People

Participants

The planned TALKING OBJECTS LAB series is intended to include exhibitions, think tanks, performances, symposia and artistic interventions in Germany and on the African continent. A growing network of artists and scholars is emerging, especially from the African continent and the African diasporas in Europe. These are the participating artists, speakers and moderators of the UNEXPECTED LESSONS event:

All A B C D E F G H I K M N O P R S T V Y B
© Portrait Aïcha Diallo, Photo: Ibrahima Thiam.

Aïcha Diallo

Aïcha Diallo has been Head of Education & Outreach at DAS MINSK Potsdam since November 2020. As a cultural scientist, educator, freelance writer and editor, she has collaborated on various projects. For many years she worked as managing editor for the art magazine Contemporary And (C&) and curated exhibitions and events for the off-program of the Biennale Dak'Art. She was co-program director of KontextSchule, a project based at the Institute for Art in Context at the Universität der Künste Berlin (University of the Arts). In addition, she has worked for the pan-African cultural platform Chimurenga in Cape Town, the Institut für Auslandsbeziehungen (ifa) exhibition project prêt-à-partager, was co-founder of and performer in the Label Noir performance platform and contributing guest editor of the Platform Africa edition of the magazine Aperture. Her research and teaching interests are trauma and memory studies, critical pedagogy, and postcolonial critique. She is a member of bildungsLab* in Berlin, a collective of scholars of Color who comment, intervene and publish in the field of critical pedagogy. In addition, Diallo is editor with Annika Niemann and Miriam Shabafrouz of the anthology "Untie to Tie: Colonial Fragments in the Context of School" (ifa Gallery Berlin and Bundeszentrale für politische Bildung (BpB – Federal Center for Civic Education) which will be released in summer 2021.
 

Alexander Ghedi Weheliye

Alexander Ghedi Weheliye is professor of African American Studies at Northwestern University where he teaches Black literature and culture, critical theory, social technologies, and popular culture. He is the author of Phonographies: Grooves in Sonic Afro-Modernity (2005), Habeas Viscus: Racializing Assemblages, Biopolitics, and Black Feminist Theories of the Human (2014), Feenin: Black Music and Technology in the Now (forthcoming). Currently, he is working on Black Life/SchwarzSein, which situates Blackness as an ungendered ontology of unbelonging. His work has been published in many journals, and the anthologies Black Europe and the African Diaspora, The Oxford Handbook of Mobile Music Studies, Wie Rassismus aus Wörtern spricht: (K)erben des Kolonialismus im Wissensarchiv deutsche Sprache, and re/visionen: Postkoloniale Perspektiven von People of Color auf Rassismus, Kulturpolitik und Widerstand in Deutschland. 

© Aleya Kassam

Aleya Kassam 

Aleya Kassam is a Kenyan feminist, storyteller, writer and performer.  She is widely experimental; from page to stage, screen to speaker, micro fiction to memory poems, docu theatre to participatory filmmaking - she loves to play with how people experience story.
Her writing has been performed and published on multiple platforms and stages around the world, from Nairobi to Kigali to Stuttgart. She is the A in The LAM Sisterhood, which fills the world with stories for African women to feel seen, heard and beloved, such as the award-winning stage show Brazen.
Aleya also makes performance jewelry and whimsical samosas.

© Ariella Aïcha Azoulay

Ariella Aïsha Azoulay

Professor of Modern Culture and Media and Comparative Literature, film essayist and curator of archives and exhibitions. Her books include: Potential History – Unlearning Imperialism (Verso, 2019); Civil Imagination: The Political Ontology of Photography (Verso, 2012); The Civil Contract of Photography (Zone Books, 2008); From Palestine to Israel: A Photographic Record of Destruction and State Formation, 1947-1950, (Pluto Press, 2011); co-author with Adi Ophir. The One State Condition: Occupation and Democracy between the Sea and the River, (Stanford University Press, 2012). Her potential histories, archives and curatorial work were shown in different places: Errata (Tapiès Foundation, 2019, HKW, Berlin, 2020), Enough! The Natural Violence of New World Order, (F/Stop photography festival, Leipzig, 2016), Act of State 1967-2007, (Centre Pompidou, 2016, Arquivo Municipal de Lisboa Fotografico, 2020); "The Natural History of Rape" (Pembroke Hall, Brown University, 2015); The Body Politic [in Really Useful Knowledge, curated by What, How & for Whom / WHW], Reina Sofia, Madrid; When The Body Politic Ceases To Be An Idea, Exhibition Room - Manifesta Journal Around Curatorial Practices No 16 Potential History (2012, Stuk / Artefact, Louven), Untaken Photographs (2010, Igor Zabel Award, The Moderna galerija, Lubliana; Zochrot, Tel Aviv), Architecture of Destruction (Zochrot, Tel Aviv), Everything Could Be Seen (Um El Fahem Gallery of Art). Among her film-essays: Un-documented: Undoing Imperial Plunder (2019); Civil Alliances, Palestine, 47-48 (2012); I Also Dwell Among Your Own People: Conversations with Azmi Bishara (2004) & The Food Chain (2004).

© Azu Nwagbogu

Azu Nwagbogu

Azu Nwagbogu is the founder and director of the African Artists’ Foundation (AAF), a non- profit organisation based in Lagos, Nigeria that is dedicated to the promotion and development of contemporary African arts and artists. Nwagbogu also serves as founder and director of the LagosPhoto Festival. Nwagbogu was the interim director and chief curator of the Zeitz Museum of Contemporary Art in South Africa from April 2018 to August 2019. He created Art Base Africa, a virtual space to discover and learn about contemporary Art from the African continent and the diaspora. Nwagbogu is on the jury of major arts awards and committees such as the Dutch Doc, the POPCAP Photography Awards, the World Press Photo, the Prisma Photography Award (2015), the Greenpeace Photo Award (2016), the New York Times Portfolio Review (2017-18), the W. Eugene Smith Award (2018), Photo España (2018), Lensculture and Magnum. Nwagbogu also works as an independent curator and culture critic.

© David Ausserhofer

Bénédicte Savoy

Bénédicte Savoy is the head of the Department of Modern Art History at the Technische Universität Berlin. Since 2016, she has also held a professorship at the Collège de France in Paris in the cultural history of artistic heritage in Europe from the 18th to the 20th centuries. In 2018, together with Senegalese scholar Felwine Sarr, she produced the report "On the Restitution of African Cultural Assets" on behalf of French President Emmanuel Macron. She studied art history, German language and literature, and history in Paris and Berlin, and received her PhD as a graduate of the Ecole Normale Supérieure with a thesis on Napoleon's art theft in Germany. She has received many awards for her research and academic teaching, including the 2016 Gottfried Wilhelm Leibniz Prize of the German Research Foundation. She is a member of the Berlin-Brandenburg Academy of Sciences and Humanities, the German Academy of Language and Poetry, and various academic advisory boards and committees. She has published widely on her research interests in art theft and looted art in a global context, transnational museum history, and cultural transfer in Europe. Most recently, her book "Afrikas Kampf um seine Kunst. Geschichte einer postkolonialen Niederlage".

© bethuel muthee

bethuel muthee

bethuel muthee is a poet living and working in Nairobi, Kenya. 

© Carey Baraka

Carey Baraka 

Carey Baraka is a writer from Kisumu, Kenya. He sings for a secret choir in Nairobi.

© Carmen Mörsch

Carmen Mörsch

Carmen Mörsch (* 1968 in Kaiserslautern) is an artist, cultural scientist and art educator. She was the director of the Institute for Art Education at the Zurich University of the Arts from 2008 to 2019 and has been a professor of art didactics at the Mainz University of the Arts since 2019. Mörsch has been working on projects at the intersection of culture, education, and research. In her research and teaching, she is particularly dedicated to concepts and practices of art education from a queer-feminist, postcolonial, and discrimination-critical perspective.

Courtesy Caroline Gueye

Caroline Gueye

Caroline Gueye is a Senegalese visual artist. She was born and raised in Senegal, then pursued her higher education in France, USA and China. She graduated in Atmospheric Physics, Radio Protection and Nuclear Safety at Claude Bernard University, Astrophysics at Tulane University and in Chinese at Shanxi University. Caroline has been immersed in an artistic environment since childhood. She is based in Senegal and often travels to France.

© Chao Tayiana Maina

Chao Tayiana Maina

Chao Tayiana's work focuses on the application of digital technology to the preservation and dissemination of African cultural heritage. She is the founder of African Digital Heritage (Nairobi) and co-founder of the Open Restitution Africa initiative, as well as the Museum of British Colonialism. Chao Tayiana holds an MSc in International Heritage Visualization from the University of Glasgow/School of Art and worked for the Science Museum Group as a software developer for digital museum exhibits. She was awarded the Google Anita Borg Scholarship for Women in Technology. Chao Tayiana is part of the curatorial team of the TALKING OBJECTS LAB.

© Che Applewaithe

Che Applewaithe

Che R. Applewhaite is a Trinidadian-British writer, filmmaker and cultural worker. He holds internationalist and interdisciplinary commitments to politics of time, specificity, relation and cultural process. His debut short film, A New England Document, received its world premiere in 2020 at Sheffield Doc/Fest. He has written for publications including Harvard Magazine, Open City Documentary Festival and Millennium Film Journal and worked for artist-filmmakers Christopher Harris and Ja’Tovia Gary; for the Harvard-Mindich Program for Engaged Scholarship and the Harvard Art Museums.

© Marina Ackar

Mahret Ifeoma Kupka

Dr. Mahret Ifeoma Kupka is an art scholar, freelance writer and, since 2013, Curator of Fashion, Body and Performance at the Museum Angewandte Kunst in Frankfurt am Main. In her exhibitions, lectures, texts, and interdisciplinary projects, she addresses the issues of the future, memory culture, representation, and the decolonization of art and cultural practices in Europe and on the African continent. She is a member of the advisory board of the Initiative Schwarze Menschen in Deutschland e.V. and spokesperson for the Neue Deutsche Museumsmacher*innen.

© El Hadji Malick Ndiaye

El Hadji Malick Ndiaye

El Hadji Malick Ndiaye is a researcher at Institut Fondamental d’Afrique Noire (IFAN), University Cheikh Anta Diop in Dakar and curator of the Théodore Monod Museum, as well as Secretary General of ICOM, Senegal. He was part of the directorial team of Dak'art 2018 and curator of Dak'art 2020. As a theorist and curator, his work focuses on contemporary art, African cultural heritage, global history, and African museum institutions; he teaches art history and African cultural heritage. Ndiaye holds a PhD in art history from Université Rennes II and is a graduate of the National Institute of Heritage in Paris and the National Institute of Art History, Paris.

© Mona Namer

Elsa M’Bala

Now based between Berlin and Yaoundé, Elsa M’Bala aka A.M.E.T. is one of the rare female sound artists of African descent. By using technology as an empowering tool and through her own keen observations, she explores further the interconnections between race, gender, technology and spirituality. Specifically in times of acute racial crisis in Europe and in the US, while the dominant discourse reproduces the patterns of disconnected narratives, exclusion, and invisibility. Elsa M’Bala shows us that marginalized bodies and voices can be (re)connected through shared collectivities. In addition, Elsa M’Bala also practices as a massage therapist since 2019. She performed her writings and music at various events throughout Europe and the African continent at Centre d'art contemporain de Brétigny (F), Bandjoun Station (CMR), Engagement global (DE), Aperture Magazine (USA), Contemporary And (C&) (DE), New Art Exchange Nottingham (UK), Institut für Auslandsbeziehungen (ifa) (DE), Goethe Institut Kamerun (CMR), Centre Culturel Français du Cameroun (CMR), Alte Oper Frankfurt (DE), Berlin Biennale (GE), da; augmented reality festival (DE), Dak’Art Biennale for Contemporary African Art (SEN), Heroines of Sound (DE), amongst others.

© Antoine Tempe

Felwine Sarr

Felwine Sarr is a Senegalese scholar and writer born in 1972 in Niodior, in the Saloum islands. He attends high school in Senegal before studying economics at the University of Orleans where he obtains a doctorate in Economics in 2006. Full professor and agregation holder, he teaches at the University Gaston Berger of Saint-Louis since 2007. His lectures and academic research focus on economic policies, development economy, econometrics, epistemology and history of religious ideas. In 2010, he was awarded the Abdoulaye Fadiga prize for research in Economics. In 2011, he became dean of the Economics and Management faculty of the University Gaston Berger of Saint-Louis, and head of the new faculty of Civilizations, Religions, Arts and Communication (CRAC) of the same university. He is also a writer and has published several novels and essays. As a musician, he has published three albums thus far: »Civilisation ou Barbarie« (2000), »Les Mots du Récits« (2005) and »Bassai« (2007). With the writers Boubacar Boris Diop and Nafissatou Dia, he co-founded the publishing house Jimsaan. Felwine Sarr is also editor of the review »Journal of African Transformation« (CODESRIA-UNECA). In 2016, he organized with Achille Mbembé in Dakar and Saint-Louis, the Ateliers de la pensée, which gathers African and diasporic intellectuals and artists to think around the transformations of the contemporary world.

Franck Freitas-Ekué

Franck Freitas-Ekué is a PhD in political science at the University of Paris-8 Vincennes - Saint-Denis (France). His dissertation is entitled "Black Bodies®: Genealogy of a racial identification through the commodification of the body". His work focuses on the politics of representation within the Black Atlantic, the construction of Black identities in a context of capitalist economy. He co-edited, "Penser avec Stuart Hall" this year. 

Gladys Kalichini

Gladys Kalichini is a contemporary visual artist and researcher from Lusaka, Zambia. Her work centres around notions of erasure, memory, and representations and visibilities of women in colonial resistance histories.
Gladys is currently a PhD candidate at Rhodes University in South Africa and a member of the Arts of Africa and Global Souths research programme, supported by the Andrew. W. Mellon Foundation and the National Research Fund.
She has participated in Àsìkò International Art Programme in Maputo, Mozambique in 2015 and the second iteration of the “Women On Aeroplanes” project in Lagos, Nigeria in 2018 themed “Search Research: Looking for Collete Omogbai”. Selected residencies that she has participated in include the Fountainhead Residency in Miami, the USA in 2017, Künstlerhaus Bethanien international studio programme in Berlin, Germany in 2019/2020, supported by the KFW – Stiftung and the Dekoloniale residency programme also in Berlin.

Hamady Bocoum

Hamady Bocoum, born in Kanel in north-eastern Senegal, is Director of the Institut Fondamental d'Afrique Noire at Cheikh Anta Diop University and Director of the Museum of Black Civilisations in Dakar. Most recently, he published "The Search for Takrur - Archaeological Excavations and Reconnaissance along the Middle Senegal Valley" with Roderick Mcintosh and Susan Keech Mcintosh (Yale University Press, New Haven, 2017).

© HU/Matthias Heyde

Ibou Diop

Ibou Coulibaly Diop is a university teacher and researcher. Since his studies in romance philology and German as a foreign language at the university of Berlin and Potsdam, he has been focusing his research on contemporary literature and especially on questions of globalisation. His PhD thesis was published as Mondialisation et monde des théories dans l’oeuvre de Michel Houellebecq (2018), Berlin: Frank & Timme Verlag. His current research looks at theories of Black literature, transculturality and cosmopolitanism. In 2012 he has published La colère comme moteur de l’action politique dans la littérature noire de Césaire à Senghor. In: L. Bauer & K. Reinke (Hrsg.), Colère – force destructive et potentiel créatif. Berlin: Frank & Timme Verlag and in 2019 will be published La Négritude: une déconstruction avant-gardiste d'être au monde, DeGruyter (forthcoming). His latest publications focus on French-speaking women's literature and negritude: Aminata Sow Fall un humanisme au féminin (forthcoming), Lendemains, Tübingen : Narr Verlag and Les combattantes du quotidien (forthcoming), Lendemains, Tübingen : Narr Verlag Currently he is preparing with Susanne Gehrmann a major  project on the archives of Janheinz Jahn at the Humboldt-University.

© Andreas Roth

Isabel Raabe

Isabel Raabe is a curator and project developer from Berlin. She studied Contemporary Dance and later cultural management and curated numerous interdisciplinary international art and cultural projects. She is interested in curatorial and artistic strategies that deconstruct Western perspectives and traditions of thought. She recently initiated RomArchive - Digital Archive of the Roma, funded by the German Federal Cultural Foundation, which won the European Heritage Award 2019 and the Grimme Online Award 2020. Isabel Raabe initiated the project TALKING OBJECTS which consists of the TALKING OBJECTS LAB and the TALKING OBJECTS ARCHIVE, a digital archive for decolonial knowledge production which is supposed to be launched in 2024.

© Israel Kaunatjike

Israel Kaunatjike

Israel Kaunatjike was born in 1947 in Okahandja, the memorial site of the Herero, in Namibia. He has lived in Berlin since 1970. As a Herero activist, he is committed to the recognition of the genocide against the Herero and Nama in what was then German Southwest Africa, now Namibia. In Berlin, he is a member of the alliance "Völkermord verjährt nicht" and works with Berlin Postkolonial e.V.
 

Kahira Ngige

Kahira Ngige is an urbanist interested in the way design influences cultural production and shapes cities. His writing has appeared in Columbia University's Avery Journal, the New York Review of Architecture, Harvard's Graduate School of Design's UD:ID and the Goethe Institute. In addition, Kahira’s photography work has been exhibited at the Kirkland Gallery in Cambridge, MA. Kahira holds a master’s in urban planning from Harvard University and lives and works in Nairobi, Kenya.

Keguro Macharia

Keguro Macharia (pronouns a/u/he) is an independent scholar from Nairobi, Kenya. Macharia's scholarship explores the relation between difference and freedom across the Black Diaspora, focusing specifically on the seam between Africa and Afro-diaspora. Macharia is the author of Frottage: Frictions of Intimacy across the Black Diaspora (NYU Press, 2019), winner of the 2020 Alan Bray Memorial Prize. Other writing has appeared in Brick, GLQ, Research in African Literatures, Callaloo, Critical Arts, The Cambridge Companion to Queer Studies, and The Queer African Reader. Macharia blogs at http://gukira.wordpress.com and is on Twitter as @keguro

© Magnus Elias Rosengarten

Magnus Elias Rosengarten

Magnus Elias Rosengarten is a writer, cultural journalist, interviewer and artist. He primarily works and thinks through Performance, Film / Video, dealing with the complex relationships between bodies and space in Contemporary Art. Central questions of his work are: Which spaces turn some bodies into a political issue and others not? Who has the power to define bodies and what realities are produced to that effect?His work is driven by the rich knowledge archives and systems of the global African Diaspora. Non-western epistemologies are pillar and toolkit for his work, particularly, when it comes to the pressing task to make bodies and narratives visible, that continuously move in the Diasporas. Magnus completed his Undergraduate degree in American Studies and Area Studies Asia/Africa at Humboldt University Berlin, Germany, and subsequently pursued an M.A. in Performance Studies at New York University, Tisch School of the Arts, graduating with distinction. He has published and worked, i.a.: Deutsche Welle, arte/ZDF, rbb, WDR, ContemporaryAnd Magazine (C&), Berlin Biennale, 1:54 Art Fair London, Ballhaus Naunynstraße, International Film Festival Berlin, Hemispheric Institute for Performance and Politics at NYU, NYU Department of Performance Studies, Kraine Theatre NYC, La Mamma NYC, Brooklyn Arts Exchange, Triple Canopy Magazine, and Yellow Pages Institute of Contemporary Art Los Angeles.  

Marmarame Seck

Mamarame Seck

Dr. Mamarame Seck is a scholar at the Fundamental Institute of Black Africa (IFAN), in the department of African languages and civilizations, more precisely in the linguistics laboratory. He is also curator of the Gorée Historical Museum.
Dr. Seck received his doctorate degree from the University of Florida in the United States, where he taught for a few years before joining IFAN. He is the author of several publications, the most recent of which is: Youssou Ndour: A Cultural Icon and Leader in Social Advocay (2020), published by Peter Lang, New York.
Dr. Mamarame Seck is interested in Wolof language and discourse, Sufi oral productions in West Africa, and Senegalese culture and society. His recent investigations focus on the manuscript and the Senegalese origins of the Muslim slave Omar Ibn Said, captured and then deported to Charleston, North Carolina, United States, in 1807.

© Dorothea Tuch

Nathalie Anguezomo Mba Bikoro

Anguezomo Mba Bikoro merges archeology, sonic radio, writing, textiles, sculpture, live art performances, film & archives for immersive installations. The work analyses processes of power & science fictions in historical archives critically engaging in migrational struggles and colonial memory. The artist creates environments for alternative narratives and future speculations of colonial resistance movements led by African women of the German diaspora and indigenous communities. Sedimented in narratives of testimonial Black queer experiences of sonic nature archives, revolt, queering ecologies and postcolonial feminist experiences towards new monuments which reacts to the different tones of societies shared between delusions & ritual. The work offers complex non-binary readings pushing new investigations about the architectures of racisms in cities, the archeologies of urban spaces & economies of traditional systems by exposing the limitations of technologies as functional memory records.

© Emmanuel Nemo

Natasha A. Kelly

author, curator and lecturer

Natasha A. Kelly has a PhD in Communication Studies and Sociology with a research focus on colonialism and feminism. Born in the UK and bred in Germany the author, curator and lecturer has taught at numerous universities in Germany and Austria. As Research Assistant at the Centre for transdisciplinary Gender Studies at Humboldt-University Berlin (2010 – 2013) she dealt with the decoloniality of knowledge, power and beings. In her publications e.g. »Afroism« (2008), »Sisters & Souls« (2015), »Afrokultur« (2016) and in her creative works e.g. »EDEWA« (2010 – 2018), »Giftschrank« (German Historical Museum, 2016/2017, Museum Schöneberg 2017) und »African_Diaspora Palast« (»World Exhibition_Reformation«, Wittenberg 2017) she combines theory and praxis at the intersection of academia, art and society. Furthermore, she has been active for the Black German Community for several years. In addition to her consulting work for various art institutions, she was the artistic director of the theater series »M(a)y Sister«, which was performed at the HAU Hebbel am Ufer Theater in Berlin from 2015 to 2018. Her award-winning debut film »Milli’s Awakening« (2018) was commissioned by the 10th Berlin Biennale and screened in national and international settings including Museum of Modern Art MMK Frankfurt, Bundeskunsthalle Bonn, Kirchner Museum Davos as well at venues throughout Europe, Australia and in the USA. Her youngest book is a collection of German translations of the foundational Black Feminists (from Sojourner Truth to Kimberlé Crenshaw) and marks the first in a new series of Black Feminist Readers published by Unrast Verlag Münster.

Nana Oforiatta Ayim

Nana Oforiatta Ayim is a Writer, Filmmaker, and Art Historian who lives and works in Accra, Ghana. She is Founder of the ANO Institute of Arts and Knowledge, through which she has pioneered a Pan-African Cultural Encyclopaedia, a Mobile Museums Project, and curated Ghana’s first pavilion at the Venice Biennale. She published her first novel The God Child with Bloomsbury in 2019, and with Penguin in German in 2021. She has made award winning films for museums such as Tate Modern, LACMA and The New Museum, and lectures a course on History and Theory at the Architectural Association in London. She is the recipient of various awards and honours, having been named one of the Apollo ’40 under 40’; one of 50 African Trailblazers by The Africa Report; a Quartz Africa Innovator in 2017; one of 12 African women making history in 2016 and one of 100 women of 2020 by Okayafrica. She received the 2015 the Art & Technology Award from LACMA; the 2016 AIR Award, which “seeks to honour and celebrate extraordinary African artists who are committed to producing provocative, innovative and socially-engaging work”; a 2018 Soros Arts Fellowship, was a 2018 Global South Visiting Fellow at Oxford University, was appointed to the Advisory Council of Oxford University’s Cultural Programme in 2020, was a Principal Investigator on the Action for Restitution to Africa programme, and is currently Special Advisor to the Ghanaian Minister of Tourism, Arts and Culture on Museums and Cultural Heritage.

Neo Musangi 

Neo Sinoxolo Musangi reads, writes and forages in Olkejuado, Kenya. Their work-life dwells on uncertainty, failure, memory-making and the alternative articulations of queer world-making through  biographical vernaculars.

© Njoki Ngumi

Dr. Njoki Ngumi

Dr. Njoki Ngumi is an author and feminist thinker based in Nairobi. She has worked in the private and public health sectors in Kenya and is now a member of The Nest Collective, as well as the Learning and Development Coordinator for HEVA – Africa's first business fund for creative industries. She is particularly interested in working with youth, women and minorities, public education and socio-economic equality. With The Nest Collective, she was most recently involved in the International Inventories Program. Njoki Ngumi is part of the curatorial team of the TALKING OBJECTS LAB.

Nnenna Onuoha

Nnenna Onuoha is a visual anthropologist and filmmaker whose practice is informed by her Ghanaian-Nigerian heritage as well as her background in history, anthropology, and cinema. Drawing on historical exclusion and the ongoing trivialization of black experience, her research and audiovisual work documents, archives, and reimagines the lives and legacies of Afrodescendant people in West Africa, Europe, and the United States. Her recent exhibition "Cartographies of Care" with Edna Bonhomme at alpha nova & galerie futura in Berlin (2020) explored Black women's and non-binary people's encounters with health care in Berlin, focusing not only on their experiences with medical racism, but also exploring how they find care and healing through community and indigenous practices.
Nnenna Onuoha is the curator of the online film program for UNEXPECTED LESSONS.

Noémi Michel

Noémi Michel is an antiracist and feminist scholar, activist and cultural worker. She is senior lecturer in political theory at the Department of Political Science of the University of Geneva and teaches on a regular basis at the Haute Ecole d’Art et de Design (HEAD) – Genève.  She is member of the European Race and Imagery Foundation (ERIF), the Collectif Faites des Vagues (based in Geneva). At the juncture of theory and artistic and collective experiments, her work is rooted in critical Black thought. It currently explores divergent understandings of antiracism in European public debates and institutions as well as diasporic Black feminist theories of political voice. Her recent writing has been published in Mirà (Nouveau Musée National de Monaco), Darkmatter Journal, Critical Horizons and Postcolonial studies. Her latest artistic collaborations include the series of radio broadcasts “la politique de la voix” (Radio 40) and a theatrical “talk show” about the Swiss (post)colonial  imaginary staged at Festival de la Cité (Lausanne, Suisse).

© Nora Landkammer, Vienna 2017.

Nora Landkammer

Nora Landkammer is an art educator and researcher in this field with a focus on the critique of racism and colonialism in education and cultural institutions. She worked in mediation in various cultural institutions and was deputy director of the Institute for Art Education at the Zurich University of the Arts until 2019. Her dissertation examined mediation in ethnological museums in a decolonizing perspective. In the project TRACES - Transmitting Contentious Cultural Heritages with the Arts (2016-2019) she worked on the mediation of conflictual cultural heritage. Teaching positions at the Department of Art and Communicative Practice, University of Applied Arts Vienna; the Master Curatorial Studies, Zurich University of the Arts and at the Institute for the Artistic Teaching Profession, Academy of Fine Arts Vienna. Currently she is a substitute professor for art education at the Academy of Fine Arts Munich. She is active in the collective EAR (e-a-r.net) as well as in the international network Another Roadmap for Arts Education.

Onyeka Igwe

Onyeka Igwe is an artist and researcher working between cinema and installation, born and based in London, UK. Through her work, Onyeka is animated by the question —  how do we live together? — with particular interest in the ways the sensorial, spatial and non-canonical ways of knowing can provide answers to this question. She uses embodiment, archives, narration and text to create structural ‘figure-of-eights’, a form that exposes a multiplicity of narratives. The work comprises untying strands and threads, anchored by a rhythmic editing style, as well as close attention to the dissonance, reflection and amplification that occurs between image and sound. Onyeka is part of B.O.S.S., a sound system collective that brings together a community of queer, trans and non binary people of colour involved in art, sound and radical activism. Her works have been shown in the UK and  internationally at film festivals and galleries. She was awarded the New Cinema Award at Berwick Film and Media Arts Festival 2019 and the 2020 Arts Foundation Fellowship Award for Experimental Film. 

Peggy Piesche

Peggy Piesche, born and raised in Arnstadt/ GDR, is a literary and Cultural Studies scholar. She is heading the department of political education and plural democracy at the Federal Agency for Civic Education(bpb) with the main topics of diversity, intersectionality and decoloniality. She is also an activist at ADEFRA –„Schwarze Deutsche Frauen und Schwarze Frauen in Deutschland“ (Black German women and Black Women in Germany) and a board member ofASWAD (Association of the Worldwide Study of the African Diaspora).

© Rosie Olang

Rosie Olang

Rosie Olang is an arts writer, and visual artist based in Nairobi, Kenya. Her current artistic interests explore zines, artist's books and other unconventional book structures as a way to reimagine publishing and explore what new forms are possible when working with poetry, literature and visual arts in tandem. She has written for the National Museum of Women in the Arts, Women's Studio Workshop, Enkare Review and A LongHouse  and works as the programs manager at the Nairobi Contemporary Art Institute.

© Portrait Stefanie-Lahya Aukongo, Photo: Schwarzrund

Stefanie-Lahya Aukongo

Lahya (Stefanie-Lahya Aukongo) is a black intersectional artist, author, poet, curator, multiplicator, singer, teamer, photographer, and activist whose art and work reflect her social realities and identities. Lahya’s life revolves around molecules of reality, (re)arranged lovingly, yet critically, and enveloped in song, painting, collage, performance, photography and_or poetry. Their purpose is healing and/through transformative practices. Lahya knows that the acts of embodying joy and telling the story in their own words is freedom work. It is a way to hold space and take space. 
Since 2014, Lahya curates and moderates the monthly spoken-word event “One World Poetry Night” in Berlin.
Lahya’s oeuvre is published in various books and zines. In search of radical social responsibility of the heart and deed, Lahya’s doings are political, collective, and personal. Her works touch upon privilege, decolonisation, healing, individual and collective love and vulnerability. Lahya’s pronouns are Lahya and if needed she/her. Her bed currently resides in Berlin.

© Kibe Wangunyu

Syowia Kyambi

Syowia Kyambi (b. Nairobi) is an interdisciplinary artist and curator who works across photography, video, drawing, sound, sculpture and performance installation. She holds an MFA from Transart Institute (2020) and a BFA from the School of the Art Institute of Chicago (2002). In Kyambi’s artistic practice history collapses into the contemporary through the interventions of mischievous and disruptive interlocutory agents who interrogate the legacy of hurt inflicted by colonial projects that still frame the wider political conjuncture of now. The work is messy, complex and uneasy requiring its viewers and participants to bear witness to an embodiment of collective experiences, and a constant search for links between the present and the transformed present that is encapsulated in her work while asking essential questions about what is remembered, what is archived, and how we see the world anew. Rooted in her practice is a deep connection with the land, the earth and the idea of home. Along with exhibiting her works throughout Europe, Africa and the United States, Kyambi has received a number of awards including the FT/Oppenheimer Funds Emerging Voices Awards (2016) and the UNESCO Prize for the Promotion of the Arts Award (2004). Artist residencies include PRAKSIS, Norway (2019), CAD+SR Italy & Mexico (2018), HIAP, Finland (2018), IASPIS, Sweden (2013), and Delfina Foundation, UK (2016). In her curatorial work she has collaborated with Ostrale Centre for Contemporary Art Biennale, Dresden, Germany (2019, 2016) and Goethe-Institute, Kenya (2012, 2010) as well as working with collectives and individual artists in East Africa. Her work is held in a number of private and public collections including the Robert Devereux Collection, London, the Kouvola Art Museum Collection, Finland, the National Museum of Kenya and with the Sindika Dokolo Foundation.

Tabita Rezaire

Tabita Rezaire is infinity longing to experience itself in human form. Her path as an artist, devotee, yogi, doula, and soon to be farmer is all geared towards manifesting the divine in herself and beyond. As an eternal seeker, Tabita’s yearning for connection finds expression in her cross-dimensional practices, which envision network sciences - organic, electronic and spiritual - as healing technologies to serve the shift towards heart consciousness. 
Embracing digital, corporeal and ancestral memory, she digs into scientific imaginaries and mystical realms to tackle the colonial wounds and energetic imbalances that affect the songs of our body-mind-spirits. Through screen interfaces and healing circles, her offerings aim to nurture our collective growth and expand our capacity for togetherness. 
Tabita is based near Cayenne in French Guyana, where she is currently studying Agriculture and birthing AMAKABA - her vision for collective healing in the Amazonian forest. Tabita is devoted to becoming a mother to the world.

© Vanessa Eileen Thompson

Vanessa E. Thompson

Vanessa E. Thompson is a postdoctoral researcher and lecturer in comparative social and cultural anthropology at European University Viadrina, teaching and working in the fields of black studies (especially black social movements), critical racism studies, postcolonial feminism, critiques of policing and abolition. She has published on blackness and black movements in France and Europe more broadly, black abolitionist struggles and Fanonian thought. She has co-founded an intersectional cop-watch collective in Germany, is a member of the International Independent Commission on the Death of Oury Jalloh and organizes within international abolitionist collectives.

Viyé Diba

Viyé Diba was born on 31 December 1954 in Karantaba, Senegal.
He graduated from the Ecole Normale Supérieure d'Education Artistique in Dakar and from the Villa Arson International Pilot School of Art and Research in Nice, as well as obtaining a postgraduate degree in geography at the University of Nice on the theme of "urban health and aesthetics". He was a professor at the National School of Arts in Dakar where he participated in the training of several generations of artists.
His work is presented in numerous exhibitions around the world and is included in several individual and institutional collections.
Winner of the Grand Prix Léopold Sédar Senghor at the Dakar Biennale in 1998, Viyé Diba has nevertheless continued his quest for meaning in an environment where the natural environment and public space are threatened by various forms of aggression. Giving new life to domestic and industrial waste, restoring discarded materials becomes an action of public health. Viyé chooses to show how transformation can be socially or economically useful and how it is possible to derive a clear aesthetic value from it. Viyé Diba lives and works in Dakar.

© Emilie Noteris

Yala Kisukidi

Nadia Yala Kisukidi was born in Brussels, from a congolese (DRC) father and a franco-italian mother. She is Associate Professor in philosophy at Paris 8 Vincennes-Saint-Denis University. She was vice-president of the Collège International de Philosophie (2014-2016). Member of the Critical Time (Duke University), Les Cahiers d’études africaines (CNRS, Ehess) and Multitudes editorial committee, she is now, co-curator of the Yango II Biennale, Kinshasa / RDC that will take place in Kinshasa in november 2021 and january 2022.
Yala Kisukidi is specialized in french and africana philosophy. She taught in Switzerland, France, contributed to the creation of a « Global South » research network  between Haïti, France and Colombia. She has published Bergson ou l’humanité créatrice (Paris, CNRS, 2013), directed collective essays ( Afrocentricités (Kisukidi, Guedj dir.) for the revue Tumultes in 2019 ; Kinshasa Star Line (Kisukidi dir.)  for the revue Multitudes in 2020) and written many articles in frenc and africana philosophy.
She is now preparing a book on Africana philosophy (Le Seuil)