FEDOR BLAŠČÁK

is a philosopher by profession who is currently working as an independent scholar and activist. He completed a degree in philosophy at the Faculty of Arts of Comenius University in Bratislava in 2000. He was a fellow at the Centre for Theoretical Studies in Prague and at the Faculty of Humanities at Charles University in Prague. In 2007, he launched MEMORY KONTROL as an intellectual workshop aimed at non-academic research and discourse production on topics from the modern history of Czechoslovakia and Central and Eastern Europe. In 2011, he co-initiated the restoration and transformation into a Kunst- halle of the famous synagogue designed by German architect Peter Behrens in Žilina. In 2015, he was awarded an Effective Activist Fellowship from OSIFE (Open Society Initiative for Europe).

SEZGIN BOYNIK

lives and works in Helsinki and Prizren. He completed his Ph.D. in the Department of Social Sciences at the University of Jyväskylä on the Cultural Politics of Black Wave in Yugoslavia from 1963 to 1972. He has published on punk, the relationship between aesthetics and politics, cultural nationalism, and interna- tional and Yugoslav Situationist cinema. He is the co-editor of the reader Nationalism and Contemporary Art (with Minna L. Henriksson, Rhizoma & EXIT, Prishtina, 2007) and co-author of An Interrupted His- tory of Punk and Underground Resources in Turkey 1978–1999 (with Tolga Guldalli, BAS, Istanbul, 2008). His recent articles include “New Collectives” (In: Retracing Images, Brill, Boston & Leiden, 2011), “Cultural Policy of Dusan Makavejev” (In: Kino!, Journal No. 15, Ljubljana, 2011), “Discontents with Theoretical Practices in Contemporary Art” In: Journal of Visual Art Practice, 10:2, London, 2011), “Art of Slogans – in two parts” (In: TKH, No. 19 and 20, Belgrade, 2012), “Dimitrije Tucovic i Srpsko-Albanski ‘Istoricisticki’ Odnosi” (In: Cenzura d.o.o., Novi Sad, 2013), “Social Surrealism: Historical-Materialist Theses on the Mystery of Art” (In: open space journal, Vienna, 2013) and “Marxist-Leninist Roots of Zenitism” (In: Film- kollektiv, Frankfurt, 2013). In addition to doing work as a scholar, he is also active as a conceptual artist. His compositions include the installation On Lenin: Atlases, Herbariums and Rituals (Anders Bergman Galleri, Helsinki, 2012) and the art-books Counter-constructivist Model (co-authored with M. L. Henriksson, Labyrinth Press, Stockholm, 2012), Still Stealing Steel: Historical-Materialist Study of Zaum (Rab-Rab Pub- lication, Tbilisi, 2014) and Noise After Babel: Language Unrestrained (Spector Books, Leipzig, 2015, forth- coming). He is a contributor and a member of the editorial board of Rab-Rab: Journal for Political and Formal Inquiries in Art.

EKATERINA DEGOT

is a writer and curator, laureate of the Igor Zabel Award for Culture and Theory (2014), Artistic Director at the Academy of Arts of the World, Cologne (where she runs a multidisciplinary twice-a-year festival Pluriversale), and professor at the Alexander Rodchenko Moscow School of New Media and Photography. Her recent curatorial projects include Monday Begins on Saturday, First Bergen Assembly, Bergen, Norway, 2013 (with David Riff).

MARINA GRŽINIĆ

is professor of philosophy and works as research advisor at the Institute of Philosophy at the Scientific and Research Centre of the Slovenian Academy of Sciences and Arts in Ljubljana. She is a professor at the Academy of Fine Arts in Vienna. She has published extensively. Her last book, entitled Necropolitics, Racialization, and Global Capitalism: Historicization of Biopolitics and Forensics of Politics, Art, and Life (Lanham, US, 2014), was co-authored with Šefik Tatlić. She has been active in video and media art since 1982. For the past three decades, she has worked in collaboration with Aina Šmid.

http://grzinic-smid.si

JASMINA ZALOŽNIK

is a Ph.D. candidate at the University of Aberdeen (UK). Her research focuses on Slovenian and Serbian alternative culture of the 1970s and 1980s. She also works as dramaturge, curator and writer in the performing arts. Založnik completed her MA in Philosophy at the Research Center of the Slovenian Academy of Sciences and Arts under the mentorship of Marina Gržinić. Since having finished her studies, Založnik has been an indispensable contributor to the performing arts and the cultural scene in Slovenia. She cooperates with several performing arts festivals and writes about the contemporary performing arts, philosophy and issues pertaining to cultural theory. Her main interests include the interweaving of politics, aesthetics, and questions of labour and subjectivity. As curator and artistic director she has coordinated several international festivals, in which she has strived to twist accepted views and critically engage with existing modes of production and festival formats. She contributes to various magazines and journals. She engages in artwork in the fields of performance and dance as drama- turge, co-author, performer and artistic collaborator. Založnik has received the Slovenian Contemporary Dance Association’s “Ksenija Hribar Award” for the year 2015 in the category for critic/writer/dramaturge.

ANIKÓ IMRE

is an Associate Professor and Chair of the Division of Cinema and Media Studies at the School of Cinematic Arts of the University of Southern California, Los Angeles. Her work revolves around global media, with a special interest in (post)socialism. Her books include Identity Games: Globalization and the Transformation of Media Cultures in the New Europe; Transnational Feminism in Film and Media; East European Cinemas; Black- well Companion to Eastern European Cinemas; Popular Television in Eastern Europe During and Since Socialism, and the forthcoming TV Socialism.

TÍMEA JUNGHAUS

is an art historian and contemporary art curator of Roma/Sinti origin. Since 2010, she has been a research fellow at the Institute of Art History of the Research Centre for the Humanities of the Hungarian Academy of Sciences. She is author and co-editor of the comprehensive publication on European Roma visual art Meet Your Neighbours – Contemporary Roma Art from Europe (2006). In recognition of her work as a curator, including the founding of the Budapest-based János Balázs Gallery (2004) and the organi- zation of subsequent exhibitions, the Roma component of the exhibition entitled The Hidden Holocaust in the Budapest Kunsthalle (2004), and the First Roma Pavilion at the 52nd Venice Biennale (2007), Jung- haus received the Kairos European Cultural Prize from the Alfred Toepfer Stiftung F.V.S. in 2008. She is currently completing her Ph.D. in Cultural Theory at Eötvös Loránd University, Budapest. She has studied and published extensively on the conjunctions of modern and contemporary art with critical theory, with particular reference to issues of cultural difference, colonialism, and minority representation. Junghaus is the founding director of the European Roma Cultural Foundation (www.romacult.org), an independent foundation which established Gallery8 – Roma Contemporary Art Space (www.gallery8. org), the winner of the 2014 Katalizátor Award and the 2014 Otto Pankok Prize Roma Foundation of German writer and Literary Nobel Laureate, Günter Grass.

ZOLTÁN KÉKESI

is a writer and cultural researcher. As of 2009, he has taught as an instructor in the Department of Art Theory and Curatorial Studies at the Hungarian University of Fine Arts, Budapest. In 2014–2015, he was a Prins Foundation senior research fellow at the Center for Jewish History, New York. In 2010, 2012, and 2013 he was a guest lecturer in the master’s program in Cultural Studies of Central and Eastern Europe at Humboldt University, Berlin. He was a DAAD research fellow at Humboldt University in 2005 and 2011 and an ÖAD research fellow at the University of Vienna in 2007 and 2013. He obtained his Ph.D. in Comparative Literature and Cultural Studies from Eötvös Loránd University, Budapest, where he worked as a research fellow from 2006 to 2011. His most recent book is Agents of Liberation: Holocaust Memory in Contemporary Art and Documentary Film, featuring case studies on German, Polish, and Israeli artists (Hungarian edition 2012, English edition 2015). His current research investigates the visual and cultural history of modern anti-Semitism and the radical right, with a focus on Central and Eastern Europe.

YULIA KHMELEVSKAYA

is a senior research associate at the Center for Cultural History Studies (CCHS) of the South Ural State University in the city of Chelyabinsk, Russia. After getting a “kandidatskaya” degree in Modern and Contemporary History at Perm State University in 2000, she taught at the Chelyabinsk State and South Ural State universities. She has participated in many collaborative scholarly projects and has held several fellowships (Russian IREX, Gerda Henkel, Kennan-Fulbright, CEU-CRF). Since 2014, Dr Khmelevskaya has switched to research and organizational work at the CCHS, including the coordination of collaborative projects and summer schools, editorial work, scholarly consultancy on filmmaking projects, etc. She has authored and co-authored more than 50 publications in Russian, German, English and French journals and is co-editor of and a contributor to 9 volumes of scholarly essays released by CCHS in the past 10 years on various aspects of Russian and Soviet history. At present, she is working as a sub-editor of the “Russian Empire” section of the ongoing project 1914–1918 Online. The International Ency- clopaedia of the First World War (http://encyclopedia.1914-1918-online.net/home/#Encyclopdia). Her research interests include social and cultural history of the 20th century; memory studies; imagining the Other; mutual perceptions of Russians and Americans in the 20th century and post-Soviet Russia.

IZABELA KOWALCZYK

(Ph.D. in Art History, 2001; habilitation degree in Cultural Studies, 2012) is an art and cultural historian, art critic and curator. She works as an associate professor at the University of Arts in Poznań. Her research areas include feminist art, critical art, art and democracy, the art of collaboration, and artistic responses to recent history. Her publications include Ciało i władza. Polska sztuka krytyczna lat 90 (Body and Power in Polish Critical Art in 1990, 2002), Matki-Polki, Chłopcy i Cyborgi. Sztuka i feminizm w Polsce (Polish Mothers, Boys and Cyborgs. Art and Feminism in Poland, 2010), Podróż do przeszłości. Interpretacje najnowszej historii w polskiej sztuce krytycznej (Travel to the Past. Interpretations of Recent History in Polish Critical Art, 2010), “The Ambivalent Beauty” (In: Gender Check. Femininity and Masculinity in the Art of Eastern Europe, 2009), “Visualising the Mythical Polish Mother” (In: Gender Check. A Reader. Art and The- ory In Eastern Europe Feminist Exhibitions in Poland, 2010), “Non-absent Past: Swimming Pool by Rafal Jakubowicz” (In: Memory of Shoah. Cultural Representations and Commemorative Practises, 2010), “From Identity to the Transformation of Visual Order” (In: Working with Feminism. Curating and Exhibitions in Eastern Europe, ed. K. Kivimaa, 2012), “Working Through Traumatic History in Central Europe” (In: Curating Eastern Europe and Beyond. Art Histories Through Exhibitions, ed. M. Oriskova, 2014).

COLLEEN MCQUILLEN

is an associate professor in the Department of Slavic and Baltic Languages and Literatures at the University of Illinois at Chicago. Her book Modernist Masquerade: Stylizing Life, Literature, and Costumes in Russia (University of Wisconsin Press, 2013) examines performances of social identity, literary and visual self-stylizations, and politically expedient masquerade balls in fin-de-siècle Russia. Her current research on art activism in Russia investigates the body as a tool of political opposition by considering the performative aspects of graffiti and politically motivated acts of self-harm. She is now co-editing a volume entitled The Human Reimagined: Posthumanism in Late and Post-Soviet Russia (under contract with Academic Studies Press), which examines the ways in which literary and artistic representations of the body, selfhood, subjectivity, and consciousness illuminate late-Soviet and post-Soviet ideas about the changing relationships among the individual, technology, and society in Russia.

JÓZSEF MÉLYI

is an art historian and critic. He studied Economics and Art History in Budapest. He is currently completing his Ph.D. at Eötvös Loránd University. In the 1990s, he worked at the Hungarian Cultural Institute in Berlin. In 2000, he was founder and chief editor of the online art publication exindex, while working as deputy director of the C3 Foundation in Budapest. For over 20 years now, he has been publishing art criticism and research articles, mainly on Hungarian contemporary art, in various Hungarian and international publica- tions. In the 2000s, he curated numerous exhibitions and other projects (Kempelen – Man in the Machine, Kunsthalle, Budapest and ZKM, Karlsruhe, 2007; Amerigo Tot – Parallel Constructions, Ludwig Museum, Budapest, 2009; Outer Space – www.kivultagas.hu, 2013, together with Eszter Kozma and Márton Pacsika). His work focuses on public art, institutional critique and the Eastern-European art of the 1960s and 70s. He has also translated works by Walter Benjamin and László Moholy-Nagy, amongst others, into Hungarian. He is currently professor of the Hungarian University of Fine Arts and visiting lecturer at the Moholy-Nagy University of Art and Design and the University of Theater and Film Arts in Budapest.

MAGDALENA MOSKALEWICZ

is the curator of the Polish Pavilion at the 56th Venice Biennale. From 2012 to 2015, she held the position of Andrew W. Mellon Postdoctoral C-MAP Fellow at The Museum of Modern Art in New York, where she led the Central and Eastern European branch of MoMA’s global research initiative, C-MAP. She completed her Ph.D. in art history at the Adam Mickiewicz University. In her dissertation she examines the Polish neo-avantgarde of the 1960s. Moskalewicz has published and lectured internationally on Polish abstract painting, assemblage, and conceptual art, as well as more contemporary art practices. From 2010 to 2012, she was the editor-in-chief of Arteon, Poland’s monthly contemporary art magazine. In her scholarly, editorial, and curatorial work, Moskalewicz critically investigates local art histories and representations of national identities in order to reshape and revise dominant historical narratives. To that end, she is currently working on an exhibition entitled The Travelers, scheduled to open at the Zachęta–National Gallery of Art in Warsaw in May 2016.

CRISTIAN NAE

is an Associate Professor of art history and theory in the Faculty of Visual Arts and Design at the George Enescu University of Arts, Iaşi, Romania. He holds a Ph.D. in philosophy from Alexandru Ioan Cuza University, Iaşi. He has received several research fellowships and has served as the coordinator of research projects with funding from the ERSTE Stiftung, Vienna, the “New Europe College” Institute for Advanced Studies, Bucharest, the Getty Foundation, and The National Council of Scientific Research. He is a member of AICA, the College Arts Association (CAA) and the European Society for Aesthetics, and he has served as part of the editorial board of the journals Vector, Artmargins and META. In his research he examines the intersections of exhibition studies, visual studies, aesthetics and art history, focusing on contemporary art practices and politics of representation in Romania and the former Eastern Europe after the 1960s. He has published articles in international journals, such as Zivot Umjetnosti, Estetika: The Central European Journal for Aesthetics, META and Studies in Eastern European Cinema (forthcoming) and critical anthologies (Curating Eastern Europe and Beyond: Art History through the Exhibitions, Veda & Peter Lang, 2014). He has also published monographs and surveys of Romanian contemporary art (such as SubREAL, Verlag für Moderne Kunst, 2015 or Romanian Cultural Resolution, Hatje Cantz, 2011). His most recent book is a critical introduction to modern and contemporary art theory (Polirom, 2015).

ALMIRA OUSMANOVA

(Ph.D. in Philosophy) is a professor in the Department of Media and Director of the MA programme in Cultural Studies at the European Humanities University (Vilnius, Lithuania). Her research interests include genealogies and methodologies of visual studies, gender representations in the visual arts, and Soviet cinema, art and politics. She is the author of Umberto Eco: Paradoxes of Interpretation (2000) and has served as the editor or one of the editors of several collections of essays, including Anthology of Gender Theory (ed., with Elena Gapova, 2000), Gender Histories from Eastern Europe (co-edited with Elena Gapova and Andrea Pető), Bi-Textuality and Cinema (ed., 2003); Gender and Transgression in Visual Arts (ed., 2007), Visual (as) Violence (ed., 2008), Belarusian Format: Invisible Reality (ed., 2008), Feminism and Philosophy (ed., special volume of the journal Topos, 2010), TechnoLogos: the social effects of bio- and information technology (ed., with Tatyana Shchyttsova, special volume of the journal Topos, 2014). She is also editor-in-chief of a book series in visual and cultural studies (published with EHU Press, Vilnius). Curatorial projects: Museum (2011) and Not Looking at Anything (2014, monographic exhibitions of Ruslan Vashkevich; Belarus), 24h Solaris (audio-visual installation with Ales Tsurko, Natalia Nenanoromova and Ales Potapenko; 2014), Roland Barthes: Keywords (2015), Artes Liberales (art and educational festival in Minsk, organized annually since 2012).

BOJANA PEJIĆ

is an art historian. Between 1977 and 1991, she served as curator at the Student Cultural Centre of Belgrade University. She has written extensively on contemporary art since the early 1970s. As of 1991, she has lived in Berlin. She has written on the art of Marina Abramović, VALIE EXPORT, Jochen Gerz, and Sanja Iveković. Her texts on questions of theory have been published in Germany, Austria, Poland, Japan, Great Britain and elsewhere. In May 2005, she defended her Ph.D., entitled The Communist Body: Politics of Representation and Spatialization of Power in the SFR Yugoslavia (1945–1991), at the Carl von Ossietzky University in Germany. She was guest professor at Humboldt University in Berlin (2003), at the Institute for Cultural Studies at the University in Oldenburg, Germany (2006/2007) and at Central European University (Gender Studies) in Budapest (Winter 2013). She was chief curator of the exhibition After the Wall – Art and Culture in Post-Communist Europe, organized by the Moderna Museet, Stockholm (1999), which was also presented at the Museum of Contemporary Art – Foundation Ludwig, Budapest (2000) and at Hamburger Bahnhof, Berlin (2000–2001). In 2008, she curated the international exhibition Artist-Citizen, 49. October Salon in Belgrade (Serbia). She was chief curator of the exhibition Gender Check, organized at mumok, Vienna, 2009–2010 and also shown at the Zachęta–National Gallery of Art in Warsaw in 2011. She is the editor of the volume Gender Check: Art and Theory in Eastern Europe – A Reader (2010). Recently, she curated an international exhibition entitled Good Girls – Memory, Desire, Power in the Museum of Contemporary Art (MNAC) in Bucharest (2013). She also organized an international symposium, Good Girl – Feminism Here and Now, which was held at MNAC, Bucharest, 2013.

ANDREA PÓCSIK

(Ph.D. in Philosophy – Film, Media and Cultural Theory) is a senior lecturer in the Media Studies Department at Pázmány Péter Catholic University. Her main research areas are film history, documentary/anthropological film (theory), cultural studies, Romani studies (Roma representation) and media archaeology. She has also been working as a curator, programme advisor and project leader of film and contemporary art programmes (VERZIO International Human Rights Documentary Film Festival, Budapest, 2004, 2005; Dialëktus Anthropological Film Festival, Budapest, 2010; Cineromani Retrospective, German Historical Museum’s Zeughauskino, Berlin, 2013; “Filmer a tout prix” Documentary Film Festival, Brussels, 2013; “Intersections I–III.”, tranzit.hu, Budapest 2013–2014; OFF-Biennále Budapest, 2015). In her academic work, she strives to foster engaged scholarship in Hungary and nurture an ethos of cultural resistance, developing new methods of teaching film, media and cultural studies in higher education. In her recent publications and conference presentations she has addressed film, media and cultural practices in which discursive elements of certain power relations can be revealed. She has also analysed the possible ways of adopting reflexive-critical positions and their influences on representation. Working to further these purposes in the framework of PATTERNS Lectures 2013, she developed a film club and university course in Budapest at Eötvös Loránd University and DocuArt Cinema. Roma Visual Lab has been functioning for five years now as an independent intellectual and activist community film club devoted to the analysis of Roma representation and documentary filmmaking on the basis of the concept of “changing registers”.

VEDA POPOVICI

was born in Romania and works as an artist, theoretician and activist. Her interests include collective/national representations in art, possibilities to create common, colonial (and) patriarchal histories and the political harmfulness/harmlessness of art. She is currently a Ph.D. candidate at the University of Arts in Bucharest, where she conducts research on nationalism and national identity in Romanian art of the 1970s and 1980s.

OVIDIU POP

His main field of interest is literature and critical theory, to which he has dedicated most of his efforts since having completed his degree in the Department of Political Science at the University of Vienna in 2009. His experience spans several years and involves different academic and literary institutions in Cluj, Bucharest and Vienna. Pop regards himself as a transnational migrant, and divides his life between the country of his origin (Romania) and his adopted country (Austria). In both places he nurtures long-standing and ongoing relationships with artistic and political groups (Claca – Bucharest, Brunnenpassage, Exilliteratur Verlag, Precarity Office – Vienna), each of which has shaped his convictions and prompted him to consider topics such as the colonial nature of power and aesthetics, poverty, housing rights, precarity, migration, etc. He places his work at cross-borders, in the borderlands, as the Chicana writer Gloria E. Anzaldúa phrased it. While living and studying in Vienna, he was confronted with the East/West cleavage, so he perceives his use of knowledge and his literary production as existing in a concrete field of power and marked by a kind of urgency. This is one of the reasons why he abandoned the pursuit of an academic career, concentrating in recent years on teaching at institutions with social and artistic agendas. Recently, he was awarded the Exilliteratur Prize in Vienna for a story written in German.

ANDREW RYDER

received his doctorate in Comparative Literature from Emory University in 2010. He currently teaches in the Gender Studies Department and the Roma Access Program at Central European University in Budapest, and previously taught at the University of Pittsburgh and Al-Quds Bard College in Abu Dis, Palestine. He has written a book manuscript on French literature and theory entitled Irreducible Excess: Politics, Sexuality, Materialism, as well as numerous articles on continental philosophy, modern literature, political thought, Marxism, and contemporary European and Middle Eastern politics. In particular, he has offered innovative interpretations of the works of Georges Bataille, Jean-Paul Sartre, Emmanuel Levinas, Louis Althusser, Jacques Derrida, Alphonso Lingis, and Alain Badiou. He has taught many courses on capitalism and gender, biopolitics, world literature, and feminist thought. His present work concerns Italian autonomist feminism and contemporary social reproduction theory.

ALINA ȘERBAN

is an independent curator, scholar, and editor based in Bucharest. Her research focuses on post-war experimental art and the changing status of architectural images of the era, alongside the complex questions of rewriting Eastern European art history. She is interested in the different regional constructions of conceptualism and exhibition practices of the 1960s and 1970s. In her curatorial work, she seeks to explore concepts such as theatricality and narrative writing in the exhibition site. She curated The Seductiveness of the Interval (Romanian Pavilion, 53rd Venice Biennale 2009; University of Chicago, 2010) and recently co-curated the exhibition Enchanting Views: Romanian Black Sea Tourism Planning and Architecture of the 1960s and 1970s and edited the corresponding publication. As editor and co-author, she has published the monographs Ioana Nemeș: Artist-Book (Spector Books, 2014); Ion Grigorescu: The Man with a Single Camera (Sternberg Press, 2013); Geta Brătescu: The Studio (Sternberg Press, 2013); and Evicting the Ghost. Architectures of Survivals, a project of the architectural group studioBASAR (Association pepluspatru, 2010).

PROPOSALS SELECTED BY

EDIT ANDRÁS

is a Hungarian art historian and critic. She lives in Budapest and in Long Island, NY. She has been affiliated with the Institute of Art History, Research Centre for the Humanities of the Hungarian Academy of Sciences (Budapest) as a senior research fellow. She holds a Ph.D. in art history from Eötvös Loránd University, Budapest. In 1997, she was a Fulbright fellow at NYU. Her main interest concerns Eastern and Central European art, gender issues, socially engaged art, public art, critical theories, post-socialist condition and nationalism in the region. In 2009, she was a member of the Advisory Board and a researcher of Hungary for the exhibition Gender Check. Femininity and Masculinity in the Art of Eastern Europe, shown in mumok, Vienna. In 2010–11, she participated as a core member in the international seminar series dedicated to the topic Thinking Art History in East-Central Europe, organized by The Research and Academic Program at the Clark Art Institute, Williamstown, Massachusetts, USA and held in Tallinn, Bucharest and Brno. She has been a member of the advisory board of the online version of Artmargins. She has participated in several international conferences and workshops as invited speaker and published numerous essays in collected volumes, catalogues and professional journals, including Artmargins, e-flux, Idea, Third Text, springerin. She is the editor of the anthology Transitland. Video Art from Central and Eastern Europe 1989–2009. Budapest, 2009. She is the theoretician of the Private Nationalism Project and was the curator of the exhibition Imagined Communities, Personal Imaginations / Private Nationalism Budapest, 2015.

editandras.arthistorian.hu

MAJA and REUBEN FOWKES

are art historians and curators who work out of Budapest and London. They are founders of the Translocal Institute for Contemporary Art, a centre for transnational research into East European art and ecology based in Budapest that operates across the disciplinary boundaries of art history, contemporary art and ecological thought. Maja Fowkes is the author of The Green Bloc: Neo-Avant-garde Art and Ecology under Socialism (2015) and has a Ph.D. from University College London. Reuben Fowkes’s thesis at Essex University was on Socialist Realist public monuments in post-war Eastern Europe. They recently published River Ecologies: Contemporary Art and Environmental Humanities on the Danube (2015). They have curated numerous exhibitions, as well as a series of conferences focussing on East European art history, through the SocialEast Forum. They publish and lecture widely on topics involving the history and aesthetics of East European art, from the art production of the socialist era to contemporary artistic responses to the transformations brought about by globalisation.

translocal.org

SÁNDOR HORNYIK

(Ph.D. in Art History, 2005) is a senior research fellow at the Institute of Art History of the Research Centre for the Humanities of the Hungarian Academy of Sciences. His doctoral thesis addressed the relationship between avant-garde art and the modern natural sciences. In 2008, it was published as a book entitled Avant-Garde Science. Recently, he has focused on theoretical issues concerning socialist and post-socialist visual culture and the epistemology of visual studies. His latest book Idegenek egy bűnös városban (Aliens in a Sin City, Budapest, 2013) is about the relationship between Art History and contemporary visual culture. Between 2012 and 2014, he served as the chief curator of MODEM (Museum of Modern Art Debrecen), where he curated the exhibition Hybridity in the Carpathians in 2011. Previously, he was a member of the curatorial board of the Institute of Contemporary Art in Dunaújváros. He has also curated exhibitions in Maribor (Foreign Matter, National Liberation Museum, 2012) and Riga (Revolutionary Traditions, Riga Arts Space, 2011).

KATALIN TIMÁR

is a curator and theorist. She works as a curator in the Ludwig Museum – Museum of Contemporary Art in Budapest, where her projects have included solo shows for artists such as Jeanne van Heeswijk (2004), João Penalva (2005), Wood and Harrison (2006), and Simon Starling (2008) and thematic exhibitions such as Budapest Box (2002, with Dóra Hegyi), Unmistakable Sentences (2010), The Hero, the Heroine and the Author (2012) and most recently Ludwig Goes Pop + The East Side Story (2015). She was the curator of the Hungarian Pavilion at the 52nd Venice Biennale in 2007, which received the Golden Lion Award for Best National Pavilion (with the participation of Andreas Fogarasi). She holds a Ph.D. in Linguistics and teaches Art History and Theory at the Faculty of Music and Visual Arts at the University of Pécs (Hungary).

HEDVIG TURAI

is an art historian and critic based in Budapest. She is currently working at the International Business School in Budapest. From 2010 to 2013, she worked in the Museum of Contemporary Art, Ludwig Museum Budapest as a museologist and researcher. She organised the Ludwig Museum lecture series Theoretical and critical problems of the margins today. She co-edited the book Exposed Memories: Family Pictures in Private and Collective Memory (with Zsófia Bán, 2010), edited two special issues of the Hungarian journal Enigma (in 2004) on the approaches of art to the Holocaust, and organised international conferences on the Holocaust and art (with art historian József Mélyi, Goethe Institute, 2004; with writer Zsófia Bán, Goethe Institute, 2008). In 2001, she published a book on the Hungarian painter Margit Anna. She has worked for the University of California’s Education Abroad Programme in Budapest and as an editor for Corvina Publishing House.