Jelena Vesić (1974) is an independent curator, writer, and lecturer – based in Belgrade and working internationally. She holds MA in Art History, Faculty of philosophy – Belgrade; attended Curatorial Training program De Appel – Amsterdam; PhD in Theory of Arts and media, University of Arts – Belgrade exploring the technologies of curatorial knowledge production.
Active in the field of publishing, research, and an exhibition practice that intertwines political theory and contemporary art, Jelena Vesic was co-editor of Prelom: Journal of Images and Politics (2001–2010, Belgrade). She is co-editor of Red Thread journal (Istanbul) and a member of the editorial board of ARTMargins (MIT Press).
She has published numerous essays on curatorial practice, art historical methodology, exhibition history, and the politics of display. Her recent book On Neutrality (in collaboration with Vladimir Jerić Vlidi and Rachel O’Reilly) is part of the edition Non-Aligned Modernity, dedicated to exploring different cases of the culture and politics of the Non-Aligned Movement as the most significant decolonization movement of the twentieth century.
Vesic also curated many exhibitions, often experimenting with frameworks, methodologies, contextual and collaborative aspects of curatorial practice. Her recent projects are Story on Copy (Akademie Schloss Solitude, Stuttgart) and We are Family (with Nataša Ilić) presented in Pawilon, Poznan.
Vesić also curated Lecture Performance (MoCA, Belgrade and the Kölnischer Kunstverein, with Anja Dorn and Kathrin Jentjens) as well as the collective exhibition project Political Practices of (Post-) Yugoslav Art, which critically examined art historical concepts and narratives on Yugoslav art after the dissolution of Yugoslavia (2020).
Vesić is the President of AICA (International Association of Art Critics), Serbia.