Dr Lina Džuverović is an independent curator and Lecturer in Arts Policy and Management at Birkbeck’s Department of Film, Media and Cultural Studies, which she joined in 2018. She is also the Co-Director of BIRMAC – Birkbeck Interdisciplinary Research in Media & Culture Centre. Her research focuses on feminist art histories and contemporary art as a site of solidarity and community-building. She founded the Decolonial Feminist Forum at Birkbeck in 2019 and her practice-led research often takes the form of workshops, discussions and collaborative writing within this forum. Since 2019, her research has centered on explorations of gendered divisions of labour within art collectives under the umbrella project And Others: The Gendered Politics and Practices of Art Collectives, which has been supported by Birkbeck School of Arts strategic research funds and a Faculty Grant by the Center for Human Rights & the Arts at Bard College.
Previously Lina was Lecturer in Fine Art the Reading School of Art, University of Reading. Between 2011 and 2013 she was Artistic Director at Calvert 22 Foundation. Prior to this she spent seven years as Director of Electra, a London-based contemporary art organisation which she co-founded in 2003. In 2006 Lina was named the 2006 Decibel Mid-Career Curatorial Fellow by Arts Council England (an award given to one curator every two years) and received this prestigious award towards professional development and R&D of a major exhibition.
In 2016 she curated ‘Monuments Should Not Be Trusted’ for Nottingham Contemporary. The exhibition and associated events brought together varied artistic practices and material culture from the former Yugoslavia, from the 1960s and1970s. Džuverović’s PhD (Pop Art Tendencies in Self-managed Socialism: Pop Reactions and Countercultural Pop in Yugoslavia in 1960s and 1970s), which was funded by a collaborative award (AHRC) between Tate and the Royal College of Art, contributed towards Tate Modern’s exhibition The World Goes Pop (2015).
Selected curatorial projects include Sanja Ivekovic – Unknown Heroine (South London Gallery and Calvert 22 Foundation, 2012/13), Archive As Strategy: Conversations about Self-historicisation across the East research project (Calvert 22, 2011- 2014); IRWIN – Time For A New State and NSK Folk Art (Calvert 22, 2012) and NSK Symposium (co-organiser) (April 2012, Tate Modern); The Forgetting of Proper Names, co-curated with Dominik Czechowski, (Calvert 22, 2012); 27 Senses (Chisenhale Gallery, London, 2010; Kunstmuseet KUBE, Alesund, Norway, 2009), Favoured Nations, Momentum, 5th Nordic Biennial of Contemporary Art (co-curated with Stina Hogkvist), (Moss Norway, 2009), film/performance Perfect Partner by Kim Gordon, Tony Oursler and Phil Morrison (Barbican Centre, London and across Europe, 2005), group exhibition Her Noise co-curated with Anne Hilde Neset, (South London Gallery, 2005), Sound And The Twentieth Century Avant Garde lecture series (Tate Modern, 2004), soundtrack consultancy on films by Daria Martin, with composers Zeena Parkins and Maja Ratkje, Emotional Orchestra and Sheer Frost Orchestra by Marina Rosenfeld (Tate Modern, 2005) and numerous projects by Christian Marclay.
Prior to completing her PhD at the Critical Writing in Art & Design Department, Royal College of Art (2017), Lina studied at The London Consortium (Birkbeck College, University of London), Central Saint Martins College of Art and Design and Chelsea College of Art and Design.