ConTRIBuToRS

Ivana Bago is an art historian, writer, and
curator based in Zagreb and Durham. She
is the co-founder (with Antonia Majaca) of
Delve | Institute for Duration, Location and
Variables (www.delve.hr), dedicated to the
intersections of academic, artistic, and cura-
torial practice. She has published extensively
on contemporary art, including Conceptual
art; the history of exhibitions; curating; per-
formance; feminism; (post)Yugoslav art; and
post-1989 art historiographies. Her curatorial
projects include: Moving Forwards, Counting
Backwards, Mexico City, 2012; The Orange
Dog and Other Tales, Zagreb, 2009; and
Stalking with Stories, New York, 2007.

Marko Ili´c is a Leverhulme Early Career
Fellow at University College London’s School
of Slavonic and East European Studies. His
current research project explores the inter-
sections between contemporary art and poli-
tics in postsocialist societies, focusing on the
post-Yugoslav context. Recent publications
include an article in Third Text and a
chapter in Collaboration and Its Discontents
(Courtauld Books Online, 2017). He is also
currently working on a monograph entitled
Self-Management: The New Art Practice in
Yugoslavia, 1966–1989.

Lidia Klein is an Assistant Professor of
Architectural History at the School of
Architecture at UNC-Charlotte, where she
specializes in global contemporary architec-
ture. Her current research centers on the
political dimensions of postmodern architec-
ture outside the Global North, specifically
in South America and Eastern Europe.

Romana Schmalisch studied fine art at the
Berlin University of the Arts. She has been
an artist-in-residence at many institutions,
including the Jan Van Eyck Academy in
Maastricht, Studio Voltaire in London, and
Les Laboratoires d’Aubervilliers. Robert
Schlicht studied philosophy at Humboldt
University in Berlin. Together, Schmalisch
and Schlicht work at the interface of film and
theory to grapple with how historical proc-
esses and societal structures can be repro-
duced in film. Their research has taken them
inside such places as employment agencies
and training centers. Their works include the
2013–14 screening and performance series
“The Choreography of Labour” at Les
Laboratoires d’Aubervilliers; the play All the
Best from Labour Power Plant at La Commune–
Centre Dramatique National in Aubervilliers
(2017); and the exhibitions Titre de Travail at
FRAC Grand Large–Hauts-de-France in
Dunkerque, and Humanity at Work at Haus
der Kulturen der Welt, Berlin (both 2018).

Ma¯ ra Traumane is an art historian and
curator working in Berlin and Riga. Between
2014 and 2017 she was a research fellow at
the SNF research project “Art and Literature
on Trial: Focus Eastern Europe” (Kunst und
Literatur vor Gericht: Fokus Osteuropa) at the
University of Zurich. Her research focuses
on the comparative study of art in Eastern
Europe after World War II; histories of the
neo-avant-garde; feminist art history; and the
political contexts of artistic practices. From
2005 to 2011 she was responsible for research
at the archive of the artists’ group Workshop
for the Restoration of Unfelt Feelings. She is
a co-editor of the book Kunst vor Gericht:
Ästhetische Debatten im Gerichtssaal (2018).

l

D
o
w
n
o
a
d
e
d

f
r
o
m
h

t
t

p

:
/
/

d
i
r
e
c
t
.

m

i
t
.

e
d
u
a
r
t

/

/

m
a
r
t
i
c
e
–
p
d

l

f
/

/

/

/

8
1
1
1
7
1
9
8
9
0
8
6
a
r
t

/

m
_
x
_
0
0
2
3
1
p
d

.

f

b
y
g
u
e
s
t

t

o
n
0
7
S
e
p
e
m
b
e
r
2
0
2
3

117
Download pdf