 1960s (Dragan), the 1980s (Alajbegović) and the 1990s (Kugler). They have always worked in collaboration with numerous artists and in tune with the challenges of time, either in frame of socialist system or the one of liberal capitalism. The specific conditions of production have thus largely defined their artistic practices, ranging from Conceptual and Alternative to Post-Modern Art.
Ana Nuša Dragan (1943 – 2011) graduated from the Sociology and Psychology departments of the Faculty of Arts in Ljubljana. She specialised in television and video media at the British Film Institute in London in 1972, and received a scholarship from the French government in Paris in 1984. Between 1967 and 1988, she worked in short film and video art together with Srečo Dragan. Since 1988, she had been creating in the domain of video art and TV documentaries on her own. She worked as the Head of the Media Education at the Educational Technology Department in the National Education Institute.
Zemira Alajbegović (1958) graduated from Sociology at the Faculty of Social Sciences in Ljubljana. From 1982 to 1988, she was a member of the FV (112/15), multimedia and theatre group and of FV Disco clubthat worked on the Ljubljana subculture scene and this was where and when she also started to work in video. In the 1980s, she co-founded the video production FV Video and FV Label, the first independent music and video publishing house in Yugoslavia. From 1983 to 1989 was a member of the Borghesia group (multi-media performances, video clips).In collaboration with Neven Korda, she was the author of numerous video films, music videos and dance videos (under the name ZANK). In recent years, she has directed documentaries and TV shows on art and culture. Since 2011, she has been working as a journalist and director in the cultural sector of Radio Television Slovenia.
Ema Kugler (1955) graduated at the Faculty of Economics in Ljubljana. In 1980s, she worked at alternative Radio Student in Ljubljana and collaborated in numerous multimedia projects and alternative fashion shows. Her field of interest covers different media: performance, installation, film, video and theatre costume design. She works as a freelance director, screenwriter, scenographer, costume designer, editor, a multidisciplinary artist with unique artistic expression. She is the author of five full-length films, numerous video and short films, performances, and art installations.
‘MIDTERM’ MEETING OF ‘NOT YET WRITTEN STORIES’ TEAM
Separated but together! Not Yet Written Stories Team and our mid-term-meeting! This time only on-line, not in Warsaw, but still with a good energy and good ideas. Participants of the meeting: Marika Kuźmicz, Paweł Lisiecki and Monika Tramś from Arton Foundation, Barbara Borčić and Peter Cerovšek from Centre for Contemporary Arts SCCA-Ljubljana, Andra Silapētere from LCCA Latvian Centre for Contemporary Art in Riga and Sandra Križić Roban, Lana Lovrenčić and Ena Grabar from Office for Photography, Zagreb.
THE NEW FUNCTIONALITIES OF OUR DATABASE
You can check the new functionalities of our database here: http://www.forgottenheritage.eu and explore on-line the archives of women artists from Croatia, Latvia, Poland and Slovenia. Don’t forget to follow our map, presents the results of our research:
OUR RESEARCH IS IN PROGRESS
Get some more details about our project and participating artists and their works from the article by Karen Chernik for Hyperallergic nad the Radio Kapitał (Warsaw) broadcast with Marika Kuźmicz (available only in Polish).
WORKSHOPS IN THE CENTER FOR CONTEMPORARY ARTS SCCA-LJUBLJANA. VISITING THE STUDIO OF EMA KUGLER
Slovenian artists, Ema Kugler took us through her art projects (performances, multimedia projects and video works) in the authentic environment of their creation. Kugler is an author who cooperate with a large team of collaborators and performers, and over the years, she has made more and more segments of her work herself (stage design, costumes, editing …). We were able to see parts of her scenography, objects, statues and costumes in this large studio in an abandoned hall behind the Railway Museum, where she has been working for ten years and where she has prepared a series of performances. She spoke about her artistic procedures and work process, as well as the conditions for creating and presenting her works. The students were interested in the conceptual framework of her work and the technical production, which is noticeably demanding and time-consuming. Visit at the studio of Ema Kugler was the first part of workshops during the project “Not Yet Written Stories…”
Soft Shooting? INTRODUCING THE HISTORY OF WOMEN’S PHOTOGRAPHY IN CROATIA
In the history of Croatian photography there are still many topics and themes that need exploring, not to mention that the development of the medium itself is still waiting to be properly synthesized. When talking about the photography of post-war Croatia one has to acknowledge that it is severely marked by the limited opportunities for education, the underdeveloped exhibition politics and the almost complete lack of a critics scene. One of the major roles in the development of Croatia’s photography was played by amateur club photography – the so called photo clubs, particularly during the late 40s and the first half of the 50s. One of their most important functions was precisely the education of amateur photographers. It should be noted that the Photo Club Zagreb was one of the strongest in the whole of ex-Yugoslavia and played a vital part in the general technical education of the population, thus setting the foundations for the artistic work of its members. After a brief period of ideological dominance, a new sort of liberation occurred at the beginning of the 50s, allowing amateur club photography to take over. This would prove crucial for the development of women’s photography. While women photographers had worked and participated in club activities throughout the post-war period, their first collective appearance on the center stage did not take place until 1973, when following the initiative of club president Đuro Griesbach the Women’s Section of the Photo Club was founded. Their first exhibition was organised that same year in the Gallery of Artistic Photography (Galerija umjetničke fotografije – GUF), in Zagreb, with more events to follow annually in the Zagreb City Museum on the 8th of March, the traditionally celebrated Women’s Day.
The exhibition ‘Soft’ shoooting? is not, however, meant to be a retrospective of the Women’s Section’s achievements on the national map of photography. Its primary intention is to encourage a discussion about the ways and journeys of women photographers. The first fact that needs to be acknowledged is that when it comes to the territory of ex-Yugoslavia women photographers entered the scene late and not without obstacles. The printed media were key to introducing photography into the various levels of society. While specialised photography magazines were in no short supply, the first of which having been published in Yugoslavia in 1911, most of them were devoted to technical questions – offering advice to amateur photographers and advertising new products. This state of things would continue for quite some time and the idea of women’s photography would not even begin to be considered until after World War II and even then rather sporadically and unsystematically. A handful of women photographers were active within private photography studios. Acting within the confines of a studio was considered appropriate for women, mostly due to the opinion that this type of isolation allowed for a more intense relationship with the subjects and in which women were believed to be more successful than men.
Photography was not only embraced by artists working exclusively in that field, but also by artists who were introduced to it through their education at various art schools and academies both at home and abroad. Nonetheless, it was the photo clubs who truly generated the changes that marked the period between the 1950s and 80s.
With the selection of Slavka Pavić’s, Erika Šmider’s, Danijela Lušin’s, Ivančica Privora-Kurtela’s and Jadranka Fatur’s works we draw attention to the topics they covered, get to know the means through which they acquired their knowledge and get to know the events which at least partially influenced and left their mark on these artist’s works. We will ask ourselves: is there such a thing as a critical depiction of society? What did the others say about women holding cameras? And is there even something that could be described as a “woman’s gaze”? Is the way they took their images truly “soft”, or is there no such thing as gender behind the lens? – these are the questions that the exhibition will address.
15th of June – 4th of September 2020
Curator: Sandra Križić Roban
Assistant: Sara Simić
WORKSHOPS BY LCCA – LATVIAN CENTRE FOR CONTEMPORARY ART
We would love to share with you some news about creative workshops organized by Latvian Center for Contemporary Art LCCA in Riga.Workshops are important part of our project, where the participants can get info about history of women artists, their archives and tips how to redefine the canon of art. You can check the list of workshops below:
Andra Silapētere: Introduction seminar and visit of the Latvian Art Academy archives and artwork collection.
Eva Eglāja Kristsone: Research on Women’s History: A Biographical and Autobiographical Narrative. Theoretical aspects & practical methods and sources. Lecture and workshop.
Jānis Ozoliņš: Various aspects of Crip theory in Robert McRuer writing. Reading workshop.
Iliāna Veinberga: Soviet period literature and interpretations of this material. Lecture and workshop.
Daina Auziņa: Latvian National Museum of Art’s collection making aspects. Visit to the museum.
Jana Kukaine: About Images and Politics. Lecture and workshop.
OUR RESEARCH HAS BEEN STARTED
Despite of difficulties our research is in progress! Works by Iwona Lemke-Konart are already available on-line: http://www.forgottenheritage.eu Meet artists of our project: Iwona Lemke-Konart is multidisciplinary artist, performer, filmmaker and conceptual artist active in the 1970s and 1980s. At that time she was as also an organizer of numerous events (exhibitions at Galeria S, which she operated in Toruń, Poland, lectures and symposia).
STAY TUNED, VISIT OUR SOCIAL MEDIA
Visit our social media and be updated our project: https://www.facebook.com/ForgottenHeritage.eu/ https://www.instagram.com/notyetwrittenstories/?hl=pl and you can also subscribe our newsletter www.fundacjaarton.pl
KICK-OFF MEETING IN WARSAW
After the kick-off meeting in Brussels, we met our partners in Warsaw for the first time during this project. At the meeting, we discussed substantive issues, such as the fields of our research, proposed topics as “open call for papers” for the conference in 2021, as well as the issues of project management strategy and its individual stages, and the promotion strategy. The meeting lasted two days, it was attended by representatives of all project partners: Lana Lovrenčić and Jelena Pašić from Ured zaFotografiju from Zagreb, Andra Silapētere and Laura Brokāne from Latvian Centerfor Contemporary Art, Barbara Borčić and Peter Cerovšek from Zavod for sodobnoumetnost – Ljubljana / SCCA (Center for Contemporary Arts – Ljubljana) and Marika Kuźmicz, Paweł Lisiecki and Ewa Kociszewska from the Arton Foundation (Arton Foundation).
KICK-OFF MEETING IN BRUSSELS
On October 21, Marika Kuźmicz, the coordinator of the project “Not Yet Written Stories: Women Artists Archives Online” and Paweł Lisiecki, the financial coordinator of the project, participated in the inaugural meeting of the Creative Europe program. The coordinators participated in the meetings and workshops proposed by the organizers. For us especially important were meetings dedicated to the issue of projects’ finance management. In addition to the scheduled lectures and workshops, we also held networking meetings that were very valuable to us, with representatives of other organizations participating in the kick-off meeting, including people from Germany, Finland and Hungary. Such meetings are very important to us, taking into account the long-term planning strategy of our organisation.
MEET THE TEAM of NOT YET WRITTEN STORIES
Marika Kuźmicz (Ph.D.) – curator, researcher and publicist. She is a lecturer at the Academy of Fine Arts in Warsaw and Warsaw University. For many years she conducts research on Polish art of the 1970s as a head of the Arton Foundation. The Foundation is a non-profit organization created in 2010 and its main activity is the elaboration of the archives of artists. Marika Kuźmicz is the author and editor of many books, such as “The Workshop of The Film Form” (2016, co-edited with Łukasz Ronduda) or “History of Performance in Poland” (2019). She has curated many exhibitions in Poland and abroad, recently: “Her Own Way – Female Artists and the Moving Image in Art in Poland”,Tokyo Photographic Art Museum. She is as well the curator of the film festival “Arton Review” which 2017 edition took place in Whitechapel Gallery in London. She is the originator and main coordinator of an international art project “Forgotten Heritage – European Avant-Garde Art Online” (www.forgottenheritage.eu).Marika Kuźmicz (Ph.D.) – curator, researcher and publicist. She is a lecturer at the Academy of Fine Arts in Warsaw and Warsaw University. For many years she conducts research on Polish art of the 1970s as a head of the Arton Foundation. The Foundation is a non-profit organization created in 2010 and its main activity is the elaboration of the archives of artists. Marika Kuźmicz is the author and editor of many books, such as “The Workshop of The Film Form” (2016, co-edited with Łukasz Ronduda) or “History of Performance in Poland” (2019). She has curated many exhibitions in Poland and abroad, recently: “Her Own Way – Female Artists and the Moving Image in Art in Poland”,Tokyo Photographic Art Museum. She is as well the curator of the film festival “Arton Review” which 2017 edition took place in Whitechapel Gallery in London. She is the originator and main coordinator of an international art project “Forgotten Heritage – European Avant-Garde Art Online” (www.forgottenheritage.eu).
Andra Silapētere is a curator and researcher at the Latvian Centre for Contemporary Art- LCCAt (LCCA). She earned her BA and MA at the Art Academy of Latvia and now is preparing her PhD thesis on Latvian exile art in the U.S. (1948-1991). Silapētere’s field of research and interest include exile and migration topics in art as well as aspects of identity and belonging. Since 2017 she has been programming LCCA’ s international research project “Portable Landscapes” and for the project has has co-curated the exhibitions at the Latvian National Museum of Art, District Berlin and James Gallery, CUNY. Silapētere has also been working with LCCA’s Summer School (2014 -2016) programs and since 2012 she has been editor of the LCCA’s publications series of important works in the field of aesthetics, art and culture theory translated and published in Latvian. She has co-curated as well: “Unexpected Encounters” (Latvian National Museum Exhibition Hall Arsenals, 2019), “Twofold. Kaspars Groševs and Jānis Borgs” (Latvian National Museum of Art, 2017), “Lost in the Archive” (Riga Art Space, 2016).
Lana Lovrenčić is Croatian art historian and curator based in Zagreb. Her main fields of interest are photography, cultural heritage and planning practices after II WW. She participated in a number of international projects, including “Unfinished Modernizations”, “Heroes We Love” and “Forgotten Heritage – European Avant-Garde Art Online”. Currently Lana Lovrenčić is part of the NGO Office for Photography where she is dedicated in researching history and theory of photography, as well in organising activities that promote contemporary photographic practices. She is one of the initiators of the international collaborative platform “Inappropriate Monuments” and has curated several exhibitions, including “Tošo Dabac. Within the Frame: Photographing Cultural Heritage” (2017), “Expanded Photography. Segment III” (2018), “Petar Dabac: Portraits 1959-1985” and “Sandro Đukić: An Archive as a Memory Construct” (2019).
Sandra Križić Roban (Ph. D.) is a Croatian art critic, curator, lecturer and writer, working at the Institute of Art History in Zagreb where she obtained her PhD in art history. Her main research topics include theory of photography, the post-war architecture and contemporary war memorials in Croatia. As a head of the Office for Photography (UzF) established in 2013, a non-profit association dedicated to contemporary photography, she is responsible for the program of Spot Gallery. Apart from attending numerous international conferences, she published many books and art essays. She is the author of the only two comprehensive studies on contemporary photography and contemporary painting in Croatia: “At Second Glance. The Positions of Contemporary Croatian Photography” (2010) and “Croatian Painting from 1945 until Today. Responsibility of Image at the Time of Impatient Look” (2013). As a curator she hosted a number of exhibitions, both in Croatia and abroad, among them recently: “Branko Balić” (with Irena Šimić, Zagreb, 2019), “Jochen Lempert” (with Maren Lübbke-Tidow, Zagreb, Vienna, 2018), “The Most Beautiful Place in the World – Contemporary Slovenian Photography” (Zagreb, 2016, Osijek, 2017).
Barbara Borčić is a Slovenian art historian, curator and writer who is active in the field of contemporary arts with a focus on performance and video art. She is as well a Video Program Advisor at the SCCA-Ljubljana, Center for Contemporary Arts. She has curated a number of exhibitions, e.g. “Multimedia Practices and Venues of Production” (Museum of Contemporary Art, Ljubljana, 2017), “Projected Visions. From art in the urban context to fiction and dystopia” (Apollonia, Strasbourg, 2018). She is the author of “Videodokument: Video Art in Slovenia” 1969-1998, the first systematic documentation and research of video art in Slovenia, important in framing terminology and setting theoretic basis for further research. She has curated numerous programs of video art from Slovenia and presented them worldwide, from Moscow, Cairo, Manila, and Berlin to London, Los Angeles, and New York. She has regularly lectured and published texts, e.g. “Video Art from Conceptualism to Postmodernism, (MIT Press, 2003); The Škuc Gallery, “Alternative Culture, and Neue Slowenische Kunst in the 1980s”, (MIT Press, 2015).
NOT YET WRITTEN STORIES: WOMEN ARTISTS ARCHIVES – NEW PROJECT IS COMING
We have a pleasure to inform that Arton Foundation and our Partners: Centre for Contemporary Arts in Riga – LCCA https://lcca.lv/en/ from Latvia, Center for Contemporary Arts SCCA – Lubljana http://www.scca-ljubljana.si/en/home/ from Slovenia and Office for Photograhy https://croatian-photography.com/en/about-us/ from Croatia will start the new project support by the Creative Europe Program. The project will be develop until 2022 and it is dedicated to women artists from Poland, Croatia, Slovenia and Latvia and their archives. We are planning a long term research, digitization of artists’ works and documents, enlargement of our database www.forgottenheritage.eu , publication of scanned material, workshops in partner countries, focus on issues like: how to redefine the canon of European art and how to complete it, how to develop women artists estates, how to curate the exhibition, basing on artists’ archives. Next part of the project will be 4 exhibitions, based on the research, in 4 cities: Warsaw, Zagreb, Riga and Ljubljana. In the spring 2021 we are planning an international conference in Warsaw and a publication – a summary of the whole project.
Logo of our project is designed by Katarzyna Listwan from Paproć Studio.