Amalija Stojsavljević (Pančevo/ Serbia, 1984) graduated in 2010 in Belgrade with a degree in history of art, after which she worked as a curator and librarian at the Museum of Contemporary Art in Banja Luka (Bosnia and Herzegovina). From 2011 to 2013, she attended World of Art-School for Curatorial Practice and Critical Writing in Ljubljana, Slovenia. In 2017, she enrolled in the Master´s Program in Art History at the Institute of History of Art in Vienna. During 2019 and 2020, she actively devoted herself to learning about project management and cultural funds in Austria and abroad, where she obtained several certificates in those fields.

Among the numerous realized projects that include exhibitions, reviews, essays, festivals, lectures, workshops, she is especially proud of the project Uterus Effects (2020), whose part is the homonymous publication about art, maternity and reproductive system disease as well as the publication Am Rande des österreichischen Mainstream-Kunstdiskurses: Art Brut und Disability Art während der Corona (Virus)-Pandemie (2022).

The last two major projects she worked on are:Hand Job (Gallery Remont, Belgrade, November 2022) and Doing the Dirty Work together with Anezka Jaburkova within the festival Wienwoche (Semmelweis Klinik, Vienna, September 2022). As part of the additional program of the festival Wienwoche, she has also organized a discussion about Art Brut named BETWEEN HERMACITY AND COMMERCIALISATION: Whose Art Brut is it, anyway? (Depot, Vienna, September 2022).

She is the founder of the association Kunstentropie in Vienna (2018) and Pančevo (2021), whose goal is to promote feminist and alternative art and culture. From November 2022, she also became a vice president and program director of the association Art Brut Serbia from Belgrade.