She is currently (as of 05/23/2018) on maternity leave and working as a freelance journalist. She is covering arts and culture events in Trondheim. She will start working again from autumn on.
Marianna Dobkowska is a curator of residencies, projects and exhibitions and a co-creator of the residency program at Ujazdowski Castle Centre for Contemporary Art in Warsaw. She sees curatorial practice as a tool for building relations and situations based on long-term and often international collaboration, combining practices of the visual and performative arts, education and activism.
Marianna is also a co-author and co-curator of the international curatorial seminars Re-Directing: East (2013–current), two-year project Social Design for Social Living (2015-2016) presented as part of 2015 Jakarta Biennale and at the National Gallery of Indonesia in Jakarta as well as the exhibition-meeting Gotong Royong: Things We Do Together (2017-2018) at Ujazdowski Castle Centre for Contemporary Art. Lastly, Marianna is a recipient of two scholarships from the Minister of Culture and National Heritage (2012, 2016); a CEC Artslink Fellow (New York); and a Backers Foundation (Tokyo) fellow.
A curator at InterSpace Media Art Centre in Sofia, Dorovska has worked with over 200 artists, managing grants for emerging artists, hosting residencies and producing artists’ projects. One of her most significant accomplishments is the production of Transitland, a comprehensive archive of video art from Central and Eastern Europe. Dorovska hopes to build on her academic and professional experience through direct contact with US artists and art institutions working in new media and contemporary art.
Serving in the Mongolian Committee on Arts and Culture, Jigjidsuren has organized and managed a variety of events and activities including art exhibitions, film screenings and a television series on contemporary world cinema. He is also a juror on the committee that selects artworks to be purchased by the national museum of modern art. Jigjidsuren was interested in studying organizational structures and arts management practices in the US, both at the administrative and municipal levels, and in sharing his experience of the art scene in Mongolia.
Knezevic creates light and sound installations and public projects that interconnect science, technology and art. By reducing visual elements, she tries to bring new spatial experiences to viewers that can heighten their awareness of the immaterial and invisible. Knezevic believes that the fusion of art and science can open a platform for social and cultural change and she hoped to meet and collaborate with US artists, scientists and theoreticians who share her interest in technology and sound engineering.
Kurtela’s sculpture, installation and video works are influenced by her experience as a dancer and choreographer and reference the social, political and historical conditions of specific locations. She seeks to erase the boundary between spectator and artist by creating environments that include interaction with the public. Current issues in her work include identity, transition and mobility. She was eager to explore social and cultural issues in the US and exchange ideas with US artists, curators and communities.
Nini Palavandishvili was born and grew up in Tbilisi, Georgia. After graduating from the Faculty of Public and Industrial Communication at the Berlin University of the Arts (UdK), in 2006 she joined the GeoAIR (GeoAIR) artistic initiative in Tbilisi. In her own projects Nini studies social and political contexts and their interpretation in the spheres of culture and contemporary art. She is interested in artistic practices that give rise to innovative forms and an artistic language that makes it possible to speak about political and social matters.
During her residency in Bishkek, Nini organized a series of encounters and master classes, visited various institutions, and produced an artistic view of the city and its self-representation. She often uses the methods of ethnographic fieldwork in her projects to obtain a better insight into little-known places and establish contact with local communities. This approach, on the one hand, enabled Nini to see the city from its inhabitants’ point of view, to learn what makes them tick, and, on the other hand, it became a basis for future projects such as an alternative guide to the city or a festival of public art.
Sergiy Petlyuk’s video installations explore the effects of cultural interaction on social groups, the impact of mass media on human values and the influence of real and virtual space and their limitations on individuals. His work often involves the local community, either in the process of creation or as an interactive piece that engages viewers. For his ArtsLink Residency, Petlyuk looked forward to immersing himself in a new environment and to researching and producing a project in the US that dealt with the psychological, moral and physical limits of human nature.
Kateryna Radchenko, Ukrainian curator and director of Odesa Photo Days Festival, works directly with photographers at the frontlines. Currently, Kateryna is collecting and curating photos from the war zone in order to produce international publications, exhibitions, events and create opportunities for people around the world to experience these visual stories and narratives first hand. Throughout the heated days of war, Kateryna and her team work as an aid for international media outlets in Odesa and Lviv, supporting photographers who are stuck, in danger or go to the frontlines as independent artists.
Sanvincenti investigates the boundaries of human perception and the construction of experience through audiovisual installations, social and urban interventions and live multimedia performances. By immersing viewers in evocative perceptual environments, he encourages them to question and expand their cognitive and emotional maps. In 2010, Sanvincenti was the recipient of the Radoslav Putar Award for the best Croatian artist under 35. He was interested in sharing ideas and collaborating on a project with US artists and researchers interested in audiovisual phenomenology.
A documentary filmmaker and festival organizer based in Kabul, Shafi’i also directs BASA (Afghanistan Cinema Club) which supports individual filmmakers through production, training, screenings and other events and activities. The most recent BASA production, 25 Percent, documents female Afghan members of parliament and their struggle to gain rights and freedom. Shafi’i wanted to increase his knowledge of American film production, digital techniques and funding strategies and hopes to organize screenings of Afghan films in the US.
As the head of the international department at the Ludwig Museum in Budapest, Stepanovic organizes residency programs, exhibitions and projects with other international art institutions. She has been in charge of publicity and fundraising. In 2001, she co-founded the VIVO Foundation, the first independent association for museum education in Hungary. She was eager to learn about art management, fundraising and policy-making strategies and to expand opportunities for cooperation between US and Hungarian artists.
Tonoyan runs the Art Centre of Social Studies (ACOSS) artist residency program in Yerevan, and is currently developing an international exchange involving organizations in Ireland, Greece, Portugal and Georgia. He has also realized many community-engaged art projects in Armenia and abroad involving at-risk groups including refugees, children and the homeless. Tonoyan wanted to present his work, meet with local artists and organizations and learn more about the management of residency programs in the US.
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