LECTURERS

Sixth year: 2002/2003
STRATEGIES OF PRESENTATION III

Donatella Ruttar
Donattella Ruttar is an architect and works in art, culture, architectural planning and graphics.
For a number of years she has been running the Venetian gallery in Špeter and for ten years she has been the head of the Stazione Topolo. Two years ago she came up with the concept and started the project on the 'Window into the Slav World' documentation centre, dedicated to the vast 'Slav world'.

Moreno Miorelli
Moreno Miorelli is dedicated to various activities, artistic as well as non-artistic. In the period between 1994 and 1999 he prepared a number of exhibitions of contemporary art in Italy and Slovenia (BlitzArt Kluže, Transversal of Shooting Stars). He also makes cartoons and leads the Stazione Topolo.

David Dronet
David Dronet studied at Academy of Fine Arts in Caen. He is multimedia artist and artistic director of Station Mir. Selected projects: 2000 - hEXPO, international multimedia festival, Maribor, Koper, Ljubljana, Slovenia; 2001 - INcube4, installation multimedia collective, concerts, performances, Le Lieu, Québec, in the frame of Saison de la France in Québec; 2002 - Club Automatic, workshop and multimedia performance, Yogyakarta, Indonesia; 2003 - Deep France, video program on the concert of Jive Biquette, Rigas Kinostudija, Riga, Latvia; 2004 - Personal Computer Landscape, video installation and numeric images, Galerie The Premises, Johannesbourg, South Afrika.

Daniel Jewesbury
Daniel Jewesbury is artist and writer, lives and works in Belfast. He graduated from the National College of Art and Design in Dublin in 1996 and received his Ph.D. in media studies at the University of Ulster, where he is currently also a research associate. He has shown work at Manifesta 3 in Ljubljana, at Urban Control in Graz and (in 2005) at the Museum of Contemporary Art in Chicago. He is one of the directors of Cinilingus, an independent film-screening organisation in Belfast, and an editor of the newspaper Variant.

Škart
The artistic collective Škart was established in 1990 in an abandoned graphic atelier of the Faculty of Architecture in Belgrade by Dragan Protić and Djordje Balzamović. 'The collective in progress' based their actions of handing out cards with printed words or poems during the 'time of silence and fear' on the principle of self-publishing and self-distribution. In the year 2000 they spread their operation strategy onto a group consisting of between 30 and 50 people who applied for the audition for HORKEŠKART (hor-choir + orchestra + škart), which transformed the classical 'military' organisation of such groups into a self-organised collective.

Nevenka Šivavec
Nevenka Šivavec graduated from comparative literature and history of art at the Faculty of Arts in Ljubljana. Since 1989 she has been employed at the Institute for Cultural Events in Celje and since 1995 she has become also a curator at the Gallery of Contemporary Art & Likovni salon gallery in Celje. In 1998 she received a scholarship from the American organisation ArtsLink, which she used to continue her studies at The School of the Art Institute in Chicago - course curatorial practices, in New York (April, May and June 2002) and Belfast (December 2002). She mainly deals with research and presentation of marginal, outsider artistic practices, which arise from the local environment and projects that actively include the local community.
Selected exhibitions: 2002 - Borut Hlupič Holland, The Gallery of Contemporary Art Celje; 2001 - The Town Of Celje 2, Phantasms of the Eighties, Likovni salon Gallery Celje; Male, (with Irena Čerčnik), The Gallery of Contemporary Art Celje, Likovni salon Gallery Celje; Unusual Pairs (Nebojša Šerič - Šoba & Narcis Kantardžič, Jože Barši & Radio Celje, Andreja Džakušič & Radivoj Mulić...). 1999 - Art from the Rucksack, City Arts Gallery Limerick, Catalyst Arts Gallery Belfast; The Town of Celje, Alternative of the Seventies, Likovni salon Gallery Celje, Škuc Gallery Ljubljana.

Tadej Pogačar
Tadej Pogačar is artist, curator, writer and lecturer working in the field of contemporary visual and intermedia art. He is director of Center and Gallery P74 and director of the P.A.R.A.S.I.T.E. Museum of Contemporary Art.
He curated several exhibitions: 1999 - The Taste of City (with G. Podnar and I. Zabel, Gallery P74 and Škuc Gallery, Ljubljana; 2001 - Revisions. Painting 70+90, Gallery P74, Ljubljana; 2002 - Intermedia, Gallery of Contemporary Art, Celje.
From 1990 he participated as artist at important international and local exhibitions of contemporary art. Recently: 49. Venice Biennial; ZKM, Karlsruhe; Museo de Arte Carillo Gil, Mexico City; Central House of Artists. Moscow, B2, Lepzig; Jyvaeskylae Art Museum, Finland; Humboldt University, Berlin; and Museum Boijmans van Bojningen, Rotterdam (Manifesta 2). In Slovenia, he lately exhibited several times in Museum of Modern Art Ljubljana, International Centre of Graphic Arts in Ljubljana, Gallery of Contemporary Art in Celje ... He got several prizes among them a prize for performance by Franklin Furnace Archive in New York in 2001.

Fifth year: 2001/2002
STRATEGIES OF PRESENTATION II

Boris Buden
Boris Buden is a philosopher, researcher and writer on art, culture and politics. After his initial start in Zagreb he moved to Vienna in 1990 where he currently lives and works. He was the editor of the Zagreb newspaper Arkzin , and currently he is one of the editors of the Viennese newspaper Springerin . He co-operated at numerous projects, amongst others at the platforms of Documenta 11 in Vienna, New Delhi and Kassel. He translated a number of books (amongst others Freud, Helmut Dahmer, etc.), wrote various articles (amongst others for Polet , Quorum , Feral Tribune , etc.) as well as published three books (a collection of political and cultural criticism essays Barikade (Barricades) in 1996, a revised and extended edition Barikade 2 (Barricades 2) in 1997 and a book of cultural and social criticism essays Kaptolski kolodvor (Kaptol Railway Station) in 2001).

Charles Esche
Charles Esche is a curator and writer. From 2004 he is director of Van Abbemuseum, Eindhoven and from 2001 a research fellow at Edinburgh College of Art where he works with the 'proto academy', an academic project aimed at discovering more conversational and effective models for advanced art education. He is also editor of Afterall , an art journal published twice yearly by Central St.Martins College of Art and Design, London and CalArts, LosAngeles. He curated several exhibitions, among them: 2000 - Intelligence - New British Art , Tate Gallery (London) and Amateur - Variable ResearchInitiatives , Konstmuseum in Konsthall (Göteborg); in 2001 he was one of the curators of f the English section at ARCO 2001, Madrid; in 2002 he curated the Gwangju Biennale in Korea with Hou Hanru. He is an advisor at Rijksakademie, Amsterdam, curatorial advisor to the Foundation of Art and Creative Technology, Liverpool, and a board member of the Emanuel Hoffmann Foundation, Basel and has written for numerous catalogues and magazines in Europe. From 1993-1997 he was Visual Arts Director at Tramway, Glasgow. From 2001-2004 he was director of the Rooseum Center for Contemporary Art, Malmö. He has curated international exhibitions and events around art and new technology.

Ivana Keser
Ivana Keser studied at Academy of Fine Arts, Zagreb. She makes public interventions and produces her own newspapers in which she conveys news from private and public life and which are freely distributed. In her work she questions the borders between local and global, propaganda and indoctrination, activism and consumerism. She participates in the project Weekend Art Hallelujah the Hill with A. Battista Ilić and T. Gotovac (1995-ongoing). In 2001, together with A. Battista Ilić, she initiated Community Art - permanent public forum, a long term project which consists of public discussions, workshops, Community Art School and publishing activities.
Exhibitions:
1996 - Manifesta I , Rotterdam; Radical Images , 2nd Austrian Triennial on Photography, Neue Galerie, Graz. 1997 - The Exhibition of the Local Newspapers , Central Park, New York; The Exhibition of the Local Newspapers , Institute of Art, Cleveland. 1999 - After the Wall , Moderna Museet, Stockholm; Aspects/Positions , Museum Moderner Kunst, Vienna. 2000 - Vida Politica / Political Life Fundacio La Caixa , Barcelona; Indoctrination, Museum of Contemporary Art, Zagreb; Sous les ponts , le long de la rivičre, Casino Luxembourg Furum d'art contemporain, Luxembourg. 2001 - Marking the Territory , The Irish Museum of Modern Art, Dublin. 2002 - Helle Nächte , Stadtkino/Kunsthale Basel; In Search of Balkania , Neue Galerie, Graz. 2003 - Local News , Mamco - Musée d'art moderne et contemporain, Genčve; 25th Biennial of Graphic Arts , Cankarjev Dom, Ljubljana; Carte Blanche , Tanzquartier, Vienna; Kyoto biennial , Kyoto. 2004 - East-West, Tanzquartier, Vienna.

Viktor Misiano
Viktor Misiano is one of the most eminent (Russian) art critics, theorists and curators. He is a great expert on contemporary art and the mechanisms that run it. He is known especially for his critical analysis of the relations within the art system, his innovative curatorial practice within the frame of the concept Community Moscow-Ljubljana as well as for his intensive co-operation with the Irwin group. His comparative analysis between the Eastern and Western European understanding of communication, institutions and values in contemporary art gained a large international response. He spoke about the strategies of his operations in the 1990's on the examples of two of his projects which he organised within the frame of the Centre of Contemporary Art in Moscow in the mid 1990's, both of which had a strong impact on the Moscow art scene: The Hamburg project (a workshop with Russian artists) and the Visual Anthropology Workshop with the Russian philosopher Valery Podoroga.

WHW
WHW (What, How & for Whom) is a non-profit organization for visual culture and curator's collective formed in 1999 and based in Zagreb, Croatia. Among their projects are international projects and exhibitions: What, How & for Whom, On the Occasion of 152nd Anniversary of Communist Manifesto (Zagreb / Vienna), Broadcasting Project, Dedicated to Nikola Tesla (Zagreb), START (Ljubljana/Zagreb), Looking Awry (apexart, New York), Side-Effects (Salon of Museum of Contemporary Art, Belgrade), INeed a Radical Change (Gallery Nova, Zagreb) . All WHW projects have been conceived as a platform for discussing relevant social issues through art, theory and media, as well as a model of collaboration and exchange of know-how between cultural organizations of different backgrounds. Besides exhibitions, WHW projects encompass lectures and public discussions conducted by international artists, curators and cultural theorists; publications and a book edition on contemporary curatorial practice and cultural theory; radio broadcasts and interventions; screenings and live acts. From 2003 WHW has been directing the Gallery Nova in Zagreb, whose focus is not only on producing and presenting contemporary visual arts, but also on establishing links between visual culture and other forms of cultural production with civil, activist and NGO scene. Besides exhibitions, the program is characterised by series of events that are designed to turn the gallery into a vivid cultural centre, and includes concerts, theatre performances, film screenings and public discussions. Currently WHW is working on an exhibition on collective practices & group enjoyment called Collective Creativity to be held in May 2005 in Kunsthalle Fridericianum, Kassel.

Jurij Krpan
Jurij Krpan, architect by profession, has become the artistic director of Kapelica Gallery (www.kapelica.org) in Ljubljana in 1994. In seven years of his leadership the gallery has gained international reputation of one of the most active and conceptually focused art spaces in Slovenia. Through international projects the gallery systematically presents new media, artistic interventions in gallery space, and extreme body-art practices. It has succeeded to generate its constant and potentially collaborative public, consequently establishing a specific art scene.

Douglas Davis
Douglas Davis is a pioneer of video art and new media, a theorist, performer, pedagogue and advisor for digital media strategies. As an artist he specialized for the 'wrong use' of new media: he convinced the video to touch, the printer to talk, the Internet to lay down in the visitor's lap like a puppy, etc. In 1994 he created one of the first web art works that reached a broader audience. Since the 1970's he has been using traditional and advanced technology in his work - from radio, film to satellites. In the 1976 project Art from a Distance he was the first artist to use satellites for personal, artistic purposes. A year later he (in co-operation with Joseph Beuys and Nam June Paik) performed the first global live transmission of a video performance for Documenta 6 . He wrote a number of books on the relation between contemporary art and technology, he taught art of the new media at over 25 universities and received numerous rewards for his work.
Web art:
- The World's First Collaborative Sentence (commissioned by Lehman College Art Gallery; collection Whitney Museum of American Art gift of Barbara and Eugene M. Schwartz): http://here.is/THESENTENCE
- MetaBody (The World's First Collaborative Visions of the Beautiful) (commissioned by George Waterman III Collection; co-sponsored by P.S.1/The Institute of Contemporary Art, New York; Herbert F. Johnson Museum, Cornell, Ithaca; Municipal Art Gallery, Reykjavik, Iceland; Center for Contemporary Art,Warsaw, and others, 1997: http://this.is/METABODY
- Terrible Beauty (an Evolving Work of Ineractive Global Theater), 1997-2000, performed to date in New York, Dublin, San Francisco, and Berlin: http://here.is/TERRIBLEBEAUTY
- http://this.is/DOUGLASDAVIS, 1997-to date, evolving.
- http://here.is/RODCHENKORISING, 2000
- http://go.to/INNOCENCEDOTCOM, 2001 (redirect for http://moralpornography.com, a double site hosted/designed in Copenhagen, Denmark and New York City (required to avoid censorship in institutional computers in the U.S.A only)

Fourth year: 2000/2001
STRATEGIES OF PRESENTATION I

Clémentine Deliss
Is an independent curator and publisher who lives in London. She currently works for Chelsea College of Art & Design. She has held professorships and visiting lectureships at several art academies in Europe including the National Academy of Fine Arts, Oslo, the fine art academies of Stockholm, Malmö, and Copenhagen, and the Städelschule, Frankfurt. From 1992-95, she was the artistic director of africa95, a festival of contemporary arts from Africa produced in conjunction with the Royal Academy of Arts, London, and over 60 UK institutions. Since 1996, she has produced Metronome, a writers' and artists' organ in Dakar, London, Berlin, Basel, Frankfurt, Vienna, Bordeaux, Biella, Oslo, Copenhagen, and Stockholm. Amongst others she also curated the following projects: Lotte or the transformation of the object (Styrian Autumn 1990), africa95 (1995), Seven Stories about Modern Art in Africa (Whitechapel, 1990), Tempolabor, a libertine laboratory? (Kunsthalle Basel, 1998), Bureau d'Esprit (Cittadellarte, Fondazione Pistoletto, 1999), Magnetic Speech (1999/2000) and The Queel (CCAD and Tate Britain, 2002).

Branislav Dimitrijević (1967)
Is an art historian, writer and curator working for the Centre for Contemporary Arts - Belgrade, where he is the Head of the Department for Education and Documentation.
He graduated from History of Art at the University of Belgrade, and in 1995 he received his MA degree in History and Theory of Art at the University of Kent with professor Stephen Bann.
He has written texts on contemporary art and politics in Serbia for local and international magazines and catalogues, and edited the book on interpretations of popular imagery, Pop Vision in 1996. He has written essays for catalogues of artists including Zoran Naskovski, Milica Tomić, Zdravko Joksimović, pRT and others.
With Branislava Andjelković he curated exhibitions and edited catalogues such as Map Room (1995), Murder1 (1997), Beauty and terror (1998) and a site-specific show Overground (1998). He is one of the founders of the School for History and Theory of Images at the Centre for Contemporary Arts - Belgrade.
From 1999 onwards he teaches courses on Conceptual Art and Reading the Image at the School for History and Theory of Images in Belgrade. He has also held lectures at the Arts Academy in Belgrade and the Michaelis School for Arts in Cape Town, RSA. He participated at conferences and panel discussions in Canterbury, Stockholm, Innsbruck, Ljubljana, Skopje, Oslo, etc.

EuroVision2000 & labor k3000 Zurich
Susanne Perin, Peter Spillmann and Marion von Osten, all of them artists from labor k3000 Zurich initiated EuroVision2000. Labor k3000 is a Media Space created for technology sharing, content exchange and mutual forms of collective cultural practices. EuroVision2000 was a temporary, open network of Media activists and artists from western, central and south-eastern Europe. EuroVision2000 was created in opposition to the actual EU politics on border, migration and asylum laws. Debates and film screenings took place in Prague, Brussels and Bologna.

Mike Hentz (1954)
Polymeadia artist. Works in visual arts, philosophy, media art, sculpture, installation, events, performances, music. Produces publications and gives lectures. He also develops multifunctional systems. He is the director of the Medusa Festival in Poland. He participated at Documenta in 1986 and 1992. He also teaches in art schools (Art Academy of Hamburg 1979-1997). He is a co-founder of the following groups: minus Delta t (1978), Frigo and Code Public (1980) and he participated in the following projects: University TV (1991), Van Gogh TV (1988), Ponton (1986).

Marko Košnik (1961)
Member of the Laibach group (1981-1983). In 1986 he founded the Egon March Institute with the aim to gain and transmit knowledge in the field of new media practice and theory. Within the frame of the Institute he directed and produced most of his projects. In 1996 he initiated the Ministry for the Experiment, an independent production unit for media projects in the frame of Radio Student. A multimedia artist, author of scenarios, music, computer programming and videos for performances, installations and multimedia projects. A pioneer in European interactive communication projects. In 2000 he conceived and organised the international multimedia festival Hexpo.

Oliver Marchart (1968)
Works as a cultural and political theorist and as a lecturer at the Universities of Vienna and Innsbruck. Author and editor of books on art, new media and (cultural) politics.

Olesya Turkina
Works as a curator at the Contemporary Art department at The Russian State Museum, St. Petersburg. She has curated numerous exhibitions, among them The Evolution of an Image: Light, Sound, Material at the State Russian museum, St. Petersburg, 1996; Doctor and Patient. Memory and Amnesia, Pori Art Museum, Finland, 1996; Kabinet, Stedelijk museum,
Amsterdam, 1997(co-curator); MIR:Made in the XXth century Russian Pavillion at the 48th Venetian Biennale,1999.
She has published over 100 articles on contemporary art in various art magazines (Khudozhestvennyi Zhurnal, Paradoxa, Cultural Studies, Kabinet, Siksi) and catalogues (Europe, Kunst, Hannover, 1991; Manifesta 2,1998; After the Wall, Stockholm, 1999; Manifesta 3, 2000). She is also a contributor to Flash Art International and NU and took part in many international conferences. She teaches 20th Century art at the Baltic University of Economy, Ecology and Human Rights, St. Petersburg, and at the Pro-Arte Institute, St. Petersburg.

Miha Zadnikar (1962)
Is ethnologists and cultural sociologist. In the 1980's he operated mainly as a journalist, essayist and lecturer in the field of cultural and artistic - specialised mainly for music and film - criticism. He wrote for a number of publications in Yugoslavia. At the time he still had some sporadic hopes for institutions. With the declaration of Slovene independence he focused his activities and become an independent social - political activist - the problem of Metelkova as a whole, Intervention Bureau, etc. Today he deals with club micro-sociology (he is the head of the program activity at the Gromki Club, AKC centre Metelkova Mesto), the theory and organisation of 'new' subcultures and underground, promotion and organisation of boarder-line and overlooked musical practices (Cinema-ear at the Slovene cinema, 'Defony' in Gromki). He regularly presents his endeavours on radio stations, in publications (mainly the magazine Mladina) and is a lecturer at the Faculty of Arts at the University of Ljubljana where he holds the subject Anthropology and Sociology of Music.

Third year: 1999
GEOPOLITICS AND ART

Charles Harrison
Since 60's he's involved in criticism, history and production of art, with Art&Language group he cooperates for more then 25 years. He is the author of the book Essays on Art &Language (1991) and Modernism (1997), he edited together with Paul Wood antologies Art in Theory 1900-1990 (1992) and Art in Theory 1815-1900 (1998). He is co-author with Michael Baldwin and Mel Ramsden of Art and Language in Practice Vol 1: Illustrated Handbook and editor of Vol 2: Critical Symposium (both 1999). He curated an exhibition When Attitudes become Form, ICA, London 1969, Idea Structures, Camden Arts Center, 1971. He was giving lectures on modern art in England, Europe and USA. He is professor of history and theory of art at Open University in England and visiting professor of art history at Universities of Chicago and of Texas, Austin, ZDA.

Edi Muka
Graduated from the Academy of Fine Arts in Tirana in 1991, where he also has worked as an assistant professor since 1995. Since 1999 he is the director of the International Centre of Culture in Tirana. He has presented himself at numerous group and individual exhibitions, amongst others also at:
Spring 98, National Gallery, Tirana, 1989; Untitled, one man show, National Gallery, Tirana, 1996; Riorientim, Porcelain Factory, Tirana, 1997; Translocation, new/media art, Vienna, Austria, 1999. He also set up a number of exhibitions, amongst others : Riorientim, Porcelain Factory, Tirana, 1997; Welcome to Wonderland, National Gallery, Tirana, 1998; Onufri 98 - Permanent Instability, National Gallery, Tirana, 1998; Albania Today, Albanian Pavilion in the 48^th edition of the Venetian Biennial, 1999; Albanische Kunst Heute, Haus am Lutzwoplatz, Berlin, Germany, 1999. He lectures and publishes texts on contemporary art amongst others subjects : Albanian Contemporary artists (Manifeste 2 catalogue), Albania Today - The Time for Ironic Optimism (Catalogue of the Albanian pavilion at the Venice Biennial).

Jaroslav Andel
Independent scholar and curator, lives in New York and Prague. Curated numerous exhibitions including: The Artistic Avant-garde in Czechoslovakia 1918-1938, IVAM, Valencia, 1993; The Dawn of Magicians: From Mediumistic Drawings to Cyberspace, National Gallery in Prague, 1996; Painting the Universe: František Kupka, Pioneer in Abstraction, Dallas Museum of Art, Kunstmuseum Wolfsburg, National Gallery in Prague, 1997-98. Director of the Centre for Modern and Contemporary Art, National Gallery in Prague (1996-1998), currently works on an exhibition of the birth of abstract art.

Dušan Rutar
Graduated from Psychology at the Faculty of Arts in Ljubljana, where he also received his Ph.D. on the discussion of Freud's concept of the Id. He lead the section for theoretic psychology at the Faculty of Arts for five years. At present he is a teacher at the Kamnik secondary school, where he teaches psychology and psychoanalysis. He founded the Freudian club in which he lectures in the classics of psychoanalysis. He was the co-ordinator of the post-graduate programme of Theories and Politics of the Body, which took place at Institutum Studiorum Humanitatis, and presently he co-operates at the post-graduate study of the Faculty for Post-graduate humanistic studies in Ljubljana. For a period of time he lectured at the faculty of Arts on the subjects of psychoanalysis and epistemology as a visiting professor. He is the editor of the Newspaper for social Studies AWOL. Apart from other books and publications he is also the author of: Body and Power: sociology and philosophy of the body in the 19^th and 20^th Century, Ljubljana 1995; Freud's Ghosts: a philosopher versus capitalism, Ljubljana 1996; Three discussions on the theory of handicap, Ljubljana 1996; Freud Versus the Pope, Ljubljana 1996; Introduction to Post-modern Psychology, Ljubljana 1997; Freud's Ghosts 2: a philosopher versus capitalism, Ljubljana 1997, Freud's Ghosts 3, Ljubljana 1999, Theological essays, Ljubljana 1999.

Borut Vogelnik
Graduated from the Academy of Fine Arts in Ljubljana in 1983. He is a founding member of the group Irwin, in which he has worked from 1983.

Călin Dan
He received a M.A. in Art History & Theory. Until 1994 he has worked as a freelance art critic, curator, editor and teacher of art history. In 1990 he co-founded SubReal. He has exhibited at numerous exhibitions: Istanbul Biennial,1992; Venice Biennial/Aperto, 1993; Sao Paulo Biennial, 1994; OSTranenie, Bauhaus Dessau, 1995; Neuer Berliner Kunstverein; Manifesta, Kunsthal Rotterdam, 1996; Beyond Belief, Museum of Contemporary Art, Chicago/Institute of Contemporary Art, Philadelphia, 1996/1997; Ludwig Forum für Internationale Kunst, Aachen; SITE Santa Fe, Santa Fe, NM, 1997; Ars Electronica, Linz; Berlin Biennial; Dutch Electronic Arts Festival (DEAF 98), Rotterdam, 1998; Synworld, Museumsquartier Vienna; Venice Biennial (Romanian pavilion), 1999; Zentrum für Kunst und Medientechnologie (ZKM), Karlsruhe , 1999. He also received numerous grants: J.P.Getty Fellowship for research in art history, 1993; Philip Morris Kunstförderung, 1996 and has participated in several Residencies Programs: Künstlerhaus Bethanien, Berlin, 1995; Akademie Schloss Solitude, Stuttgart, 1997; V2_Lab for the Unstable Media, Rotterdam - 1998; Schloss Plüschow/Mecklenburgisches Kunstverein, Plüschow, 1999; Kulturkontakt, Vienna, 1999.

Second year: 1998
THEORIES OF DISPLAY

Stephen Bann (1942)
s an art historian and, since 1998, professor of contemporary cultural studies at the University of Kent. He has been guest professor at the Department of Art History at Baltimore University since 1996. He is a member of various editorial boards (History of Anthropology, Comparative Criticism and others). He has published several books of his own and has contributed to collections (Romanticism and the Rise of History, Twayne Publishers, New York, 1995; Interpreting Contemporary Art, Reaktion Books, London, 1991 and others).

Ute Meta Bauer (1958)
graduated from the Academy of Fine Arts in Hamburg and began working as an independent curator. Between 1990 and 1994, she was art director of Kulturhaus Stuttgart. She collaborates with the Louisiana Museum of Modern Art as a guest curator. Since 1996, she has been a professor and head of the Institute of Contemporary Art at the Academy of Fine Arts in Vienna. She is a founder and editor of the international art magazine Meta and a member of the ICT (International Curators' Association).

Nadja Zgonik (1964)
received a PhD in 1997 from the Department of Art History at the Faculty of Arts in Ljubljana. She is employed as an assistant professor of art history at the Academy of Fine Arts in Ljubljana. Nadja has sat on numerous juries and expert committees and prepared a number of exhibitions. Among these, for example, the Modra Roka / Wise Hand exhibition in 1997 and a major retrospective of the work of Živko I. Marušič in the Ljubljana Museum of Modern Art in 1998. She is also author of the book Marij Pregelj, Drawing to Painting.

Konstantin Akinsha
graduated in art history from the Moscow Institute of Art History. Between 1993 and 1997, he worked as a researcher at universities in Bremen, Nürnberg and Washington. In 1993, he was curator of the Angels over the Ukraine exhibition which was dedicated to contemporary Ukrainian art. In 1997, he prepared an exhibition entitled the Art of the Unofficial and a year later the Three Penny Exhibition which focused on contemporary art in Russia, Serbia and the Ukraine. Throughout this, he has worked as a lecturer and art critic. He has received many international accolades for his work.

Tadej Pogačar (1960)
graduated in art history and ethnology from the Faculty of Arts in Ljubljana in 1984 and in 1988 completed studies at the Academy of Fine Arts in Ljubljana. In 1990, he founded the Museum of Contemporary Art and the Department of Geography. Three years later, Tadej also founded the Department of Historical Facts, Laboratorium and the Department of Anthropology. That same year he renamed the Museum to P.A.R.A.S.I.T.E. Museum of Contemporary Arts.

Igor Zabel (1958)
Graduated in comparative literature and art history from the Faculty of Arts in Ljubljana and in 1989 received a master's degree in comparative literature. He has worked as curator at the Ljubljana Museum of Modern Art since 1986. Igor has prepared numerous exhibitions and has collaborated as a professional associate and consultant on Slovene and international projects, to name a few: Inexplicable Presence. Curator's Working Place, Ljubljana, 1997; 33rd Zagreb Salon, Zagreb, 1998; and Manifesta 2, Luxembourg, 1998. He writes and publishes art and literary reviews and theory. Among other, he is the author of Vidiki minemalnega, Minimalizem v slovenski umetnosti 1968-1989/Aspects of Minimal, Minimalism in Slovene Art 1968-1989, the exhibition catalogue of Museum of Modern Art, Ljubljana, 1990; Vmesni prostor/The Space In-Between (Essays on the work of Emerik Bernard), Krt, Ljubljana, 1991; and Speculationes, Studia Humanitatis (Minora), Ljubljana, 1997. He is a co-ordinator for Manifesta 3. Lives and works in Ljubljana.

Vuk Ćosić (1966)
In 1991, Vuk graduated in archeology at the University of Beograd, Serbia, and emigrated to Trieste, Italy, the same year. A year later, he moved to Ljubljana and became involved in cultural management and cultural exchanges. In 1995, he became a member of Ljudmila (Ljubljana Digital Media Lab), created his first HTML works. He is a founding member of Nettime, syndicate and Very Cyber Indeed. In 1996, Vuk continued his activities with net.art and web design and organised a conference entitled Net.art Per Se. In 1997, he organised the Nettime conference Beauty and the East. His most important independent projects are at his own http://www.vuk.org