Branislava was born in Prijepolje, former Yugoslavia, where she studied theatre directing at the Belgrade Academy of Dramatic Arts before emigrating and resettling in Prague in the mid-1990s.

She has taught extensively in the UK: at the University of Roehampton in London (where she also received her PhD in Performance and Visual Culture); Goldsmiths, University of London, where she was awarded the Goldsmiths Peake Award for Excellence in Learning and Teaching; Chelsea College of Art and Design, University of the Arts, London; and the University of South Wales in Cardiff. She is an Associate Fellow of the UK Higher Education Academy.

Branislava is a writer and researcher in the interdisciplinary fields of performance and visual culture, and continues to present her research at numerous international conferences in the UK, US, Czech Republic and Germany. She has published articles in international peer-reviewed journals, essays in artist books, and contributed chapters to two academic publications: Intimacy: Across Digital and Visceral Performance, Palgrave Macmillan, 2012, and Theatre and the Making of Subjects, transcript Verlag, Germany, 2012. She has also assisted Adrian Heathfield and Amelia Jones on the major performance anthology Perform, Repeat, Record: Live Art in History, published by Intellect Books in 2012, with 70 contributing artists and academics.

Branislava has curated talks and international workshops and seminars both in London and in Prague, and has for many years collaborated with the Refugee Week UK team, and with their new initiative PLATFORMA arts & refugees network.

She has long-term links to Prague and to Czech modern and contemporary art. As a translator, she has collaborated with leading cultural institutions, publishers, museums and art galleries in Prague and has translated several dozen major artist monographs, books and various other publications. Her most recent translations are included in the books: Vital Art Nouveau 1900, published by the Museum of Decorative Arts in Prague and Arbor Vitae in May 2014, Zbynek Sekal and Japan, published by the West Bohemian Museum in Plzen and Arbor Vitae in June 2014, and Jan Sagl: Ten Sides of the Same Coin, published by KANT and Leica Gallery in November 2014.

Education:

PhD. - Theatre and Performance – Department of Drama, University of Roehampton, London 

MPhil. - Performance and Live Art Unit, School of Art & Design, Nottingham Trent University

BA – Belgrade Academy for Performing Arts / Dartington College of Arts, Devon, UK, Theatre Programme 

PgCE - Management of Learning and Teaching in Higher Education - Goldsmiths, University of London in 2012–2013, Associate Fellow of the Higher Education Academy

Professional Activities:

2015 - 2023 – Prague City University, School of Art & Design – MA Fine Art programme leader

2014 - 2023– Prague City University, School of Art & Design – lecturer

2016 - 2023 – external pedagogue, Search for Context, MA Object and Devised Theatre, KALD DAMU, Prague

2015 - 2016 – Prague City University, School of Art & Design – coordinator for BA and MA programmes

2013 – University of South Wales, Division of Drama – lecturer

2012 - 2013 – Goldsmith, University of London, Visual Cultures Department – lecturer

2012 - 2013 – Chelsea College of Art and Design, University of the Arts, London – lecturer, external advisor

2007 - 2013 – University of Roehampton, Drama, Theatre and Performance Department - lecturer, external advisor, research assistant and assistant of prof. A. Heathfield

Memberships:

• Member of Memory Studies Association
• Associate Fellow of the Higher Education Academy UK
• Member of Performance Philosophy research network
• Member of Performance Studies international

Publications:

• Branislava Kuburović, 2016, ‘Introduction’ and ‘How Objects Perform’, in Space: Music, Weather, Politics. New Approaches to Scenography. Prague Quadrennial 2015, Branislava Kuburović, Sodja Zupanc (eds.), Arts and Theatre Institute, Prague 2016.
• Branislava Kuburović, 2012, ‘Collapsing Alibis: Intimacy and the Ethics of Wit(h)nessing’, in Intimacy: Across Digital and Visceral Performance; Maria Chatzichristodoulou and Rachel Zerihan, (eds); Palgrave Macmillan; London, pp. 39-50.

Articles in academic journals:

• Branislava Kuburović, 2012, ‘Strange Attractors: Barbara Campbell’s 1001 nights cast”, Performance Research, October 2012, vol. 17, no. 5, ‘On Duration’: 31-33;
• Branislava Kuburović, 2011, ‘Sta(i)r Falling’, Performance Research, vol. 16, no. 1 ‘On Trauma’: 91-101;
• Branislava Kuburović, 2009, ‘Matrixial Traces in Performance: the anchor series’, parallax, vol. 15, no. 1: 115-124.
  
  
  Reviewed and published conference collections:
   
  • Beyond Repair: the art of memory”, ‘(Trans)national memory wonderlands: Europe’ panel convenor and panelist Memory Studies Association 5th Annual Conference Warsaw 5-9 July 2021 (forthcoming)
  • Branislava Kuburović; 2012; ‘Matrixial Subjectivity at the Borders of “Theatre” and “Life”’, in: Theater und Subjektkonstitution/Theatre and the Making of Subjects; Friedemann Kreuder, Michael Bachmann, Julia Pfahl and Dorothea Volz (eds); transcript Verlag; Bielefeld, Germany, pp. 715-726. Proceedings of SUBJEKT 2010, 10th Conference of the German Society for Theatre Studies, Institut für Theaterwissenschaft Johannes Gutenberg-Universität Mainz

Other articles/catalogues/reviews: 

The Curator As … edited by Felicitas Thun-Hohenstein and Sabine Priglinger and published by the Cathrin

Pichler Archiv für Kunst und Wissenschaften in Vienna in 2018; and Perform, Experience, Re-Live: The BMW

Tate Live programme, published by Tate Modern, London, in 2016.

• Branislava Kuburović, key essay for artist’s book Bohemian by Lawrence Wells, Yoknapatawpha Press, Oxford, MS, 2015;
  
  
• Output from collaboration with artist Margareta Kern on GOSTIkulacije | GUESTures project: 

– Branislava Kuburović, ‘GOSTIkulacije | GUESTures’, German translation of the text in the artist’s catalogue produced by Living Archive, Ljubljana, Sarajevo, Munich (May 2014).

– Branislava Kuburović, ‘GOSTIkulacije | GUESTures’, Women & Performance journal, special issue, ‘Precarious Situations’, Ampersand section (2013).

– Branislava Kuburović, 'GUESTures: Constructing the Space of Precarious Knowledge', catalogue text for the artist Margareta Kern’s GUESTures exhibition at SC Gallery in Zagreb, Croatia (2011).

• Branislava Kuburović, ‘The Strangest Homecoming: Natasha Davis’ Internal Terrains’, co- editing and main essay in the artist’s monograph Natasha Davis: Performance Film Installation, London: Natasha Productions, supported by the Arts Council England and Hosking Houses Trust (2013).
  
  
• Branislava Kuburović and Almir Koldzić, ‘Counterpoint’ exhibition and performance festival catalogue text, for PLATFORMA arts & refugees network (2011).

   

  Conference Papers (selection):

  • Panel Chair, Memory and Arts: Embodiment, at the Memory Studies Association annual conference in Madrid, 25-28 June 2019 
  • Academy of Sciences of the Czech Republic (24–27 October 2014);
  • Time Without: Repetition and the Performance of Survival, paper for Performance Studies International Conference #19 at Stanford University (26–30 June 2013);
  • Matrixial Subjectivity at the Borders of “Theatre” and “Life”, paper at SUBJEKT 2010, 10th Conference of the German Society for Theatre Studies, Institut für Theaterwissenschaft Johannes Gutenberg-Universität Mainz(2010);
  • Shifting Shift paper/performance with PA Skantze, Matthew Fink, Rebecca Schneider, Ann Pellegrini, Joe Kelleher and Snejanka Mihaylova, organised by PA Skantze, at PSi #15 Conference in Zagreb, Croatia (2009);
  • Dramaturgies of Loss, paper at Writing Encounters International Conference, York St John University (2008);
  • With This Shadow on Her Shoulders, paper at Cracks in Orders of Visibility seminar, Centre for Theatre Research in Europe, University of Roehampton (2008);
  • Performing Immediacy: Matrix and Mediation in Live Art, at London Theatre Seminar, Birkbeck College, University of London (2007);
  • Collapsing Alibis, paper at Intimacy Show & Tell, Goldsmiths (2007);
  • Performing Immediacy, paper at PSi #13 Conference at New York University (2007);
  • Witness to an Impossible History, paper at Congress CATH V: The Afterlife of Memory: Historia/Memoria/Amnesia, University of Leeds (2006).

Selection of other forms of public output:

• Participating writer on 1001 nights cast project by the artist Barbara Campbell, 2007-8
• Branislava Kuburović and Eve Dent, Homeland, collaborative video installation;
  commissioned by Chapter Arts Centre in Cardiff, April–May 2005, shown again at the Spill festival in London in April 2007
• Naming of the Storm, collaborative performance with Rabab Ghazoul, Eve Dent, Sara Rees, Robert Persson and Claire Huish, Chapter Arts Centre in Cardiff, 2002
• No Place (Like Home), collaborative performance with Boedi S. Otong and Mala Sikka, Performance, Places and Pasts, Centre for Performance Research, Aberystwyth, 1998
• Ongoing collaboration with Magdalena Project international network of women working in theatre; residential workshops, presenting at festivals Raw Visions 2 and 3, 1997-1999

Research grants and awards:

• Travel grant for presentation at PSi #19 at Stanford University in June 2013 provided the Department of Architecture, ETH Zurich, Switzerland.
• Internal travel grants from the University of Roehampton for attending conferences: in  Zagreb in 2009, in York in 2008, in New York in 2007.
• Research assistance for Prof Heathfield in 2008–2009 funded through the British Academy Small Grants
• Full three-year student bursary for my MPhil/PhD study: 2004–2007.
• Dialogues project, initiated and co-curated in Prague 1999–2001 received major funding from Open Society Fund, Prague and Open Society Institute, New York.
• Final year of BA study at Dartington College in 1996–1997 supported via European-wide Socrates scheme.