Maja Ćirić

Foto Maja Ćirić

Maja Ćirić je nagrađivana kustoskinja (nagrada Lazar Trifunović, 2007; ArtsLink Independent Projects Award, 2008; ISCP Curator Award, 2011; Dedalus Foundation Curatorial Research Award, 2013; Visual Artists Ireland Visiting Curator Award, 2019;) i likovna kritičarka sa iskustvom u vođenju i doprinosu međunarodnim projektima. Između ostalog, Ćirić je bila kustoskinja vizuelnog dela Bijenala mladih umetnika Mediterranea, u Tirani (2017.), i kustoskinja (2007.) i komesar (2013.) paviljona Srbije na bijenalu vizuelnih umetnosti u Veneciji. Njeni javni angažmani bili su, između ostalog, u MAC VAL (2017.), Centre Pompidou (2018.) u Parizu i MNAC u Bukureštu (2018.). Pisala je za Obieg, Artforum i Artmargins Online kao i preko pedeset umetničkih kritika za individualne izložbe srpskih savremenih umetnika. Redovno gostujuje kao predavač istorije, metodologije i epistemologije kustoskih praksi (Oberlicht Association, Kišinjev, Moldavija (2020.); Fine Arts Academy, Taipei, Tajvan (2019.) itd. Bila je uključena je u projekte koji proučavaju odnos između umetnosti i nauke sa posebnim osvrtom na veštačku inteligenciju i digitalni obrt, a u saradnji sa Centrom za promociju nauke (2020.) u Beogradu i Trieste Contemporanea u Trstu, Italija u okviru Trsta evropske prestonice nauke.

Aktivna je članica ULUPUDS-a, AICA (Udruženja likovnih kritičara), ICI-a (Independent Curators International), IKT-a (International Association of Curators of Contemporary Art).

Obrazovanje:

  • 2013. Diploma doktora nauka iz oblasti teorije umetnosti i medija, Univerzitet umetnosti, Beograd, Srbija
  • 2002 -2003. Diploma iz oblasti studija kulture i roda, Alternativna akademska obrazovna mreža, Beograd, Srbija
  • 1996-2002. Diploma istoričara umetnosti, Filozofski fakultet, Univerzitet u Beogradu, Beograd, Srbija
  • 2001-2002. Diploma škole za odnose sa javnošću, Beograd, Srbija

Kursevi

  • 2010. Curatorial Intensive, Independent Curators International, Njujork, SAD
  • 2009. Prvi globalni kurs za kustose, Gwangju bijenale, Gvangžu, Južna Koreja
  • 2006.   kurs za kustose Rene Block-a
  • 2005. Transmissions kurs za kustose Eric-a Corne

Projekti (izbor):

  • kustoskinja virtuelne tematske zbirke – Savremeno staklo, Revitalizuj i oživi staklarstvo – virtuelni muzej Srpke fabrike stakla Paraćin, Srbija, 2021.
  • kustoskinja, Transformativna praksa, Raedle-Jeremić,  MSUV Novi Sad, jun-jul, 2021.
  • kustoskinja, They-Oni-Siei u saradnji sa Golden Pixel Cooperative, Beč, Austrija, april 2021. (http://they-sie-oni.goldenpixelcoop.com/)
  • kustoskinja, Jesenja izložba „Upleteni“ ULUS, Beograd, Srbija, 2020.
  • članica uređivačkog odbora, The Large Glass Magazine,  MoCA, Skopje, Republika Makedonija
  • kustoskinja, Both Ways, art+science, Centar za promociju nauke, Trieste Contemporana, European AI Lab, Beogad, Srbija i Trst, Italija, 2019-20.
  • kustoskinja, Ishodi nove tehnologije, Galerija savremene umetnosti, Pančevo, Srbija, 2019.
  • kustoskinja, Fragments 1, Hestia Exhibition Bureau, Beograd, Srbija, 2018.
  • glavna kustoskinja za vizuelne umetnosti, Mediterranea 18, Young Artists Biennale, Tirana, Albanija, 2016-2017.
  • stručna savetnica koreografkinji Malin Elgan, IASPIS, Stokholm, Švedska, 2017.
  • članica Saveta nastupa Republike Srbije na Bijenalu arhitekture u Veneciji, 2016. i 2018.
  • članica Saveta Salona arhitekture, Muzej primenjene umetnosti, Beograd, Srbija, 2015.
  • ko-kustoskinja, Debatable Screenings, Arts Center College of Design, Pasadena, Kalifornija, 2016.
  • kustoskinja, Opservacije sa ivice, Astronomska opservatorija Beograd, Srbija 2016.
  • kustoskinja, Los Privilegiados, El salón, Madrid, Španija, 2015.
  • kustoskinja, Within One’s Grasp, àngels Barcelona, Španija, 2015.
  • kustokinja, Displacement of All Places, UQBAR Project Space, Berlin, Nemačka, 2015.
  • ko-osnivač; Gift Exchange Residency, Dom Omladine i AIR Šumatovačka, Beograd, Srbija, Times Museum, Guangzhou, Kina, Grey Project, Singapur, Casa Tres Patios, Medellin, Kolumbija, 2014.
  • kustoskinja, Stone, Wood and Paradise Syndrome, 1933 Contemporary Gallery, Šangaj, Kina, 2014.
  • komesar, Paviljon Republike Srbije na 55. International Art Exhibition La Biennale di Venezia, Venecija, Italija, 2012-2013.
  • urednica i voditeljka specijalnog izdanja Kulturnog dnevnika posvećenog vizuelnim umetnostima, RTS, Beograd, Srbija, 2013.
  • istraživač, ICI (Independent Curators International) and The Dedalus Foundation Curatorial Research Award, New York, 2012 – 2013.
  • kustoskinja, We’re Everything to Each Other, Lanchester Gallery Projects. Koventri, Velika Britanija 2013.
  • kustoskinja, 0.1: Yet Another Effort to Understand if it Really Emerged from NowHere, Open Space Open Systems, Beč, Austrija, 2012.
  • kustoskinja, The Power to Host, ISCP, Brooklyn, New York, USA, 2011.
  • kustoskinja, ArtBus, Pulse Art Fair, Majami, Florida, 2010.
  • konsultant, Zaman Brand Consultancy, Dubai, UAE, 2008.
  • kustoskinja, Beyond Theory, Kunsthalle Exerngasse, Beč, Austrija i Sushi Performance Art Space, San Dijego, Kalifornija, 2008.
  • kustokinja, BELEF, Beograd, Srbija, 2007.
  • kustoskinja, Paralaksa – Pogled iz drugog ugla, Festival novih vizuelnih tendencija, DOB, Beograd, 2007.
  • kustoskinja, Offbeat: pogledaj i vidi nasilje prema ženama,  SKC i Autonomni ženski centar, Beograd, Srbija, 2007.
  • kustoskinja, paviljon Republike Srbije, International Exhibition La Biennale di Venezia,  Venecija, Italija, 2007.
  • kustoskinja, Mobile Studio, Public Art Lab, Berlin-Beograd, april 2006.
  • kustoskinja, Non-place, Roda Sten, Geteborg, Švedska, 2006.
  • kustoskinja, Becoming minor: with or without?, KCB, Beograd 2005.
  • kustoskinja-asistent, Oktobarski salon,Beograd, Srbija, 2005.
  • članica Umetničkog saveta Remont galerije, Beograd, Srbija, 2005-2006.
  • osnivačica The Upgrade! beogradski čvor međunarodne mreže za nove medije 2005-2010.
  • članica Umetničkog Saveta SKC-a, Beograd, Srbija, 2004.
  • saradnica, Transit spaces exhibition, Dessau, Peking, Varšava, 2004.
  • kustoskinja, Relational beauty, Xposeptember, Stockholm, Švedska 2004.
  • kustoskinja, Intimnost culture, javnost prirode; Artget galerija, KCB, Beograd, Srbija 2003.
  • istraživačica i kustoskinja asistent, Nemoguće – srpska nadrealistička avangardna fotografija, Muzej primenjene umetnosti, Beograd 2000-2002.

Podrška u vidu grantova;

  • University of Athens, Grčka, 2001.
  • Bauhaus college, Dessau, Nemačka, 2003/2004.
  • Kokkalis Foundation, Harvard University, Kembridž, SAD 2006.
  • AFFA, Culture France, Cite des Arts Internationale, Pariz, Francuska 2006.
  • IASPIS, Stokholm, Švedska, 2017.
  • Danish Cultural Foundation, Kopenhagen, Danska 2015. i 2016.
  • Visual Artists Ireland, Dablin, Republika Irska, 2019.

Bibliografija

Autorski tekstovi (izbor):

  • Cryptocrystalline, Pleasure ‘Scapes by Barabara Knežević, Royal Hibernian Academy, Dablin, Irska, jun 2021.
  • Art Without Place, Ana Kuzmanić, Oaza books,  Zagreb, Hrvatska, 2021.
  • Notes on Artistic Agility, VAN, publikacija Visual Artists Irska Dablin, Jun 2020.
  • Critic’s Pick: Mentalklinik, Artforum, maj 2020 (https://www.artforum.com/picks/mentalklinik-83140)
  • Critic’s Pick: Oliver Ressler, Artforum, februar 2020 (https://www.artforum.com/picks/oliver-ressler-82067)
  • Poroznost kritike—Otelotvorenje institucije: od ne-drugog do subjekta, Kritika u tranziciji, Pojmovnik kritike vizualnih umetnosti, Kurziv – Platforma za pitanja kulture, medija i društva, Zagreb, 2020.
  • Critic’s Pick: Anna-Sophie Berger, Artforum, September 2019 (https://www.artforum.com/picks/anna-sophie-berger-80895)
  • Parole, parole as a Counter-Hegemonic Gesture, Artmargins Online, november 2019. (https://artmargins.com/parole-parole-as-a-counter-hegemonic-gesture-red-discussion-no-2-part-of-subversion-to-red-by-nada-prlja-for-the-pavilion-of-the-republic-of-north-macedonia/)
  • B.O.L.T.O.P. – Better on Lips Than On Paper, Nevena Hadži Jovančić, Galerija Nadežde Petrović, Čačak, Srbija, 2019.
  • Lekcije o (ne)prihvatanju i (ne)pripadnosti, SeeCult, 2019 (http://www.seecult.org/vest/lekcije-o-neprihvatanju-i-nepripadnosti)
  • Ležerni ružičasti geto (bez namere za emancipacijom, SeeCult, 2019 (http://www.seecult.org/vest/lezerni-ruzicasti-geto-bez-namere-za-emancipacijom)
  • Chiara Fumai, From Less Light to Spot Light, Venice Forum for Curators, Akademija likovnih umetnosti, Venecija, 2019.
  • Curatorial Hospitality Revisited, Obieg online magazine, U- Jazdowski   Castle, Varšava, Poljska, 2019. (https://obieg.u-jazdowski.pl/en/numery/goscinnosc/curatorial-hospitality-revisited)
  • Comrades and Gentlemen: Contemporary Forms of Activism (The Belgrade Case), Golemato Staklo, Museum of Contemporary Art, Skopje, Northern Republic of Macedonia, 2018.
  • Serbia Raw, (samizdat), Beograd, 2018.
  • Fragments 1: When stories cut across the land, Archive Books, Berlin, Nemačka, 2018.
  • Podsetnik na istoriju institucionalne kritike u Srbiji (verzija druga), Dematerijalizacija umetnosti, 2018 (https://dematerijalizacijaumetnosti.com/podsetnik-na-istoriju-institucionalne-kritike-u-srbiji/)
  • Curating and Leaning Backwards, Heroes we Love—Ideology, Identity and Socialist Art in the New Europe, UGM, Maribor, Slovenija, 2017.
  • The Unspoken Abuse, Curating Cultures: Hospitality, Sternberg Press, 2017.
  • Politička „koherentnost” sveta umetnosti – Bez mesta za nepredviđene situacije, u: S. Ognjanović, S. Vuković (ur.), Pred sudom: čitanka, Umetnička galerija „Nadežda Petrović”, Čačak, 2016, 44-47. (https://drive.google.com/file/d/1010GkHI4CVqvpPuA7gjvZmQooxfabF7h/view)
  • The Aryan Zebra, Hesselholdt & Mejlavang, Revolver Publishing, 2016.
  • Reminder of the History of Institutional Critique in Serbia, Withdrawal-Life and Death of Institutional Critique, Nikita Choi, Biljana Ćirić (ed.), Times Museum, Guangzhou, China i Black Dogs Publishers, London 2016
  • Meet and Drink: Searching, Finding and Understanding Food in/and Visual Arts, Raša Todosijević as a post-yugoslav example, The Forager, oktobar, 2014.
  • Performing the Affiliation: Curators and Belonging,  Journal of Ats and Media Studies, Beograd, 2014.
  • (Not)Full to Political Capacity, Tegel. Speculations and Propositions, The Green Box, Berlin, 2013.
  • Mind-dancing: The Choreography of Attention, (sa M.Elgan, L.Torres, M.Chénin), MRPJ/Mouvement Research Performance Journal 42, Njujork,  2013.
  • Rejuvenating Mt. Verità, Sint Jan, Bergerhoff&Lamberigts, Gent, Belgija 2012.
  • M. Ćirić, I. Onol, Can Curating be Thought?, ONCURATING, Issue #13, p. 32, 2012
  • Non-Places, Stokholm, Švedska 2010.
  • 25 Memorijal Nadežde Petrović,  Ја сам то што јесам, Кустоски тим 25. Меморијала Надежде Петровић Маја Ћирић, Душица Дражић, Уна Поповић и Мирослав Карић 18-25. (https://nadezdapetrovic.rs/wp-content/uploads/2020/03/Katalog-NP-za-SAJT.pdf)
  • An Insight into Constructions of the Balkans as the Other in Contemporary Art Practices, Baltic/Balkans, Muzeum Narodowe w Szczecinie (The National Museum in Szczecin), Poljska 2009.
  • The Evil Girl Project (There’s a lot of us and we’re all the same), New York Arts Magazine, 2007.
  • Geobodies: In the company of cyber-feminists, interview with Ursula Biemann, Remont art magazin, No 11, page 19, autmn 2004. 
  • A few notes on whether it is possible to “bridge” the context, or What really happened to the bananas under the bridge?, Under the bridge Beograd, Biro for culture and communication Belgrade, Beograd 2005.
  • What is art that works?, October Art Salon 46., 2005, Cultural center of Belgrade; Beograd 2005.
  • I’m Tired like a man…the  Loser Wins, Remont Art Magazin autumn 2005.  No.13. page 6-7 Belgrade, 
  • Exploration of the Personal Experience in the World at Large, Praesens no 1, 2005. Budimpešta
  • Dyalectics of Hope, First Moscow biennale of contemporary art, Remont Art Magazin No 12, strana 19, Beograd, proleće 2005.
  • Constructions of the Balkans as the Other in contemporary artistic practices, Annual Graduate Student Workshop, Kokkalis Program Harvard University’s Center for European Studies, 2006.
  • Virtual as the strategy of the Symbolic Construction in the case of TV Pink, Early papers by the students of the Alternative Academic Network, Beograd, 2002.
  • Urbarium 8+8, Belgrade-New York, art writer
  • Graz-The cultural capitol of Europe, Kvadart; Belgrade 2003.
  • Heterologics in practice: Middle East: Art and Politics, Remont Art Magazin, No 9 strana 16; zima 2004.

Govori, prezentacije, predavanja, učešća:

  • „Matematika (koja) stvara umetnost”, panel u okviru kursa Algoritamska umetnost https://petlja.org/kurs/3284/1/, april, 2021.
  • Umetničko istraživanje: kritika i praksa, kulturpunkt.hr,  april, 2021.
  • Zlin Digital Exhibition Design Conference, Zlin, Češka, 2021.
  • Austoriteti kao tvorci događaja u instituciji umetnosti, AICA Srbija, Beograd, Srbija 2021.
  • Kako korona menja umetnost  i svet umetnosti? DOB Beograd, Srbija 2020.
  • Savremene politike izlagačkih praksi, ULUS, Beograd, Srbija, 2020.
  • Institution of Art Et Cetera, Oberliht School for Curators, Kišinjeb, Moldavija, 2020.
  • Prisoners of the Avant-Garde, MNAC, Bukutešt, Rumunija, 2018.
  • Artists & Curators, Parole Pompidou, Centre Pompidou, Pariz, Francuska, 2018.
  • The Vitry Head Shop and Museum, Mac Val, Vitry-sur-Seine cedex, Francuska, 2017.
  • viennacontemporary Conversations, Vienna, Austrija, 2017.
  •  Kontekstualizovan dizajn izložbi, Arhitektonski fakultet, Univerzitet u Beogradu, 2017/2019
  • Savremena Imponderabilia, kurirana sesija, Teatar u kontekstu, BITEF Polyphony, Beograd, Srbija, 2015.
  •  Not Getting Closure: Curating and Leaning Backwards, International Conference Art That Changes the World: Culture, Politics, Identity, UGM Art Gallery Maribor, Slovenija, 2015.
  • predavač na predmetu Kustoski projekti, Nova akademija, Beograd, Srbija, 2013-2014
  • predavač, Nova kolekcija, Beograd, Srbija, 2013-2014.
  • izlagač, Umetnost, mediji i održivi razvoj u vreme krize, Univerzitet umetnosti, Beograd, Srbija, 2014.
  •  (Im)possibilities: Curating and Interdisciplinary, Curatorial Practices Reframed: Politics andPedagogy in Curating Contemporary Art, European University Cyprus, Nicozija, Kipar, 2013.
  •  The Unspoken Abuse: Curatorial Hospitality through the lenses of Criticality, Hosting Relations in Exhibitions conference, Cultures of the Curatorial, Academy of Visual Arts, Leipzig, Nemačka, 2012.
  •  Institutional Critique and Curating, The Curatorial Studies Program of the Kibutzim College of Education and CCA (Centre for Contemporary Art), Tel Aviv, Izrael, 2012.
  • Kritika: mehanizmi, koncepti, funkcije, Criticise This! Mama, Zagreb, Hrvatska 2012.
  •  Curating and the International Circulation of Ideas, ICI, Njujork, SAD, 2011.
  •  Institution as Medium / Curating as Institutional Critique, Fridricianum, Kasel, Nemačka 2010.
  • Constructions of the Balkans as the Other in contemporary artistic practices, Annual Graduate Student Workshop, Kokkalis Program Harvard University’s Center for European Studies februar, 2006.
  • Is there an artistic community? 16. rencontres europeenne de Die, Francuska 2005.
  • Surrealistic fashion and artifacts, Museum of applied arts, Beograd, Srbija 2002.