conferences & lectures


“Female Agency in the Arts of Former Yugoslavia,” Seventh Feminist Art History Conference, American University Washington (online)

Valie EXPORT and Archives of Performance Art: a conversation between Anja Foerschner and Marta Jovanovic,
Museum of Contemporary Art Belgrade

“Moving Beyond the West: The many faces of Feminist Art”, Roundtable Feminism, Gender, and Race Politics in a Global World” International Conference of Aesthetics, Belgrade

“’Finding a Body’: Performance as Practice and Theory in the Work of Barbara T. Smith“, Feminist Art History Conference, American University Washington, September 28-30.

‚Crossing the Line‘: Performancekunst, Feminismus und der ‚ekelhafte‘ weibliche Körper, invited lecture, Department for Art History, University of Stuttgart, July 4.

“Keep Moving – Female Performance Art in Belgrade since the 1970s,” Female Agency in the Arts, Christie’s Education, New York, June 26-27.

“Building a Legacy through an Archive – Carolee Schneemann in Conversation with Anja Foerschner,” Body of Work: Artists‘ Estates, International Symposium, Contemporary Conservation Ltd, New York, April 4-5.

Carolee Schneemann on her Art and Archive a Conversation with Anja Foerschner, The Getty, March 20.

„Crossing the Line: Women, Performance Art and the ‚Disgusting Body‘,“ Annual Meeting Kulturwissenschaftliche Gesellschaft: Bodies in Motion, Ghent University, November 16-18.

We are the Artists, invited lecture, East Tennessee State University, March 13.

„Documenting Carolee Schneemann’s Performance Works“ (with Dr. Rachel Rivenc, Getty Conservation Institute), International Symposium Collecting and Preserving Performance Art, Kunstmuseum Wolfsburg, June 9-11.,

„Belgrade Heartbeat: Marta Jovanovićs Performance Ljubav“, Southeastern College Art Conference’s 72nd Annual Meeting, Roanoke, VA, session: Art as Exchange: Theory and Practice, October 19-22.

Crossing the Line: Women, Performance, and the Disclosed Body, invited lecture, PerformanceHUB, Belgrade, February 22.

„Ent-Grenzung und Groteske: Ekel in den performativen Installationen Paul McCarthys,“ International Symposium Art and Emotion: The Aesthetic of Feelings, Swiss Institute for Art Research (SIK-ISEA), Zurich, November 5-6.

„Live L.A. – Los Angeles’ Urban Landscape in Paul McCarthy’s Installation Work,“ Southeastern College Art Conference 71st Annual Meeting, Pittsburgh, PA, session: US Urban: Representations of the City in American Visual Culture , October 21-24.

Visual Culture of the First World War, invited lecture, University of Calgary, November 14.

“The Getty Scholars Workspace,” Digital Art History: Challenges and Prospects, International Workshop, SIK-ISEA Zurich, June 26-27.

„Food Disgust and Decay: Paul McCarthy’s Bossy Burger as Contemporary Still Life,“ College Art Association’s Annual Conference, New York, session: Creative Kitchens: Art, Food, and the Domestic Landscape after World War II , February 13-16.

„Sex, Violence and the Human Body – Disgust and Censorship in Art,“ 47th Annual Comparative Literature Conference, California State University, Long Beach, 2011: Drawing the Line(s):Censorship and Cultural Practices    


“Archiving Performance: The Virtual, The Ritual, The Body”
The Curator’s Chain, a program of conversations for performance art in the virtual; panelists: Marta Jovanovic, Natasha Jozi, Glenda Cinquegrana, Kasia Kowalska Clubhouse Podcasts

Stop’n Go: The Significance of Performance Stills, Southeastern College Art Conference 71st Annual Meeting, Pittsburgh, PA.

Regarding Feminist Art , Southeastern College Art Conference 70th Annual Meeting, Sarasota, FL.

Eew-Gross! – Disgust in Art since the 1960’s, Southeastern College Art Conference 69th Annual Meeting, Greensboro, NC.