Ayò Akínwándé is an architect, photographer and multi-disciplinary artist who experiments with lens-based media, performance and installation. His work flow involves constant questioning on socio-political realities as his presentations incorporate spatial processes to evoke both intimacy and the monumental. He co-curated the 2017 Lagos Biennial and was also a participating artist at the exhibition held at the Nigerian Railway Museum.
Andy Amadi Okoroafor, an igbo man, impacting the world through creativity, navigating the world of cinema, fashion, publishing, art, design and curation with imagery as his guide.
Ayodele Arigbabu is a writer, architect and creative technologist, whose work traverses the fields of publishing, architecture, design, digital / interactive media, and urbanism. He is the publisher and editor of LAGOS_2060, an anthology of science fiction from Nigeria, published in 2013 and was curator of African Futures: Lagos, a festival on diverse future perspectives of the African continent, produced by Goethe Institut in three African Cities in 2015.
Memory Biwa is a historian who lives in Windhoek, Namibia. Biwa’s work combines memory, performance, sound studies and archival theory. Her research focuses on narratives and re-enactments of violence and resistance to colonial war and genocide across southern Namibia and Northern Cape, South Africa. Her research on a 1950s sound collection from central Namibia has developed her interests in oral/aural sonority and performative excess. The project has expanded into a collaborative performance project, Listening at Pungwe, with Robert Machiri.
Seloua Luste Boulbina is a theorist of postcoloniality and decolonization of knowledge. At the moment, she is Associate Researcher (HDR) at the Laboratoire de Changement Social et Politique (Paris Diderot University), programme Director (Decolonizing Knowledge) at the Collège International de Philosophie (2010–2016).
Garnette Cadogan is an essayist whose research explores the promise and perils of urban life, the vitality and inequality of cities, and the challenges of pluralism.
Fatoumata Diabaté landed rather by chance in the field of photography until she realised: Photography is my life. Becoming a professional artist photographer is not an idea that comes easily as an option to a girl growing up in Bamako. Despite living in a city that is known through the work of Seydou Keïta, Malick Sidibé and others. Since 2013 Fatoumata runs her own street studio turning the practice of the masters into a mobile concept.
Elvira Dyangani Ose
Ndidi Dike is a multi-disciplinary artist who keeps the past present by addressing critical issues of our times, and moonlights as a chef whenever it catches her fancy.
Editorial and Curatorial Committee — Annett Busch, Marie-Hélène Gutberlet, Magda Lipska
Jihan El-Tahri, a true woman on many aeroplanes, is an investigating, tireless questioning propelled force. She makes documentaries and writes books. And she is searching until she found the right person to talk to, the document to read, the turning point, the lost image.
Janusch Ertler works between photography, film and carpentry. His work investigates the symbolic, aesthetic and historical potential of materials that construct everyday life. He moves between Europe and South America.
Kodwo Eshun is an artist and theorist, a dedicated and committed listener and respondent, who might sharpen an utterance towards a continuative elaboration. Together with Anjalika Sagar is a co-funder of the Otolith Collective.
Rahima Gambo is a visual artist, storyteller and documentary photographer who explores themes of postcolonial Nigerian identity, gender, history, memory and socio-political issues through long-term visual projects.
Lungiswa Gqunta is a visual artist, born in Port Elizabeth and working in Cape Town. Her practice considers the hidden structures of exclusion and oppression that continue to perpetuate the legacy of colonialism and how this is manifested in different forms of violence. Her work features familiar and domestic objects that are adapted and combined to create tools and weapons, engaging in histories of resistance and highlighting black women who have been overlooked in these narratives.
Günter Gretz is a courageous facilitator and producer of African music.
Lubaina Himid was born in Zanzibar, Tanzania, in 1954, and lives and works in Preston, UK, where she is professor of contemporary art at the University of Central Lancashire. In 2017, Himid won the prestigious Turner Prize. She is currently working for her first solo show in the United States, Work from Underneath, at The New Museum in NY. Invisible Narratives, an exhibition curated by Lubaina Himid at the Newlyn Art Gallery in Cornwall, features work by Lubaina Himid, Magda Stawarska-Beavan and Rebecca Chesney. (March-June 2019)
Laura Horelli is an artist and a filmmaker living in Berlin. Her works, mainly digital films, explore the intersection of the private and public spheres. She is interested in representations and mediations of the past taking on a microhistorical approach.
Shahira Issa is an artist and editor, meandering between Cairo, Berlin and other places.
Gladys Melina Kalichini is a visual artist and researcher from Lusaka. Her work explores the representation of women in relation to dominant, national and colonial histories. Her first project, consisting of a written piece and an exhibition, explored the erasure of women in Zambian history by analysing the ways in which Alice Lenshina's and Julia Chikamoneka's narratives are marginalized and made less visible within the context of the official narrative of the Zambian liberation struggle.
Theresa Kampmeier (Berlin), graduate of the academy of fine arts Frankfurt/Main, re/acts conceptually to contexts, textures, and the potential agency of the space and its activities, accompanying the project, emphasizing access points, and testing ir/reversible gestural interventions. She starts this process off from a photograph of Hotel Luxor (2015), a hotel now closed opposite the runway at TOR.
Maryam Kazeem is a writer based in Lagos. Her work consists of experimental writing, multimedia installation, and film. By exploring questions around the archive, memory, and what it means to write the black female body through image, text and other mediums, her work seeks to unearth the possibility of speculation as both an artistic and writing practice.
Patrick Keaveney is an artist based in Frankfurt/Main. His current project An si'vila ba ti'ka ka'ik mal ba ti'ka nak’kal’bah works through following traces, cutting things afresh and reassembling new and askew relations between the historical exhibition Poetry must be made by all: Transform the World! and the histories/futures of the Middle Sepik in Papua New Guinea, Bougainville Island and New Georgia Island in the Solomon Islands.
Brigitta Kuster does films and texts, publishes books, navigates through film-based research and is teaching cultural production with a sensitivity towards gender issues. She is an audiovisual-phile, with an amateur approach to whatever she is doing, but feels immediate unease once things stand still.
Fabiana Lopes is a New York and São Paulo-based independent curator and a Ph.D. candidate in Performance Studies at New York University. Her work focuses on the artistic production from Latin America, and she is currently researching the production of artists of African descent in Brazil.
Robert Machiri—Chi aka Chimurenga (b. 1978 Robert Machiri ) is a Zimbabwean multidisciplinary artist based in Johannesburg. Machiri’s work exists at the juncture of two streams of practice; his curatorial concepts and a multi-disciplinary production of artworks. His most notable project PUNGWE traverses disciplines circling African soundings with related contemporary arts discourses and spaces.
Antonia Majaca is a dialogical thinker, curator, researcher and generalist based in Berlin. She currently leads the artistic research project The Incomputable at the Institute for Contemporary Art at Graz University of Technology. She recently co-curated Parapolitics–Cultural Freedom and the Cold War at Haus der Kulturen der Welt, Berlin. Antonia also teaches (and studies) theory at the Dutch Art Institute. Her Feminist Takes:Early Works (co-edited by Rachel O'Reilly and Jelena Vesic) is forthcoming on Sternberg Press.
Thenjiwe Niki Nkosi is an artist living and working in Johannesburg. Her preoccupation is power: how it works, what structures it creates, how we relate to it, what threatens it. Inherent in her examination is an imagining of alternatives. She divides her time between her studio and the field of art as social practice. Nkosi is currently teaching a course at the University of the Witwaterand on rethinking Modernism.
With an interest in documenting and creating contemporary channels of communication, Temitayo Ogunbiyi creates mixed-media artworks. Her approach is often site-specific, and explores botany, human adornment, and patterning (textile, habits, and repeated gestures) —informed by history, current events, and her interactions with particular places. She uses drawing, sculpture, fabric, and collage to fragment and reorder this source material, which often includes personal anecdotes. Recently, Ogunbiyi has been creating renderings that combine hairstyles with botanical forms. She is currently developing these works into public sculptures.
Wura-Natasha Ogunji is a visual artist and performer. Her work includes draw- ings, videos and public performances. Her hand-stitched drawings, made on architectural tracing paper, are inspired by the daily interactions and frequencies that occur in the city of Lagos, from the epic to the intimate.
Uche Okpa-Iroha is a photographer and founder of the photography platforms The Nlele Institute (TNI) and the Lagos OPEN RANGE. He is also a big fan of Francis Coppola’s The Godfather, and he worked hard on the movie until he managed to edit himself into the picture (what became the award winning Plantation Boy project).
Iheanyichukwu Onwuegbucha is Associate Curator at the Centre for Contemporary Arts, Lagos and founder of e-museum.org, a virtual museum project. His current curatorial and research interests include: collective war memories in museums, inclusive virtual museums for Africa, and modern and contemporary African art with particular inter- est in female modernists from Africa.
Odun Orimolade is a multimedia artist and academic who engages her practice from a multifaceted perspective of transdisciplinary approaches, research and collaborations. Her work spans a plethora of interests linked by space, the intangible, orientation and behavioural tendencies. She keeps an open contexture to her practice, favouring drawing as a connecting point. She also creates mentorship avenues and contributes to various community projects. Orimolade lives and works in Lagos and lectures in the Fine Art Department, Yaba College of Technology where she currently serves as the Sub-Dean of the School of Art, Design and Printing.
Pamela Phatismo Sunstrum: “I am interested in this idea of locating land- scapes of alternative and yet-to-be known possibilities [...] within the space of imagination, rather than in a physical place. The space of imagination opens radically vast territories of possibility. The space of imagination allows for multi- ple, simultaneous ‘utopianisms.’ Pamela Phatsimo Sunstrum was born in 1980 in Mochudi, Botswana, and currently lives and works between Johannesburg, South Africa and Ontario, Canada.
Emily Pethick is of the seldom species who can easily understand and grasp an idea and transform it into production and realisation. She was part of the moment when the conversation started about what became the Women on Aeroplanes project. She gave enthusiastic and full support as the director of The Showroom, London and is about to take off to become the new director of Rijksakademie van beeldende Kunsten, Amsterdam.
Lisl Ponger is an extravagant researcher, investigating the history of colonialism, searching for an artistic, critical form that contains a good sense of humour. She started with experimental film, continued with staged photography and installations to currently playing out her artistic freedom as the (counter-) curator of The Master Narrative (Vienna, coming soon to Dresden).
Anjalika Sagar together with Kodwo Eshun, Sagar is a co-founder of the Otolith Group. The Group was initiated in 2002 and also function as curators on the platform titled The Otolith Collective. This visual art duo work with moving image installations, with archival film, video, photography, performance, curation and publication.
Marika Sherwood born in Budapest in 1937, saved by Christians there, taught in London schools from 1965 to 1968. She found the lack of research on the history of Black peoples in the UK very upsetting and set about doing some research. Always without funding. Her first book was published in 1985. She co-founded the Black and Asian Studies Association in 1991. She is a Research Fellow at the Institute of Commonwealth Studies, University of London.
In her curatorial, publishing, teaching and research practice, Nadine Siegert engages with discourses on archives and collections within public institutions as well as the collective image archives of resistance and revolution. She moves with care, in thought and practice, within the fields of aesthetics and politics.
Cara Snyman belongs to the first generation of South Africans to study after the end of apartheid. She is the one who brings people together. Thanks to her thoughtful enthusiasm there is space to try out new ideas to become a vision for a project, a book, an exhibition, an artistic research. The Goethe-Institut in Johannesburg would not be the same, if she would not be there.
Michael C. Vazquez is a writer and editor. Before joining the magazine Bidoun: Art and Culture from the Middle East, he was the editor of Transition: An International Review at what was then the W.E.B. Du Bois Institute for African and African American Research at Harvard. Currently he is editing the first comprehensive monograph on the Iranian avant-garde theatre auteur Reza Abdoh, due Fall 2019.
very / Alexandra Papadopoulou and Marie Schopmann
Emma Wolukau-Wanambwa is an artist and researcher with a distinct sensitivity to what happens between the lines, working with a variety of forms and practices. She is a Research Fellow in Fine Art at the University of Bergen and Convenor of the Africa Cluster of the Another Roadmap School.