Nicoline van Harskamp - DeLVe | Institute for Duration, Location and ...

Erden Kosova je kritičar koji živi i radi u Istanbulu. Kao tekstopisac i urednik, sarađivao je s istanbulskim
magazinima art-ist-om i Resmi Gorus-om, dva magazina o savremenoj umjetnosti bazirana
u Istanbulu. Kosova je koautor knjige Szene Türkei: Abseits aber Tor! (Jahresring & Walther König,
2004) i član post-anarhističkog kolektiva koji vodi projekt Siyahi. Bio je ko-kustos izložbe Leaps
of Faith, koja je bila održana na obje strane podijeljenog grada Nikozije, 2005. Također je kurirao
izložbu Along the Gates of the Urban u Galeriji K & S u Berlinu i prostoru Oda Projesi u Istanbulu.
Trenutno radi za istanbulske socijalističke novine Birgun, i završava doktorat na Odsjeku za vizuelnu
kulturu na Goldsmithsu, Univerzitet u Londonu.
Erden Kosova is an art critic living in Istanbul. As a writer and editor, he has contributed to art-ist
and Resmi Gorus, two contemporary art magazines based in Istanbul. Kosova co-authored the
book Szene Türkei: Abseits aber Tor! (Jahresring & Walther König, 2004), and he is also a member of
the post-anarchist collective that runs the magazine project Siyahi. He co-curated Leaps of Faith,
an exhibition that was held in both sections of the divided city of Nicosia in 2005, as well as the
exhibition Along the Gates of the Urban in Galerie K&S in Berlin and in Oda Projesi in Istanbul. He
currently works for the Istanbul-based socialist newspaper Birgun, and is a PhD candidate at the
Visual Cultures Department of Goldsmiths at the University of London.
Nina Möntmann je profesorica i voditeljica Odsjeka za teoriju umjetnosti i povijest ideja pri
Royal University College of Fine Arts u Stockholmu. Od 2003. do 2006. kustosica NIFCA-e (Nordic
Institute for Contemporary Art) u Helsinkiju, 2007. godine kustosica armenijskog paviljona na
52. venecijanskom bijenalu, a 2008. kustoska savjetnica Manifeste 7. Nedavno je kurirala grupnu
izložbu If We Can’t Get It Together u galeriji The Power Plant u Torontu (decembar, 2008), i izložbu
The Jerusalem Syndrome, Jerusalem Show, Al-Ma’mal Foundation, Jeruzalem, koju kurira u saradnji
sa Jackom Persekianom. Dopisnica Artforuma, saradnica u više časopisa, između ostalih u: Le
Monde Diplomatique, Parachute, metropolis m, Frieze. Autorica i urednica više publikacija, između
ostalih: Rana Dasgupta, Nina Montmann, Avi Pitchon (ur.), Manifesta 7 Companion Book, Milano
2008; Nina Montmann (ur.) Art and its Institutions, London (Black Dog Publishing), 2006; Nina
Montmann, Yilmaz Dziewior (ur.), Mapping a City, Stuttgart (Hatje Cantz), 2005; Nina Montmann,
Kunst als sozialer Raum, Koln (Walther Konig), 2002. Živi i radi u Hamburgu i Stockholmu.
Nina Möntmann is professor and director of the Department for Art Theory and History of Ideas,
at the Royal University College of Fine Arts, in Stockholm. From 2003 to 2006 she was a curator at
NIFCA (Nordic Institute for Contemporary Art) in Helsinki; in 2007 she curated the Armenian pavillion
at the Venice Biennial, and in 2008 was a curatorial adviser for Manifesta 7. Recently, she
curated the exhibition If We Can’t Get It Together at The Power Plant in Toronto (december 2008)
and The Jerusalem Sydrome, Jerusalem Show, Al-Ma’mal Foundation, Jerusalem, 2009 (co-curated
with Jack Persekian). She is frequently contributing to magazines such as Artforum, Le Monde
Diplomatique, Parachute, Frieze. She is the author and editor of numerous publications, inlcuding:
Rana Dasgupta, Nina Montmann, Avi Pitchon (ur.), Manifesta 7 Companion Book, Milano 2008; Nina
Montmann (ur.) Art and its Institutions, London (Black Dog Publishing), 2006; Nina Montmann, Yilmaz
Dziewior (ur.), Mapping a City, Stuttgart (Hatje Cantz), 2005; Nina Montmann, Kunst als sozialer
Raum, Koln (Walther Konig), 2002. Lives and works in Hamburg and Stockholm.
Aydan Murtezaoğlu je rođena 1961. godine, živi i radi u Turskoj. Murtezaoğlu je na akademiji
studirala slikarstvo, i još uvijek se identifikuje s tom ulogom slikarice, one koja individualno
“ispunjava prazan prostor”, ali to posljednjih godina podrazumijeva i korištenje filma, fotografije,
i instalacije. Njene “posebne” intervencije gotovo uvijek počinju s nečim osobnim – auto-