Decolonising the Mind, Provincialising the West

About the participants

• Fouad Asfour

  Fouad Asfour is a writer and editor working in collaborative frameworks on publications, exhibitions, performance and art exchange projects. He has worked in various contexts, including the documenta 12 magazines editorial team, and is a member of the Dead Revolutionaries Club artist's collective. In 2011 he initiated the independent publishing project Pole Pole Press and is the co-founder of the self-organized student support initiative Thekgo Bursary (now in collaboration with Canon Collins Trust).

  Asfour is part of the Black Feminist research project 'Art On Our Mind' initiated by Dr Sharlene Khan at the University Currently Known As Rhodes in Grahamstown, South Africa, where the AvP laboratory activates border thinking through creative writing and self-translation. In 2008, he was a grant recipient of the Igor Zabel Award for Culture and Theory.

• Lina Džuverović

  Lina Džuverović, PhD, is a curator and Lecturer at the Reading School of Art, University of Reading. Previously she was Artistic Director at Calvert 22 Foundation (2011–13), Director of Electra (2003–2011), and has held curatorial roles at Momentum, the Nordic Biennial of Contemporary Art (2009), ICA London and the Lux Centre.

  Selected projects include Monuments Should Not Be Trusted (Nottingham Contemporary, 2016), Insoluble Moments – Yelena Popova (Knoll Galerie, Vienna Contemprorary, 2013), Sanja Ivekovic - Unknown Heroine (South London Gallery and Calvert 22, 2012/13), Archive As Strategy: Conversations about Self-historicisation across the East (Calvert 22, 2011- 14), IRWIN – Time For A New State (Calvert 22, 2012), The Forgetting of Proper Names (Calvert 22, 2012), 27 Senses (Chisenhale Gallery, London, 2010, Kunstmuseet KUBE, Alesund, Norway, 2009), Favoured Nations, Momentum, 5th Nordic Biennial of Contemporary Art (Moss Norway, 2009), Perfect Partner by Kim Gordon, Tony Oursler and Phil Morrison (Barbican Centre, London, 2005), Her Noise (South London Gallery, 2005) and Sound And The Twentieth Century Avant Garde (Tate Modern, 2004).

• Sanja Iveković

  Sanja Iveković was born in 1949 and lives and works in Zagreb. At the beginning of the 1970s, she was one of the first artists in the former Yugoslavia to begin taking an explicitly feminist approach in her work. Her early projects focused on the performative potential of mass media, magazines, newspapers, advertising, and public and private photography, involving her own person as a structural and referential figure in an expanded form of representation. The themes of representation and the status of women in our society are also central to her present-day work.

  Iveković has received numerous prizes and awards at film and video festivals, including those of Locarno and Montreal. She has also participated in several biennials including documenta 8, 11, and 13 in Kassel and Manifesta 2 in Luxembourg, as well as in exhibitions at the Museum of Modern Art in New York, the Taxispalais in Innsbruck, the Museu d’Art Contemporani in Barcelona, the Van Abbemuseum in Eindhoven, the Museum moderner Kunst in Vienna, the Fundació Antoni Tapiès in Barcelona and the Museum of Contemporary Art in Los Angeles.  

• Urška Jurman

  Urška Jurman is an editor, curator, project manager, art writer and sceptical enthusiast in the field of contemporary art. She holds a degree in Art History and Sociology of Culture from the Faculty of Arts, University of Ljubljana. She is a co-editor of the PlatformaSCCA Magazine for Contemporary Art and Theory (2000–2005), Ready 2 Change reader (2005), editor of the Sanja Iveković: Public Cuts catalogue (2006) and of Beti Žerovc's monograph When Attitudes Become the Norm: The Contemporary Curator and Institutional Art (2015), among others. Since 2013, she has served as the programme manager of the Igor Zabel Association for Culture and Theory in Ljubljana.  

• Klara Kemp-Welch

  Klara Kemp-Welch, PhD, is a lecturer on 20th century modernism at the Courtauld Institute of Art in London where she teaches courses on the cultural Cold War, countercultures and experimental art of Eastern Europe and Latin America. She was educated at University College London and the School of Slavonic and East European Studies in London.

  She is the author of the monograph Antipolitics in Central European Art: Reticence as Dissidence under Post-Totalitarian Rule 1956–1989 (2014) and just finished the monograph Networking the Bloc: International Relations and Experimental Art in Eastern Europe 1968–1989. As a post-doctoral researcher, she was awarded fellowships from the Phillip Leverhulme Trust and the Arts and Humanities Research Council. In 2012, she was a grant recipient of the Igor Zabel Award for Culture and Theory.