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Petr Stembera (born 1945, lives in Prague). Petr Štembera works at the Museum of Decorative Arts, Prague, as Curator of Poster and Painting Collections. Between 1969 and 1980, he made conceptual works, then later on, actions, body art pieces, and performances. Between 1972 to 1980, individual exhibitions documenting his activities were held in Aalst, Copenhagen, Rio de Janeiro, Buenos Aires, Berlin, Pecs, Dijon, Warsaw, Krakow, Wroclaw, Poznan, Antwerp, Budapest, Torino, Genova, Padua, Milano, Karlsruhe, different Japan cities, Los Angeles and San Francisco, etc. In 1977, he was awarded the Grand Prix Biennale des Jeunes at the Paris Biennale des Jeunes. In 1997, The Prague City Gallery held the most significant exhibition of his work to date, together with that of Karel Miler and Jan Mlčoch. Since the 1990s, Petr Štembera has participated in group exhibitions around the world and taken part in major exhibitions of performance art, body art, and East-European art, in Bonn, Marseille, Wien, Los Angeles, Ljubljana, New York etc. He has made actions, body pieces, and performances in Czechoslovakia (Prague, Brno, Bratislava, etc.) in all the major cities in Poland (Warsaw, Wroclaw, Krakow, Lodz, Poznań), Hungary (Budapest, Pecs), the USA (Los Angeles, San Francisco), East Germany (Berlin). Goran Trbuljak is a conceptualist artist, photographer and cinematographer, who became active toward the end of the 1960s. Trbuljak was interested in the idea that in issues of authorship and Jasmina Tumbas Jutta Vincent Sarah Wilson is an art historian and curator whose interests extend from postwar and Cold War Europe and the USSR to contemporary global art. She is Reader at The Courtauld, where she will be Head of MA programmes from 2010-2012. In 1997, she was made Chevalier des Arts et des Lettres by the French Government for services to French art and culture. Following an initiation with Paris-Capital of the Arts, 1937-1957, at the Centre Georges Pompidou, Paris, Sarah Wilson was principal London co-curator with Germain Viatte for the Barbican Art Gallery’s inaugural exhibition Aftermath, France, New images of Man, 1945-1954. She was also principal curator of `Paris, Capital of the Arts, 1900-1968’ (Royal Academy of Arts, London and Guggenheim Museum, Bilbao in 2001-2). Sarah Wilson’s latest book, The Visual World of French Theory: Figurations, published by Yale University Press in 2010, is the culmination of a continuing interdisciplinary project investigating the direct links between French philosophers and artists of their times. It will be followed by The Visual World of French Theory: Interventions, exploring structuralism and psychoanalysis, in which female artists and philosophers will introduce a pertinent critique of the voices in the Figurations volume. Sarah Wilson is also working on Picasso / Marx, to be published by Liverpool University Press. In the context of current exhibitions `Picasso, Peace and Freedom’ (Tate Liverpool) `Picasso, Moscow’ (Pushkin museum) and recent international conferences Marxism, it inscribes these figures into contemporary debates.
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copyright 2007-9 |
Anthony Gardner completed his PhD, titled Politically Unbecoming: Critiques of “Democracy” and Postsocialist Art from Europe, at the Centre for Contemporary Art and Politics, The University of New South Wales, Australia. He has written for such journals as Third Text, Artforum, IDEA, A Prior and The Australian and New Zealand Journal of Art, as well as the books Brook Andrew: Theme Park (Utrecht), Crossing Cultures (Melbourne University Press) and The Cambridge Companion to Australian Art (Cambridge University Press). His monograph Mega-Exhibitions: Biennales, Triennales, and Documentas (co-written with Charles Green) is forthcoming from Wiley-Blackwell. 
Beata Hock is a researcher and independent curator based in Budapest. She holds a Ph.D. in Comparative Gender Studies. Currently she is Visiting Lecturer at the Department of Gender Studies at the Central European University, Budapest. Her research and curatorial interests include feminist cultural theory, the interrelation between social formations and cultural production, and the construction and representation of gender in state- and post-socialist societies. She published the book Nemtan és pablikart: Lehetséges értelmezési szempontok az utóbbi másfél évtized két művészeti irányzatához (Women's Art and Public Art: Possible Interpretive Aspects for Two Kinds of Art Practice Emerging in the Past 15 Years, Budapest: Praesens Books, 2005) and is a frequent contributor to Hungarian and international scholarly journals and art magazines.
Anda Kļaviņa is art critic and curator based in Riga. Since 2008 she has organized lectures and seminars on political aspects of contemporary art together with the Latvian Center for Contemporary Art and art/science initiative e-text+ textiles. She is one of the researchers at the project commissioned by the Latvian Museum of Contemporary Art – „And Others...: Unofficial Artistic Practices in Latvia 1960 - 1985”. From 2000 – 2007 Anda Kļaviņa was an art critic for the national daily “Diena”, also contributing to the Latvian and international art press („Studija”, „Fotokvartāls”, „Satori.lv”, „Flash Art”, „Spike Art” etc.). She has studied communication sciences in University of Latvia and holds a M.A. in philosophy from the Middlesex University, London. 
Zofia Kulik is an artist. She graduated from the Sculpture Department of the Warsaw Academy of Arts in 1971. Between 1970 and 1987, she worked collaboratively with her partner Przemysław Kwiek, under the name KwieKulik, staging performances in informal spaces set up in contrast to mainstream or official exhibition sites. Their work entailed a unique form of socio-political engagement and an uncompromising criticism of their surrounding reality, pioneering approaches to film, photography, and multi-screen slide projection, using expanded cinema, and exploring photographic and video documentation of process-based, ephemeral actions. Their approach combined scientific rigor with openness to improvisation. KwieKulik's artistic strategies included 'intuitive interactions', 'visual games', 'activities for the camera', 'parasite art', 'earn and create', and 'consciously bad art’, among others. This ‘New Red Art’ (in contrast with the Soviet ‘Soc Art’) reflected on the dissonance between reality and its official representation. KwieKulik’s apartment in Warsaw became an important independent institution called the Studio of Activities, Documentation and Propagation (PDDiU), gathering documentation relating to Polish avant-garde art of the period and serving as a space for artistic encounters and discussions. In her current individual works Zofia Kulik creates symmetric photomontage patterns, which explore issues of identity and ideology, drawing on the iconography of both Communism and Catholicism, . Her work as a solo artist has been exhibited internationally, including New York (Postmasters Gallery, 1990), Venice Biennale (1997) and XII Documenta Kassel (2007). 
Maria Matuszkiewicz
Ewa Borysiewicz - Art History Department at the Warsaw University graduate, Post-graduate Eastern European Studies at the Warsaw University student. Currently working on a project concerning the Poetry Bureau archive and output of Andrzej Partum. 
Dorota Monkiewicz is an art historian, curator and art critic. For nearly two decades she has been working as a curator of modern and contemporary art at the National Museum in Warsaw. In the years of 2005-2007 she was working on the Programming Committee of the new Museum of Contemporary Art in Warsaw. Since March 2009 she is ahead of the project of founding a new museum of contemporary art in Wrocław as a Deputy Director for Contemporary Museum Wrocław at the Culture Department of the City of Wrocław. Dorota Monkiewicz lectures at the Faculty of Culture Studies at Warsaw School of Social Psychology and at the Postgraduate Curatorial Studies at the Jagiellonian University in Cracow. She also curated numerous exhibitions and conferences on contemporary Polish and international art and published over one hundred texts, including essays, articles, catalogue entries, exhibition reviews, catalogues and books, on modern and contemporary art, museum collecting, and curatorial practice. Recently she has curated Zbigniew Libera retrospective exhibition and edited an extensive monograph “Zbigniew Libera. Works 1982-2008”, Zachęta. Narodowa Galeria Sztuki, Warszawa 2009. 
Angelika Richter is a curator and art historian based in Berlin. She currently is preoccupied with the field of contemporary art production, film- and media-art and the cultural sphere of the GDR. Her latest exhibition und jetzt. Künstlerinnen aus der DDR (curated together with Beatrcice E. Stammer and Bettina Knaup at Künstlerhaus Bethanien, Berlin 2009) was dedicated to female artists of the GDR. In 2008 / 2009 she conducted the East German research for Gender Check.Femininity and Masculinity in the Art of Eastern Europe at MUMOK Vienna (curated by Bojana Pejic). She is currently writing her PhD on Female subversion in the art of the late GDR at Hochschule für Grafik und Buchkunst Leipzig. From 2003 to 2006 she was artistic director of the Werkleitz Gesellschaft, Centre for Media Art, in Halle (Saale). From 2007 to 2009 she has been visiting lecturer at the Academy of Visual Arts (HGB) in Leipzig, Germany. Her latest publishing activity include a research text on the relation between fine art, the artist’s body and performance in the cultural production of female artists in the GDR.
Miško Suvaković is a contemporary aestheticist, art theorist and ex-conceptual artist born in 1954 in Yugoslavia, Belgrade. He was co-founder and member of conceptual artist group Group 143 (1975 - 1980), and is Professor of Aesthetics and Theory of Arts at Belgrade University. His many influential publications include: Paragrams of the Body / Figure (2001), Discursive Analysis (2006) and Impossible Histories: Historic Avant-Gardes and Post-Avant Gardes in Yugoslavia (2003). In 2007 he curated the exhibition Conceptual Art at the Museum of Contemporary Art Novi Sad.
I am an international graduate student in the Art, Art History and Visual Studies department at Duke University, working with Professor Kristine Stiles. My research focuses on art movements from the 1960s to 1989 in Hungary and former Yugoslavia, considering how artists began to counteract (self-) censorship with performance, conceptual, installation, and mail art practices. I grew up in former Yugoslavia but my family left for Germany in 1988 because of the impending war. There I finished the German Abitur, and then earned a B.A. in Art and Psychology at Maryville College, TN in the US. Then I pursued my M.A. in Art History at Savannah College of Art and Design, GA. I am currently in my third year of PhD studies at Duke University and have completed research at the Artpool Research archive in Budapest, the Cotemporary Museum of Art archive in Belgrade, the Hanns Sohm archive in Stuttgart and Géza Perneczky’s personal archive in Cologne. 
My interest in the topic results from my participation as co-investigator in the EU-funded project ‘Overcoming Dictatorships’ (15 Nov. 2006- 14 May 2009). The project, involving academics, artists and writers from seven EU countries, explored ways in which a variety of artistic production has dealt with the political changes in Europe, in particular the opening of former communist countries since 1989/90. Attempting to take a democratic approach in the form of dialogues and round-table discussions, seven workshops (held in each of the participating countries) led to an internationally shown exhibition with a publication (Overcoming Dictatorships. Contemporary East and West European Visual Inquiries, Leipzig: Kerber, 2008, 96 pp with 30 plates). 