++++ Suzana Milevska is an art theorist and curator.
She was born in 1961 in Bitola (Macedonia). In 1984 she received her B.A. from the Art Department of St. Cyril and Methodius University in Skopje and in 1993/1994 she studied philosophy, art history and architecture at the Central European University in Prague.
She is currently a PhD student at Goldsmiths College. As a curator and researcher she received the Research Support Scheme Grant (1997), an ArtsLink Grant (1999) for the residency program at the school of the Art Institute of Chicago and the Curatorial Research Fellowship of the P. Getty Foundation for 2001. She has been publishing critical and theoretical essays since the late eighties in numerous art and theoretical journals such as Kinopis, Kulturen zivot, Golemoto staklo, Siksi, Index, Nu, Springerin, Flash Art, Afterimage, Curare and she has participated in several international conferences and symposia. She has also curated over fifty solo and group exhibitions and international projects in Skopje ('Little Big Stories' 1998, 'Always Already Apocalypse' 1999, 'Words-Objects-Acts' 2000, 'Capital and Gender' 2001), Istanbul ('Writing and Difference' 1992, 'Self and Other' 1994, 'Desiring Machines' 1997, 'Always Already Apocalypse' 1999), Providence USA ('Liquor Amnii II' 1997), Stockholm ('Little Big Stories' 1998), Berlin, Stuttgart and Bonn ('Correspondences' 2001).

++++ CORRESPONDENCES AND PRIVILEGES / My presentation at Manifesta 4 will deal with the correspondences between the works of artists coming from Macedonia and the Balkans, and the works of their colleagues done in another context, the Western art scene. The customary ‘privilege’ of Balkan artists to make art out of the feeling of uncertainty or ‘apocalyptic’ fear due to the continual political and military conflicts in the region was somehow lost after the events of 11 September, so that the correspondences became more inevitable than ever before.
Along with the discussion of art issues, I would also like to focus on the common prejudices of each art community about the privileged social position of the others that I came across during my curatorial work.