Goran Petrović-Lotina is a researcher, curator and theorist in visual and performing arts. He is a Visiting Professor at Sciences Po Paris Institute of Political Studies, where he teaches on performance and politics; a founder of PEPPER RAD Club: Philosophy, Ethology, Politics and Performance Reading and Discussion Club at Ghent University within the research platform PEPPER; and a founder and co-curator of Fogo Island Film, a long-term project concerned with the diversity of relationships between nature and society, which takes place annually on Fogo Island in Canada.
Petrović-Lotina is a holder of IAS WIRL-COFUND Research Fellowship funded by The University of Warwick's Institute of Advanced Study and Marie Skłodowska-Curie COFUND scheme (2019/21). He holds a PhD in Performance Studies from Ghent University and Master's Degrees in Arts and Politics (SPEAP) from Sciences Po: Paris Institute of Political Studies and in Art History from the University of Belgrade. His research combines art theory with political philosophy to examine the political dimensions of art. Petrović-Lotina’s main field of inquiry is to explore how artistic practices may contribute to contesting dominant politics and invigorating democracy. He finds inspiration in post-Marxist theories of discourse analysis, hegemony, antagonism and strategy, and has published on this subject in various journals and books.
Next to his forthcoming book Choreographing Agonism (2020), his recent publications include: "Performance and Populism," in The Oxford Handbook of Performance and Politics, edited by M. Gluhović, S. Jestrović, M. Saward & S. Rai (Oxford University Press 2020); "Theatricality: a Dramatic Form of Contesting Spectatorial Codes," in Performance Research (2019); “Reconstructing the Bodies: Between the Politics of Order and the Politics of Disorder,” in Shifting Corporealities in Contemporary Performance: Danger, Im/mobility and Politics, edited by M. Gržinić & A. Stojnić (Palgrave 2018); “The Political Dimension of Dance: Mouffe’s Theory of Agonism and Choreography,” in Performing Antagonism, Theatre, Performance & Radical Democracy, edited by T. Fischer & E. Katsouaraki (Palgrave 2017), and “The Agonistic Objectification: Choreography as a play between abundance and lack,” in Performance Research (2016).
As a curator and writer Petrović - Lotina has collaborated with numerous artists, and institutions such as Moscow Biennial, MoCA Belgrade, CAC Adelaide, Kaaitheater Brussels, CCA Sarajevo, Kunstahelle Wien, Kran Film Copenhagen, South Florida Art Centre, AIR-Krems Austria and Omen Theatre Belgrade, among others.