Suzana Milevska

3. CURRICULUM VITAE
Suzana Milevska, PhD

Address: Franklin Ruzvelt 46 A I-5 Skopje 1000, North Macedonia

E-mail: suzanamilevska@gmail.com, Tel. 38976430730

Narrative biography
Suzana Milevska is an art historian and theorist of visual culture from Skopje, North Macedonia. Her
research and theoretical interests span from postcolonial critique of representational regimes of
hegemonic power in art and visual culture, as well as the construction of visual memory in
photographic imagery and institutional or private archives. Her curatorial practice focuses on
exhibitions addressing gender difference and feminist art in postsocialist and transitional societies,
and particularly on curating participatory and activist art projects based on artistic research of Roma,
LGBT and other marginalized and disfranchised communities.
Most recently she was Principal Investigator of the project Transmitting of Contentious
Cultural Heritages through the Arts (TRACES) in the frame of the EU program Horizon 2020
Polytechnic University in Milan (2016 – 2019). Milevska was appointed the first Endowed Professor
in Central and South Eastern European Art Histories at the Academy of Fine Art in Vienna (2013-
2015). In parallel she was a visiting professor in visual cultures at the Technical University in Vienna
(2013-2016). In 2013 and 2018 she was a visiting lecturer in Visual Culture and Gender at Gender
Studies Department, University Ss. Cyril and Methodius in Skopje. From 2010-2012 she taught art
history and theory of visual art at the Faculty of Fine Arts – University Ss. Cyril and Methodius in
Skopje. From 2006 to 2008, she initiated and was the Director of the Center for Visual and Cultural
Research at the Social Sciences and Humanities Research Institute “Euro-Balkan” in Skopje. She
taught Visual Culture and Gender to the M.A. students at the Gender Studies Department.
Milevska holds a Ph.D. in Visual Cultures from Goldsmiths College in London (2006) and
she was a Visiting Tutor at Goldsmiths College (2003 - 2005). In 2004, she was a Fulbright Senior
Research Scholar in Library of Congress.

1
 Suzana Milevska

I. EDUCATION:

2001-2006 PhD in Visual Culture, Goldsmiths College – University of London, London, Visual
Cultures Department, Gender Difference in the Balkans (Supervisors: Prof. Irit Rogoff
and Dr. Jean-Paul Martinon)
1993-1994 MA Diploma in Art History, History and Philosophy of Art and Architecture, Central
European University Prague, The Rhizomatic Structure of Fragments (Supervisor:
Prof. Miroslav Petriček)
1979-1984 BA in Art History, Faculty of Philosophy-University "Cyril and Methodius", Skopje

II. TEACHING POSITIONS, SUPERVISIONS AND PART-TIME COURSES

2013-2015 Endowed Professor, Academy of Fine Arts, Vienna

Course: Central and South Eastern European Art Histories (focus: Gender Difference
and Identity in Visual Cultures and Arts)
Appraiser of the PhD in Practice, The Queerness of Memory by Ana Hoffner,
defended on 16.10.2014, Academy of Fine Arts, Vienna
2013-2015 Visiting Lecturer Technological University, Visual Cultures, Vienna
Courses: Images and Events of Radical Will (module: Radicalities);
Whose Is the Capital, Anyway? Who Is Afraid of the Big Bad Capital (module: BAU
Capital), Supervisor of the PhD Grass Without Roots by Dr. Karin Reisinger, TUW.
Defended on 17.12.2014
2012-2013 Visiting Lecturer University “Ss. Cyril and Methodius” Skopje
Course: Visual Culture and Gender, Level: BA and MA in Gender Studies
2010-2012 Professor, Faculty of Fine Arts – University Ss. Cyril and Methodius – Skopje
Course: Lecturer in Art History and Theory; (undergraduates)
Lecturer in Aesthetics of 20th c.; and Discourses of Visuality, MA level
2012 Opponent at the defense of Magnus Bärtås’ PhD, Valand Academy, Gothenburg
2006-2008 Lecturer Social Sciences and Humanities Research Institute “Euro-Balkan, Skopje
(MA, Ph.D.)
Courses: Visual Culture and Gender; Theories of Culture; Academic Writing.
2003/2005 Visiting Tutor, Goldsmiths College, University of London, Visual Cultures,
(BA/Diploma/MA),
Courses: Framing Art: Museum and Galleries;
Curatorial Knowledge (co-taught with Jean-Paul Martinon); Techniques and
Technologies- History and Theory of Photography (co-taught with E. Schmit and Taru
Elfung).

III. RESEARCH PROJECTS

2016-2019 Principal Investigator, Polytechnic University Milan (POLIMI), Transmitting of

Contentious Cultural Heritages through the Arts (TRACES), in the frame of the EU
program Horizon 2020.
2017-2018 AAMC Mentorship Program (Mentor of Ryan N. Dennis, Row Houses Project,
Houston, Texas).
2010-2012 Initiator and researcher of the 2nd Roma Pavilion, Venice Biennale 2011.
2013-2015 Microhistories, researcher, research project, Konstfack, Stockholm.
2009-2010 Researcher, project Gender Check (curator Bojana Pejić), MUMOK/Erste Foundation.
2
 Suzana Milevska

2006-2008 Initiator and Director of the Center for Visual and Cultural Research at the Social
Sciences and Humanities Research Institute “Euro-Balkan”, Skopje
2005 International Curator, ‘Workers’ Club Project’ – one of the co-curators of the
International Contemporary Art Biennale - Prague, Czech Republic
2004 Fulbright Senior Research Scholarship, Library of Congress, Washington D.C.
Women Immigrants from the Balkans in the Early American Photography
2001-2002 Getty Curatorial Research Grant, Representation of Women in the Early Balkan
Photography
1997/2005 Initiator of the Open Graphic Art Studio and International Curator at the Museum of
the City of Skopje, Macedonia,
1995-1999 National Curator, Istanbul International Art Biennial, Istanbul

IV. AWARDS
2012 Igor Zabel Award for Culture and Theory
ALICE Award for political curating

V. SELECTED CONFERENCES’ PARTICIPATION

Suzana Milevska, Global Traces Art Practice, Ethnography, Contested Heritage, Chair, Session 3,
University of Oslo, Oslo, 07.02.2019
https://www.sv.uio.no/sai/english/research/projects/traces/events/conferences/global-traces-
conference-7-8-feb-2019.html

“Monumentomachia”, I Monumenti Nella Citta Contamporanea, MonuMed conference, French

Cultural Institute, Florence, Italy, 23.04.2018,

“Relations, Participations, and Other Dialogical Frameworks”, In Conversation / A panel in the

frame of the exhibition Dispersed Presences Martin Krenn and Aisling O’ Beirn, PS2, Belfast,
14.09.2018, https://www.facebook.com/events/299889937476486/

“Monumentomachia”, Key-note speech, Alliances & Commonalities, UniArts, Stockholm,

25.10.2018, http://www.uniarts.se/english/research-development/alliances-commonalities-2018/-site-
event-encounter, http://www.uniarts.se/english/research-development/alliances-commonalities-2018

“Shameful Objects, Apologising Subjects: On participatory institutional critique and productive

shame”, Narration of Culture(s) in Museums and Exhibitions, Lüneburg, PriMus - Promovieren im
Museum; Institut für Philosophie und Kunstwissenschaft; Leuphana Universität Lüneburg, 18-19
January 2018, https://www.leuphana.de/institute/ipk/promotionsprogramm-primus/conf-narrating-
cultures-in-museums-and-exhibitions.html

“Contentious Relations between Objects and Subjects”, Performing heritage(s): critical practices and
processes, Critical Heritages and Reflexive Europeanisation CoHERE-TRACES Joint Conference,
Berlin Wall Memorial, 28 September 2017.
http://www.traces.polimi.it/event/traces-mid-term-seminar/
http://www.traces.polimi.it/2017/07/13/critical-heritages-and-reflexive-europeanisation-traces-
cohere-mid-term-seminar/

“The Threshold of ‘We’: Representation and Participation of Refugees in Arts Trespassing Europe
3
 Suzana Milevska

Summer Institute”, Montreal, Concordia University 20-22 June, 2017

“The Right to Research Microhistories and the Internalisation of Macrohistory” Microhistories,

international conference (session with Behsad Kosravi and Magnus Bärtås)
Sala del Campino, Research Pavilion, International Art Exhibition Venice Biennial, Venice, 11 May,
2017 https://www.konstfack.se/en/News/Calendar/20171/Microhistories-at-the-Research-Pavilion-
Venice-Biennale/

“First Person Plural: The Clusivity of ‘We’”, Open Theory Lectures, Symposium on
visibility / invisibility of the Roma Art, organised by Roma Jam Session art Kollektiv
RJSaK, Long Night of Museum, Shedhalle, Zurich (CH), 3 September 2016
http://www.shedhalle.ch/2016/en/371/Open_Theory_Lectures

“The False Memory Syndrome and Ultranationalism: The Politics of Representation

in Macedonia”, Museology, Memory, and Politics of Representation, MUAC,
Mexico City (BR), 19.09.2016 https://catedrawilliambullock2016.wordpress.com/

“Monumentomachia: Citizens vs. Monuments as Participatory Institutional Critique”

Materiality of Memory - Azra Akšamija’s Studio, MIT Program in Art, Culture and
Technology, School of Architecture+ Planning, MIT, Boston (USA), 27 September

“Against the Organised Amnesia and Implanted False Memories in Public Space”,
The Social, 4th IAVC Conference, Boston University, Boston (USA), 01.10.2017

“Remembrance, Amnesia and False Memories”, Intermedia Studio of Ilona Nemeth,

Academy of Fine Arts Bratislava (SK), 03-07.10. 2016

“Monumentomachia: The ‘Colourful Revolution’ as the Participatory Turn in Art and

Politics”- Session: “Limits, Barriers, Borders”, 14th Historical Materialism Journal’s
Conference, SOAS, London (UK), 12 November 2016,
http://conference.historicalmaterialism.org/annual13/programme.pdf

VI. SELECTED CURATED PROJECTS – Exhibitions and conferences

2019 Contentious Objects/Ashamed Subjects, curated by Suzana Milevska, Milan, Galleria

del Progetto, Polytechnic University Milan, 18.01.-06.02.2019
http://www.traces.polimi.it/2018/10/10/traces-final-exhibition-contentious-objects-
ashamed-subjects/
Re-writing Protocols: Naming, Renaming, and Profiling, curated online exhibition,
RomArchive, Berlin. https://www.romarchive.eu/en/visual-arts/subsection-rewriting-
protocols/
2018 “Cosmos-Cosmetics: Unresting Memoryscapes and Corpofictions”, D’EST, A Multi-
curatorial Online Platform (co-curated with Suza Husse and Miona Bogovic), District,
Berlin, https://www.d-est.com/category/screening-3/
2016 Upside Down: Hosting Institutional Critique, (co-curated with Alenka Gregorič),
exhibition and conference, Museum of Contemporary Arts, Belgrade
2015 Inside Out Not So White Cube (co-curated with Alenka Gregorič), exhibition and
conference, (catalogue), City Art Gallery, Ljubljana
4
 Suzana Milevska

2014 On Productive Shame, Reconciliation and Agency, symposium, Academy of Fine

Arts, Vienna
2013 To One’s Name, (Sasha Barbul, Marika Schmiedt, Alfred Ullrich exnergasse/IG
Kultur Vienna, Vienna
2012 The Noologists’ Handbook, Warren Neidich and the students of Architecture Faculty
P74 Ljubljana
Listening to the Audience, participatory art exhibition, AKTO Festival, Bitola,
Macedonia
2011 Roma Protocol, Press Room, Austrian Parliament, Wiener Festvochen, Vienna (with
Roma artists)
Roma Pavilion – Call the Witness, Initiator and researcher of the curatorial team for
the Venice, Biennale’s Collateral Event, with Romani artists
Call the Witness, BAK, Utrecht, Netherlands, with Romani artists.
2009 Hito Steyerl – solo exhibition of Hito Steyerl and conversation with the artist, P74
Gallery, Ljubljana
Evaluating and Formative Goals of Art Criticism in Recent (De)territorialized
Contexts, AICA Seminar (curator and presenter), Mala Stanica - National Gallery,
Skopje
2008-11 The Renaming Machine, series of 3 exhibitions (Ljubljana, Skopje, Vienna) and 4
Conferences (Ljubljana, Skopje, Pristina, Zagreb) in collaboration with
P.A.R.A.S.I.T.E. Institute/P74, Ljubljana
2007 Curatorial Translation, Regional Curatorial Workshop (curator of the programme),
“Euro-Balkan” Ministry of Culture and ECF, Press to exit project space-Skopje,
SCCA-Ljubljana, EXIT-Peje.
2006 Naming of the Bridge Rosa Plaveva and Nakie Bajram, Hristina Ivanoska, Art under
Construction, FWA/City University, London.
2005 Workers’ Club - International Prague Biennial: co-curatorial project, National
Gallery, Prague
2004 Unbalanced Allocation of Space, (co-curated with Julia Schäfer), Galerie für
Zeitgenössische Kunst Leipzig, Germany (catalogue)
2003 Divided Sky/Re-unified Territories, talk-show programme on TV Leipzig, Galerie für
Zeitgenössische Kunst, Leipzig, Germany (text in Cultural Territories)
2001 Capital & Gender – International Public Project for Art and Theory, City Shopping
Mall/Museum of the City, Skopje (conference, exhibition, book)
Correspondences, IFA Gallery, Berlin, Stuttgart, Bonn, Germany (catalogue)
2000 Words, Objects, Acts, exhibition and series of lectures, (catalogue), The Museum of
the City of Skopje, ArtsLink and the School of the Art Institute of Chicago.

5
 Suzana Milevska

VII. BIBLIOGRAPHY
Selected authored and edited books or chapters

“Call Of Duty: On Infinite Warfare and Patriarchy in Zofia Kulik’s Work.” In Zofia Kulik’s Work.”
Methodology, My Love, ed. By Agata Jakubowska, Chicago, IL.: University of Chicago
Press, 2020. ISBN: 9788364177590.
“The Renaming Machine: The reciprocal relations between the ‘name issue’ and the change of visual
culture in the public space of North Macedonia.” In Macedonia and Identity Politics after the
Prespa Agreement. Vasiliki Neofotistos, ed. Routledge, New York (forthcoming).
“Solidarity and the Aporia of ‘We’: Representation and Participation of Refugees in
Contemporary Art.” In Moving Images Mediating Migration As Crisis, ed. By Krista
Lynnes, Tyler Morgenstern and Ian Alan Paul, Bielefeld, Germany: [transcript], 2020.
ISBN 978-3-8376-4827-0.
“Introduction: Contentious Objects/Ashamed Subjects.” In Contentious Objects/Ashamed
Subjects. Suzana Milevska, ed. Exhibition Catalogue, Galleria del Progetto, Politecnico
di Milano, Milan, 18 January - 6 February, 2019. 7-23. ISSN 2531-4858
“Shameful Objects, Apologising Subjects: On Participatory Institutional Critique and
Productive Shame.” Conference paper. In Narrating Culture(s) in Museums and
Exhibitions, Leuphana University Lüneburg, 18–19 January 2018, (conference
procedings)
“Relations, Participations, and Other Dialogical Frameworks.’ In Dialogical Interventions Art
and the Social Realm.” Martin Krenn and Gerald Bast, eds. Angewandte/De Gruyter,
2019. 46-58. ISBN 1866-248X; ISBN 978-3-11-063240-8.
“Two Master Plans: The Internalisation of Macrohistory and the Right to Microhistories,” In
Skopje Walkie-Talkie, Damjan Kokalevski & Susanne Hefti, Leipzig: Spector Books,
2019. pp. 17-33.
“Is Balkan Art History Global”, Translation (Anthology), ed. By Sophie Williamson,
London: Whitechapel Gallery, 2019.
“ART-WORK-SEX – Tadej Pogacar’s CODE:RED”, In CODE:RED, Museum and Galleries
of Ljubljana, 20-09.-04.11, 2018, 2019.
“Dialogical and Participatory Methods in Artistic Research: The Reciprocal Relations
Between Subjects, Objects, Images, and Stories in Transforming Long Kesh/Maze.”
In Restaging the Object: A Participatory Exploration of Long Kesh/Maze Prison.
Martin Krenn and Aisling O’ Beirn, eds. Berlin: Berlin K Verlag, 2019.
“Becoming Contentious: Participatory art and artistic research challenging difficult
cultural heritages.” In Companion. Marion Hamm, Klaus Schönberger and
Melanie Proksch, University of Klagenfurt, 2019.
“The Potency and Potentiality of Transindividuality in the Lexicon of Tanja Ostojić.” In Lexicon
of Tanjas Ostojić. Edited by Tanja Ostojić. London: Live Art Development Agency,
and Rijeka: Museum of Modern and Contemporary Art, 2018, p. 141-152.
ISBN 978-0-9935611-3-9; ISBN 978-953-8107-14-16.
“Involuntary and Voluntary Participation in Magnus Bärtås’s Artistic Research Projects.” In
Magnus Bärtås The Strangest Stranger and Other Stories. Edited by Magnus Bärtås and
Liv Stoltz, 1-20. Göteborg, Sweden: Göteborgs Kunsthall, 2017.
ISBN 978-91-639-0677-0

6
 Suzana Milevska

“Becoming-Girl: Compossibility, Intersectionality, and Agency.” In Epidemic Subjects – Radical

Ontology, Edited by Elizabeth von Samsonow. Zürich-Berlin: diaphanes, 2017, 13-28.
ISBN 978-3-03734-596-2
“Inside Out: Critical Art Practices That Challenge the Art System and Its Institutions.” In Inside-Out
Critical Discourses Concerning Institutions. Edited by Alenka Gregorič & Suzana Milevska.
City Art Gallery Ljubljana, 2017, pp. 10-27. ISBN 978-961-6969-18-5
“Signature, Event, Context Speech Act Theory, Institutional Critique and the Renaming of Tomislav
Gotovac to Antonio Gotovac Lauer.” In Crisis Anticipator: Tomislav Gotovac, Edited by
Darko Šimičić and Miško Šuvaković. Rijeka, Croatia: Museum of Modern and Contemporary
Art, 2017, pp. 302-319. ISBN 978-953-8107-13-9
“Gedächnisverlust, Trauma und das Erhabene: Die Unsichtbaren Grenzbreiche das Rassismus in der
Vissuelen Kultur”. In Erinnerungsorte in Bewegung. Zur Neugestaltung des Gedenkens an
Orten nationalsozialisticher Verbrechen, edited by Daniela Allmeier, Inga Manka, Peter
Mörtenböck, Rudolf Scheuvenes, 2016, 237-259. Bielefeld, Germany: [transcript]. ISBN 978-
3-8376-3059-6
“The Renaming Machine in the Balkans as a Strategy of ‘Accumulation by Dispossession’.”
In EU, Europe Unfinished Mediating Europe and the Balkans in a Time of Crisis, edited
by Zlatan Krajina and Nebojša Blanuša. London, UK: Rowman & Littlefield International.
2016, ISBN 9781783489794, ISBN 9781783489794, eBook ISBN 9781783489800
“Spaces without the Bodies: Beyond Representation of Militant Events and Images”. In Sabine Bitter
and Helmut Weber, Front, Field, Line, Plane. Researching the Militant Image, edited by
HannesLoichinger and Ulf Wuggenig, 2016, 50-80. Hamburg: Adocs. ISBN 9783943253108
“Microhistories and Internalisation of Macrohistories-A Case Study: Liljana Gjuzelova’s
Projects Eternal Recurrence and Woman’s Book at the Intersection between microhistories
and macrohistories,” Microhistories. Edited by Magnus Bärtås and Andrej Slavik, Stockholm:
Konstfack University College of Arts, Crafts and Design, 2016, 190-207.
“On Productive Shame: Triangulations of Shame, Reconciliation, and Agency.” In On Productive
Shame, Reconciliation, and Agency. Introduction and edited by Suzana Milevska. (Timea
Junghaus, Jean-Paul Martinon, Gayatri C. Spivak). Berlin: Sternberg Press, 2016, 10-41.
ISBN978-3-956791-49-9.
“Left Outside the Fame, or the Impossibility of the Return of the Same.” Apotheosis, Apocalypse,
Apocryphon: Defied Nations, Deified art, Edited by Jiri Priban and Katarina Rusnakova, (Jiri
David, National Pavilion of Czech Republic, 56 International Exhibition of Art Venice
Biennial, National Gallery Prague), Cologne: Verlag der Buchhandlung Walther Koenig,
2015, 105-116.
“Feminist Critique-Open and Critical Enquiry-a Conversation between Katy Deepwell and
Suzana Milevska.” Spaces of Criticism: Shifts in Contemporary Art Discourses. Thijs
Lijster, Suzana Milevska, Pascal Gielen and Ruth Sonderegger (eds.), Amsterdam:
Antennae Valiz, 2015, 171-190.
“Veils/Folds/Events-Production of face in space-time”. Now/Not Now, Edited by Renate Lorenz,
Berlin: Sternberg Press, 2015, 104-127.
From Institutional Parasitism to Reverse Recuperation, Agency and Solidarity-The Art of Tadej
Pogačar, Berlin: Archive Books, 2014.
Die Potenz und die Potenzialität der Transindividualität im Lexicon of Tanja Ostojic, Berlin: UDK,
2014.
“Agalma: ‘The Objet Petit a’, Alexander the Great, and other excesses of Skopje 2014.”
Visualise the Invisible. Edited by Lott Alfreds and Charlotte Aberg, Stockholm: Art Agent
Press, 2014, 43-53.
7
 Suzana Milevska

“Master-Slave Dialectics in the Feminine –New Media and Feminism in Eastern Europe”
Performative Gestures, Political Moves. Edited by Katja Kobolt and Lana Zdravković,
Ljubljana: City of Women, Ljubljana and Red Athena University Press, 2014, 27-46.
“The Editor’s Notebook: The Inner Perspective of the Noologist’s Mind.”
Warren Neidich Berlin Works: The Noologist’s Handbook and Other Art
Experiments. Edited and introduction by Suzana Milevska. Berlin: Archive Books,
2014, 10-24.
“On History and Solidarity: Performative Reading of Women’s Book by Liljana Gjuzelova.”
Performing the Sentence Research and Teaching in Performative Fine Arts. Edited by
Carola Dertnig and Felicitas Thun-Hohenstein, Berlin: Sternberg Press, 2013, 190-200.
“Becoming-Curator.” The Curatorial-A Philosophy of Curating. Edited By Jean-Paul
Martinon, London: Bloomsbury Academic, 2013, 65-73.
“Curatorial Agency” and “Kritische Kuratorien.” Handbuch Ausstellungstheorie und –praxis.
Edited by ARGE schnittpunkt, Wien: Böhlau UTB, 2013, 152, 164-165.
STANDORTBESTIMMUNG DER KUNST IN DER GESELLSCHAFT: Agency und Reversive
Rekuperation in der Arbeit von REINIGUNGSGESELLSCHAFT, POSITIONING ART’S
ROLE IN SOCIETY: Agency and Reverse Recuperation in the work of
REINIGUNGSGESELLSCHAFT, 2013, Nürmberg: VFMK, 6-21, ISBN 978-3-86984-389-6
“Pushing the Limits of Institutional Recuperation: Sanja Iveković’s works challenging
post-Nazi context and racism”. Sanja Iveković: Unknown Heroine-Reader, Edited by
Helena Reckitt, London: Calvert 22 Foundation, 2013, 88-110.
“With Special Thanks to: Balkan Curator, First Person Feminine.” Curating ‘Eastern
Europe’ and Beyond: Art Histories through the Exhibition. Edited by Maria Orišková,
Frankfurt/Bratislava: Peter Lang GmbH, 2013, 177-186.
“With Special Thanks to: Balkan Curator, First Person Feminine”. Women’s Museum. Edited
by Elke Krasny and Frauenmuseum Meran, Löcker Verlag, 2013, 109-121.
“Gender Difference, or the ‘Silkworm Cocoon’ of Feminist art and Curatorial Research and
Practices in the Balkans.” Politics in a Glass Case Feminism, exhibition cultures and
curatorial transgression. Edited by Angela Dimitrakaki and Lara Perry, Liverpool, UK:
Liverpool University Press, 2013, 227-244.
“The Eternal Return of Race: Reflections on East European Racism.” (with Arun Saldanha).
Deleuze and Race. Edited by Arun Saldanha and Jason Michael Adams, Edinburgh, UK:
Edinburgh University Press, 2013, 225-247.
“Feminist Research in Visual Arts.” Art as a Thinking Process Visual Forms of Knowledge
Production. Edited by Mara Ambrožič and Angela Vettese, Sternberg Press and
Università IUAV di Venezia 2013, 162-176.
“Kunst jenseits von Gesellschaft. Subversion und Recuperation der Zeitgenossischen Kunst.”
Kunst, Krise, Subversion Zur Politik der Asthetik. Nina Bandi, Michael. G. Kraft, Sebastian
Lasinger (eds.), Biielefeld: Transcript Verlag, 2012, 149-67.
“The Reciprocal Relationship between Art and Visual Culture in the Balkans”. Space
(Re)solutions Intervention and Research In Visual Culture. Edited by Peter Mörtenböck and
Helge Mooshammer, New Brunswick, USA/London, UK[transcript] 2011,101-14
The Renaming Machine-The Book. Edited by Suzana Milevska (texts by Suzana Milevska,
Gayatri Chakravorty Spivak, Kristine Stiles, Jean-Paul Martinon, Zhivka
Valiavicharska, et. al.), Ljubljana, Slovenia: P.A.R.A.S.I.T.E. Institute, 2010.
Art and Globalization. Edited by James Elkins, Zhivka Valiavicharska, and Alice Kim,
Pennsylvania University Park: The Pennsylvania State University Press, 2010, 61, 176, 210.

8
 Suzana Milevska

“Zwischen zwei Visuellen Ideologien. Geschlecht, Feminismus Visuelle Kultur Unt Kunst Im
Osten.” Und jetzt – Kunstlerinnen aus der DDR, 2009, Nurnberg, Germany: Verlag fur
Moderne Kunst, 45-53.
Gender Difference in the Balkans. Saarbrucken, Germany: VDM – Verlag, 2010.
“Participatory Art Practices and Their Hierarchies”. PÖPP 68. participation, objections, anyhow
texts, dialogues and participation. Berlin: NGBK, 2009, 31-43.
“Femina Sacra: Bipower and Paradoxes of Humanity in the Art of Tanja Ostojić.” Integration
Impossible? The Politics of Migration in the Art Work of Tanja Ostojić, Berlin: Argo
Books, 2009, 223-9.
“Curating as an Agency of Cultural and Geopolitical Change.” Continuing Dialogues. Edited by
Christa Benzer, Christine Bohler, Christiane Erharter, Vienna: JRP/Ringier, 2008, 183-191.
“Cultural Translation and Agency in SEE Cultural Policy.” New Paradigms, New Models – Culture
in the EU External Relations. Ljubljana, Slovenia: Peace Institute, Slovenian Academy of
Arts and Sciences, 13-14 May, 2008, 21-8
“The Hope and Potentiality of the Paradigm of Regional Identity.” ManifestaCompanion. Ed. by
Adam Budak and Nina Montmann, Milano: Silvana Editoriale, 2008, 330-337.
“Phantasm of Belonging: Belonging without Having Something in Common.” Volksgarten: Politics
of Belonging, edited by Peter Pakesch. Kőln: Walther König, 2008, 110-19.
“Femina Sacra – The Biopower and the Paradoxes of Humanity in the Recent Work of Tanja
Ostojic.” The Földerkohle,NBK, Berlin, 2007/8, 130-132.
“Curatorial Translation of Theory into Practice.” “Event-fullness: Family Archives as
Events/Folds/Veils.” Curatorial Translation. Edited by Suzana Milevska, Skopje: Euro-
Balkan Press, 2007, 7-13, 69-76.
“Becoming Woman from a Feminist Point of View.” New Feminism: worlds of feminism, queer and
networking conditions. Edited by Marina Gržinić and Rosa Reitsamer. Vienna: Löcker
Verlag, 2007, 41-8.
“Resistance that Cannot Be Recognised as Such.” Conversations with Gayatri Chakravorty Spivak,
London: Seagull Books, 2007, 57-85.
“Is Balkan Art History Global?” Is Art History Global? Edited by James Elkins. New York:
Routledge, 2006, 214-222.
“Macedonian Art Stories”. East Art Map. Edited by IRWIN, London: MIT Press/Afterall, 2006,
252-260.
“Hesitations, or About Political and Cultural Territories.” Cultural Territories, edited by Barbara
Steiner, Julia Schäfer and Ilina Koralova. Köln:Verlag der Buchhandlung Walther König,
2005, 31-43.
“Curatorial Labyrinths in Macedonia.” Men in Black – Handbook of Curatorial Practice, Ed.
Christoph Tannert/Ute Tischchler, Kűnstlerhaus Bethanien, Berlin, 2004.
“Suzana Milevska.” Die Anthologie der Kunst 2001-2002, Köln: DuMont Verlag, 2004, 93-4.
“Anthologie der Kunst.” Kunst Nach Ground Zero, Herausgegeben von Heinz Peter Schwerfel, Köln:
DuMont, 2002.
“The Readymade and the Question of Fabrication of Objects and Subjects.” Primary Documents - A
Sourcebook for Eastern and Central European Art since the 1950s, The MOMA, New York,
2002, 182-91.
“From the Bat's Point of View.” Eduardo Kac. Editors: P. T. Dobrila and A. Kostić, Kibla, Maribor,
2000, 47-58.
“The Image of the Other” (preface), The Image of the Other. (English) (Ed. Suzana Milevska) Reader
of original papers for the HESP/OSI Summer School: The Image of the Other (1-21 July
1999), Skopje: OSI-Macedonia, 2000.
9