Amalija Stojsavljević (Pančevo/ Serbia, 1984) graduated in 2010 in Belgrade with a degree in history of art, after which she worked as a curator and librarian at the Museum of Contemporary Art in Banja Luka (Bosnia and Herzegovina). From 2011 to 2013, she attended World of Art-School for Curatorial Practice and Critical Writing in Ljubljana, Slovenia. In 2017, she enrolled in the Master´s Program in Art History at the Institute of History of Art in Vienna. During 2019 and 2020, she actively devoted herself to learning about project management and cultural funds in Austria and abroad, where she obtained several certificates in those fields.

Among the numerous realized projects that include exhibitions, reviews, essays, festivals, lectures, workshops, she is especially proud of the project Uterus Effects (2020), whose part is the homonymous publication about art, maternity and reproductive system disease as well as the publication Am Rande des österreichischen Mainstream-Kunstdiskurses: Art Brut und Disability Art während der Corona (Virus)-Pandemie (2022).

Currently, she is preparing two exhibitions: Hand Job (Gallery Remont, Belgrade and Layerjeva hiša, Kranj) and Doing the Dirty Work together with Anezka Jaburkova within the festival Wienwoche (Semmelweis Klinik, Vienna). As part of the additional program of the festival Wienwoche, she will also organize a discussion about Art Brut named BETWEEN HERMACITY AND COMMERCIALISATION: Whose Art Brut is it, anyway? (Depot, Vienna).

She is the founder of the association Kunstentropie in Vienna (2018) and Pančevo (2021), whose goal is to promote feminist and alternative art and culture.

Milena Gajić (Negotin/ Serbia 1985) graduated from the Faculty of Applied Arts (department Applied Painting) in Belgrade in 2010. In 2012 she enrolled in a PhD program at the Academy of Fine Arts in Vienna. She has participated in several art colonies in Serbia and exhibited in country and abroad. In 2020 she completed Graphic Design course at the ITAcademy. In her art work she investigates notions of transparency, line, form and space by perceiving painting work as an installation. Topics of interest in her artistic practice include motherhood, identity, verticality, position of female artists within the artistic discourse. She participated in the project Uterus Effects on art, maternity and diseases of the reproductive system (Verein Kunstentropie, 2020) and designed the publication Am Rande des österreichischen Mainstream-Kunstdiskurses: Art Brut und Disability Art während der Corona (Virus)-Pandemie (Verein Kunstentropie, 2022).

Milena Kaličanin (Pančevo/ Serbia, 1985) graduated from the English Language and Literature Department at the Faculty of Philology, University of Belgrade. Whishing to further expand her knowledge, she attended and completed the MA programme in Cultural Policy and Management at the University of Arts, Belgrade (Master Thesis: Audience Development Strategy: Inclusion of Children in the Cultural Life of Pančevo). During and after her studies, she was teaching English language in both public and private schools and, whenever possible, used the capacity of a teacher to incorporate arts and culture into her language classes and spark the children's interest in the two aforementioned fields. As faith would have it, she married a painter, became a mom of two girls. These life events prevented her from keeping her job as a teacher, but encouraged her to shift the focus to translating—chiefly art catalogues and culture-related texts. She likes to be absorbed in fine music, great literature, clever movies, visceral art and nature. She enjoys joking and cuddling with her family.