In Larry Achiampong & David Blandy's collaborative practice, the artists share an interest in popular culture and the post-colonial position. They examine communal and personal heritage, using performance to investigate the self as a fiction, devising alter-egos to point at their divided selves. Achiampong & Blandy’s work has been shown both within the UK and abroad including Tate Modern, London; The Baltic, Gateshead; Yorkshire Sculpture Park, Wakefied; Fact, Liverpool; BFI London Film Festival, London; Transmediale Festival, Berlin, Germany & Fort Worth Contemporary Arts, Texas, USA. They have been on residencies at Praksis, Oslo in Norway & Wysing Arts Centre, Cambridgeshire. Recent awards include an Elephant Trust award and support from Arts Council England. They were shortlisted for the Film London Jarman award 2018. Larry Achiampong is represented by Copperfield Gallery, London & David Blandy is represented by Seventeen Gallery, London.

Khalid Albaih is a Sudanese artist and political cartoonist. Albaih’s works convey scathing criticisms of authoritarianism and iniquitousness, while also expressing solidarity and hope. Sketching the ongoing events of the Arab spring in 2011, he quickly became an artist of the revolution. Many cartoons were turned into stencils and reproduced on walls in Beirut and Cairo, and are still used by revolutionary groups in his native Sudan, and by political activists in Yemen, Tunis, Syria. His influential cartoons have been featured in media outlets such as the Guardian, The New York Times, the BBC and Al-Jazeera, and have been shared by thousands of people across social media in the past years.

Sara Alonso Gómez is a contemporary art curator and researcher. She has curated shows in numerous international art institutions, such as the Museo de Bellas Artes in Havana, Museo de Arte Contemporáneo Art in Buenos Aires, Museu de Arte Moderna in Rio de Janeiro, Maison Européenne de la Photographie in Paris and Centre d’art contemporain in Brussels. A member of the Cuban Writers and Artists’ Union (UNEAC), the International Association of Curators of Contemporary Art (IKT) and the Zurich Latin American Center (LZZ), Sara Alonso Gómez has been developing research initiatives between Latin America, Europe and Africa. In 2018, she founded the platform ARTICHOK, which fosters South-South collaborations between Africa and the Caribbean. Currently recipient of a Swiss Government Scholarship of Excellence, she is carrying out a project on the notion of artistic disobedience.

Joël Andrianomearisoa took his first steps as an artist in the mid-90s, when he was barely 18 years old. From the outset his work took form through performances that would earn him the cover of Revue Noire Madagascar in 1998. He explores many disciplines, from fashion to design, video to photography, scenography to architecture, installations to visual arts. This is likely where he draws his polyphonic work from, invading every part of his viewers’ sensitive space. As a part of this first pioneering wave of contemporary Malagasy artists he also actively participates in the cultural and artistic development of his country (Fashion festival Manja in 1998, the Sanga dance festival in 2003, Photoana festival in 2005, personal project 30 and Presque-Songes in 2007 and 2011, Parlez-moi in 2016 ...). He first trained at an art school in Madagascar first and then rubbed shoulders with craftsmen, which put him in touch with many renowned international designers.  His training took a decisive turn at the age of 20 in France when he began studying at the École spéciale d’architecture, in Paris. In 2005, he graduated as an architect, presenting a fully graphic and textile project, far from the classic architectural approach that his research director Odile Decq had recommended. Throughout his career, his work has been shown on five continents, including many prestigious international cultural institutions such as the MAXXI in Roma, the Hamburger Bahnhof in Berlin, the Smithsonian in Washington, the Centre Pompidou in Paris among many others. In 2016, he received the Arco Madrid Audemars Piguet Prize.

Teesa Bahana is director of 32° East Ugandan Arts Trust, a not-for-profit that promotes the creation and exploration of contemporary art in Uganda. As director she has supported the development and execution of projects such as KLA ART Labs for research and critical thinking through public practice, the third edition of KLA ART, Kampala's public art festival, and residency exchanges with partners such as Arts Collaboratory, Triangle Network and The Project Space. She is also currently overseeing 32° East's capital project, raising funds to build the first purpose-built art centre in the country. With an academic background in sociology and anthropology, she is particularly interested in the intersection between art and Ugandan society, and how artistic environments should be protected and nurtured. Before her directorship at 32° East, she was on the inaugural organisation committee for Nyege Nyege International Music Festival, and worked in communications and external relations for educational non-profits in Rwanda, Burundi and South Africa.

Shiraz Bayjoo is a Mauritian artist based between London and Mauritius, his practice explores the social, political and historical conditions integral to Mauritian cultural identity and the wider Indian Ocean region. Often using photographs and artefacts from public and personal archives, culminating in a multidisciplinary practice of video, painting, photography and sculpture. His practice considers the formation of collective identity and nationhood through the entangled legacies of European colonialism, and their relationships to slavery and indentured labour. Bayjoo studied at the University of Wales Institute, Cardiff and was artist in residence at Whitechapel Gallery during 2011. He has exhibited at Tate Britain and Institute of International Visual Arts, London; 14th Biennale of Sharjah; 13th Biennale of Dakar; 21st Biennale of Sydney; and is a recipient of the Gasworks Fellowship and the Arts Council of England. His work is represented in public and private collections both in Europe and Asia. Bayjoo is a founding member of the artist collective The Working Collection with Brook Andrew and Rushdi Anwar.

Meriem Berrada designs and implements the various artistic projects of the Alliances Foundation. After working in an auction house as contemporary art director at the Moroccan Compagnie des Œuvres et Objets d'Art, she joined the Alliances Foundation when it was repositioned in 2012. In 2013, she created La Chambre Claire, a support program for emerging African photography and in 2014 the Passerelles program, a cross-patronage approach that combines the cultural and social centers of the Alliances Foundation through awareness-raising workshops on contemporary creation in peripheral urban areas. In 2016, she manages the development of the Al Maaden Museum of Contemporary African Art (MACAAL) in Marrakech. In 2017, Meriem led the fundraising of the association Limiditi- Temporary Art Projects bringing together three generations of Moroccan artists alongside the artist Younes Baba-Ali to ensure the sustainability of an artist residency. In the same year, Meriem joined the Roberto Cimetta Fund's evaluation committee as a visual arts expert.

Osei Bonsu is a British-Ghanaian curator, critic and art historian based in London and Paris. His activities encompass exhibition programming, publishing and cultural strategy in the field of visual arts. He has developed projects focused on transnational histories of art, collaborating with museums, galleries and private collections internationally. In 2017, he curated the 10th edition of Satellites, an exhibition co-commissioned by Jeu de Paume and CAPC: Centre for Contemporary Art, Bordeaux. He has also worked on the development of a number of projects focusing on African art, including ‘Pangaea II: New Art from Africa and Latin America’ (Saatchi Gallery, 2015) and 1:54 Contemporary African Art Fair (2013-14). He holds a Masters in History of Art from University College London, where he earned a distinction for his dissertation on Surrealism and African sculpture. Bonsu is a contributing editor at frieze magazine.

Giscard Bouchotte, born in Haïti, has been working to build a sustained reflection on the power of chaos through his critical texts, exhibitions and artistic actions. Where politics fail, artistic action serves as a tool generating civic creativity. During the annual “Nuit Blanche” of Port-au-Prince, for which he is the curatorial director, he invites international and local artists to transform the Haitian capital city of Port-au-Prince half-destroyed by the 2010 earthquake into a playground. For the past ten years, he has curating several exhibitions as an independent curator, significantly, “Haiti Kingdom of the World” (Paris, 2010) which was subsequently transformed into the first Haitian Pavilion at the 51th Venice Biennale (Venice, 2011) in the Fondazione Querini Stampalia. Bouchotte’s other multidisciplinary events include: the traveling exhibition “Périféeriques”, the annual “Nuit Blanche (Sleepless-night) of Port-au-Prince”, “(In)visibilité Ostentatoire” at the Fondation Clément, Martinique in 2017. His research focusses on the future of traditions, revisited by contemporary artists in the context of globalization.

Raphael Chikukwa was born in Zimbabwe and worked mainly as an independent curator for ten years before joining the National Gallery of Zimbabwe in 2010 as its Chief Curator and and Deputy Director. In his current position, Chikukwa hopes to change the visual arts landscape of Zimbabwe. Chikukwa curated the first and second Zimbabwe Pavilions at the 54th and 55th Venice Biennales. Since 2011, Chikukwa has taken part in a number of forums that include the Johannesburg Art Fair 2013; Arco Madrid 2013; Re Zimbabwe Pavilion talk at INIVA in London; 1st World Biennale Forum in South Korea; KLA ART 012, Kampala Contemporary Art Festival; and Condition Report forum in Senegal. He is a founding member of the PUMA funded Creative Africa Network, and was an editor and advisor for the project (2008–09). Recently, he was among seven curators from Africa who attended the Tate Modern Symposium, Curating in Africa, where he presented a paper on his curatorial practice. In 2008, Chikukwa represented Africa at Art Basel Miami Conversations. The American Centre Foundation also awarded Chikukwa a curatorial research grant for which he travelled in West Africa (2006–07). He was awarded as the 2006–07 Chevening Scholar, and now holds an MA in Curating Contemporary Design from Kingston University, London.

Currently assistant professor at Rutgers University, Sandrine Colard is a specialist of modern and contemporary African art history, a writer, and an independent curator. Holding a PhD from Columbia University in New York, Colard is an international lecturer (Concordia University, EHESS, Wiels, Bozar, European Parliament) and the author of multiple publications (African Arts, Critical Interventions, L’Art Même, Cahiers du CAP, Cultures et Musées). Her writings include contributions to exhibition catalogs such as Sammy Baloji: Hunting and Collecting. A Research Project (Mu.ZEE, Ostend, 2016), and The Expanded Subject: New Perspectives in Photographic Portraiture from Africa (Hirmer, 2016), for which she was co-curator at the Wallach Art Gallery (New York, 2016). Sandrine Colard is currently preparing The Way She Looks: A History of Female Gazes in African Photography, in collaboration with the Artur Walther Collection (Ryerson Image Center, Toronto, 2019). Her research has been supported by numerous fellowships, among which that of the quai Branly Museum and the Institut National d’Histoire de l’Art of Paris (Labex Cap).

Creative entrepreneur and expert in art and culture management, Mamou Daffé is part of a new generation of social leaders whose mission is to design projects and local operations with a strong economic, cultural and social impact. Since the beginning of his career in 1990, after a degree in Management of Organizations, Daffé has quickly turned to business management. Since then, he has created and managed several private small and medium-sized structures in his areas of interest and training, including the refrigeration industry, tourism, hotels and cultural industries. In 2005, he founded the annual festival on the Niger River, a project to promote cultural expressions while stimulating the Malian economy through art. The Festival sur le Niger is ranked among the main cultural events of West Africa. Designer of the innovative entrepreneurial model "Maaya Entrepreneurship", entrepreneurial model based on humanistic values of Mali, he created in 2011, Centre Culturel Kôrè, a sub-regional reference center, for the development of professions and the professionalization of artists and cultural actors in Mali and beyond. Nowadays, the Centre Culturel Kôrè is ranked among the centers of excellence of the continent. After chairing the pan-African network of cultural actors - Arterial Network - from 2015 to 2017, he founded with the great artists and cultural actors of the continent the first African Culture Fund (ACF) in 2018, of which he became the first Chairperson. Mamou Daffé is the Chairperson of the Foundation Festival sur le Niger.

Art historian, drama critic, essayist and exhibition curator, Emmanuel Daydé has organised Nuit Blanche in Paris since its creation in 2002, and written for various publications – Art Absolument, Connaissance des Arts, Art Press and Air France Magazine – interviewing Heiner Müller, Philippe Boesmans, Miquel Barcelo, Krzysztof Warlikowski or Romeo Castellucci. The man behind exhibitions such as “Ousmane Sow sur le pont des Arts” (Ousmane Sow on the Pont des Arts), “Haïti, anges et demons” (Haiti, Angels and Demons) at the Halle Saint-Pierre, “Paris-Casa”  at the Couvent des Cordeliers, “L'art dans le monde” (World Art) at the Culée du pont Alexandre III, “Regards persans : Iran, une révolution photographique” (Persian Views: Iran, a Photographic Revolution) at the Espace Electra, “C’est la vie ! Vanités de Caravage à Damien Hirst” (That’s Life! Vanities from Caravaggio to Damien Hirst) at the Maillol museum in Paris and curator of the Lebanon Pavilion with Zad Moultaka at the 2017 Venice Biennale, he has written a number of catalogues and monographs, particularly on Fabian Cerredo, Anselme Bois-Vives, Moustapha Dimé, Youri Norstein and Aurel Cojean, as well as the preface for the exhibition “Die Ungeborenen” (The Unborn) by Anselm Kiefer at Galerie Thaddaeus Ropac – Paris Pantin.

Salimata Diop is an independent curator, critic, and pianist based in Dakar, Senegal. She has curated a number of exhibitions in Senegal: Dakar, Goree island, and Saint-Louis where she created the MuPho -Photography Museum of Saint-Louis- with collector Amadou Diaw in November 2017. She has also collaborated with prominent projects internationally, with the aim of increasing the visibility and recognition of contemporary artists from the African continent: she was appointed director of the cultural programme of the Africa Centre, London in 2014 and 2015, and joined the founding team of the AKAA contemporary art fair -Also Known As Africa- in Paris, Carreau du Temple, as artistic director from 2015 to 2017. Salimata Diop holds a master's degree in Literature (La Sorbonne Paris IV) as well as a master's degree in History and Business of Art and Collecting from the University of Warwick and IESA Paris, where she earned a distinction for her master thesis on the Pigozzi collection.

Emo de Medeiros lives and works in Cotonou (Bénin) and in Paris. He studied at Ecole Normale Supérieure (Paris/Ulm), Ecole Nationale Supérieure des Beaux-Arts (Paris), and at the Massachusetts College of Art (MassArt). His work hinges on a single concept he calls contexture, a fusion of the digital and the material, of the tangible and the intangible, exploring hybridizations, interconnections and circulations of forms, technologies, traditions, myths and merchandises. It also rests on the new perspectives and conversations happening in a novel space: the current context of the post-colonial, globalized and digitalized world of the early 21st Century. The focus of his research encompasses transcultural spaces and the questioning of traditional notions of origin, locus or identity and their mutations through non-linear Narratives. Emo de Medeiros' artworks always include a salient conceptual dimension, and are characterized by a participatory and rhythmic approach fusing traditional, technological and semiological elements in transmedia forms. Within his practice, Emo de Medeiros employs an array of media including drawing, sculpture, text, video, photography, assemblage, performance art, electronic music, installations, painting and appliqué fabric. His work has been shown internationally, in France (Centre Pompidou, Palais de Tokyo), in Germany (MARKK Hamburg), Brazil (Videobrasil Contemporary Art Festival São Paulo), Nigeria (LagosPhoto), United Kingdom, Japan, China, in the biennales of Marrakech, Dakar and Casablanca.

Janine Gaëlle Dieudji is the Exhibitions Director of MACAAL. A native of France and Cameroon, Janine moved to Florence in 2011 and has gained a broad range of experience in arts and culture over the years. She was studio manager for artist Clet Abraham for three years, PR manager for French film festival France Odeon, and she's vice-president of the association BHMF (Black History Month Florence). Cultural activist, she co-curated shows such as "Black Value" in collaboration with the American Academy in Rome, Barthélémy Toguo's solo show in Florence "Il Viaggio Immaginario". She's the co-curator of the group exhibition "Material Insanity", currently on view at the Museum of African Contemporary Art Al Maaden (MACAAL) in Marrakech.

Elvira Dyangani Ose is Director of The Showroom, London. She is currently affiliated to the Department of Visual Cultures at Goldsmiths and the Thought Council at the Fondazione Prada. Until November 2018, she will serve as Creative Time Senior Curator. Recently she was part of the curatorial team of the Biennale de l'Image en Mouvement 2016, and was curator of the eighth edition of the Göteborg International Biennial for Contemporary Art, GIBCA 2015. Previously, Dyangani Ose served as Curator International Art at Tate Modern (2011 – 2014), Curator at the Centro Atlántico de Arte Moderno and the Centro Andaluz de Arte Contemporáneo, as Artistic Director of Rencontres Picha, Lubumbashi Biennial (2013), and as Guest Curator of the triennial SUD, Salon Urbain de Douala (2010). Dyangani Ose has published and lectured on modern and contemporary African art and has contributed to art journals such as Nka and Atlántica.

Ntone Edjabe is the founder, among many other initiatives, of Chimurenga Magazine (a pan African publication of culture, art, and politics based in Cape Town) and the Pan African Space Station (PASS), an Internet radio platform streamed live across the African world. The title Chimurenga refers to the Shona word for struggle, as well as to a popular music genre in Zimbabwe. Edjabe’s practice as a DJ weds musical erudition and explicit political engagement centered on Africa’s place in the world.

Ekow Eshun is a writer, critic and curator. He is Chairman of the Fourth Plinth Commissioning Group and Creative Director of Calvert 22 Foundation, an arts organisation dedicated to the contemporary culture of Eastern Europe. He is the former Director of the ICA and a frequent contributor to TV and radio shows including Channel 4 News and Saturday Review and Front Row on BBC Radio 4. His writing has appeared in publications including the New York Times, the Financial Times, The Guardian, The Observer, Granta, Vogue, Aperture and Wired. He is the author of Black Gold of the Sun, which was nominated for the Orwell prize, and the editor of Africa Modern: creating the contemporary art of a continent. He is the recipient of an honorary doctorate from London Metropolitan University and has been listed by the Evening Standard as one of London’s 1000 Most Influential People. Portraits of him, by photographers Jillian Edelstein and Simon Fredericks, are held in the permanent collection of the National Portrait Gallery.

Christine Eyene is an art historian, critic and curator of Cameroonian origins. She is a Research Fellow in Contemporary Art at the University of Central Lancashire where she collaborates to Making Histories Visible, an interdisciplinary visual arts project based at UCLan’s Centre for Contemporary Art, led by Professor Lubaina Himid. She is a doctoral student at Birkbeck, University of London, with Professor Annie E. Coombes, and is writing a thesis on South African photographer George Hallett. Christine is also Artistic Director of the 5 th Biennale Internationale de Casablanca 2020 and founder of Yaounde Photo Network, an independent Cameroonian platform dedicated to photography and lens-based art practices. As a curator, her current and upcoming projects include Sounds Like Her (2017-2020), a New Art Exchange UK-touring sound art exhibition. A member of the acquisition committee of Frac (Fonds régional d’art contemporain) Reunion Island, led by Béatrice Binoche, her contribution consists in broadening the Frac’s collection with new acquisitions, commissions and exhibitions involving artists from Reunion Island and the Indian Ocean.

N’Goné Fall graduated with distinction from the École Spéciale d'Architecture in Paris. She has been the editorial director of the Paris-based contemporary African art magazine Revue Noire from 1994 to 2001. She is the editor of: An Anthology of African Art: The Twentieth Century (Revue Noire / DAP 2002); Anthology of African and Indian Ocean Photography: a century of African photographers (Revue Noire 1998). Fall curated exhibitions in Africa, Europe and the USA. She was a guest curator of the Bamako biennale in 2001 and the Dakar biennial in 2002. She is the author of strategic plans, orientation programs and evaluation reports for national and international cultural institutions and art foundations. Fall has been an associate professor at the Senghor University in Alexandria, Egypt; visiting professor at the Michaelis School of Arts in Cape Town, South Africa and at the Abdou Moumouni University of Niamey in Niger. N'Goné Fall has been appointed by the French President Emmanuel Macron General Commissioner of Africa 2020, a series of events on culture, sciences and entrepreneurship to be held all over France from June to December 2020.

Jenny Feal’s poetic and fragile work fuses chance events with private, public, personal and political tragedies. Her often simple installations chiefly employ natural materials such as clay, paper, leaves and wood, which she combines with personal items that give an account of living conditions in Havana and the city’s history. Her sculptures and installations usually evoke difficulties for the individual to construct himself in an environment where political isolation is amplified by his island confines. She lives and works between Havana and Lyon. Graduated from ENSBA Lyon, DNSEP Art 2016, she also studied at ISA in Havana between 2009 and 2012 before obtaining a BA in ESADMM in Marseille in 2013. Jenny Feal represented Cuba during the Primer Simposio from Joyería Contemporánea in Mexico in 2010 and participated in the official program of the XI Havana Biennale in May 2012 with the collective 4ta Pragmática Pedagógica and the XII Bienal of Havana in May 2015 with the Project Lejos del Teclado with ENSBA of Lyon and the French Institute. Jenny Feal was awarded the Renaud Foundation Prize (2016) and the Havana Biennale of Ceramics Prize in 2010. Her works have been exhibited at Galería Factoría Habana (2011), Palais de Tokyo in Paris (2014), Villa Medici in Rome (2015), The European House of Photography in Paris (2017) and The Salomon Foundation in Annecy (2017).

Will Furtado is an artist and writer exploring the fields of post-colonialism, power relations and pop culture. He is also the deputy editor of Contemporary And (C&) an art platform focusing on African perspectives.

Josh Ginsburg is the director of A4 Arts Foundation, a not-for-profit laboratory for the arts in Cape Town South Africa, and the curator of the South African stream of Wendy Fisher’s private collection (2012 - present). He holds a Bsc in Electrical-Mechanical engineering (UCT, 2004) and Masters in Fine Art (UCT, 2011). Following his studies, he co-established two collaborative artist studio / projects spaces, Research Art (2011-2012) and Atlantic House (2012-present). Between 2011 and 2014, he ran courses at Michaelis School of Fine Art (University of Cape Town) in Unstable Media, at Centre for Curating the Archive (University of Cape Town) in Digital Curation and at Stellenbosch University Art School in studio practice and the moving image. His current research interests include Institutional modalities and collecting / patronage practices

Paul Goodwin is a curator, urbanist and researcher based in London, UK.  His work crosses the intersecting fields of contemporary art, curatorial practices and urban theory. He is currently developing writing and curatorial projects on the following problematics: re-thinking radical approaches to 'transnationalism' in contemporary art; exploring the generative potential of aesthetic strategies around blackness, urbanism and immateriality in Africa and the diaspora; researching forms of innovation engaging notions of 'worlding' and public culture in the context of curatorial practices in global museums. He teaches on the MA Fine Art programme at Chelsea College of Arts and is a visiting critic on the MA Art in Public Spheres at Valais School of Art (édhéa) in Sierre, Switzerland. Goodwin is currently a professor and Director of the Research Centre for Transnational Art, Identity and Nation (TrAIN) at University of the Arts London where he holds a UAL Chair in Contemporary Art and Urbanism.

Skinder Hundal is CEO/Director of New Art Exchange and has been in post since the establishment of the organisation in September 2008 positioning NAE as one of the leading contemporary art spaces in the UK. He has successfully led the organisation through a significant period of growth and development, achieving a strong reputation for creating and producing high quality adventurous art, bringing international level culturally diverse art to Nottingham and the UK. He is passionate about supporting new talent, and creating ‘incredible encounters’, rethinking and improving how the arts and cultural ecology works so that the value of art and culture is shared as widely as possible and is inclusive at all levels. He has successfully delivered many complex, large-scale projects, including the historic EM15 Midland’s Pavilion at Venice Biennale 2015 – Doug Fishbone’s Leisure Land Golf, Culture Cloud, a flagship NESTA Digital Arts R&D project, British Art Show 7, Nottingham and Here There & Everywhere international programme as part of Re-Imagine India. Skinder has commissioned significant artists including Akram Zaatari, Zarina Bhimji, John Akomfrah, Hetain Patel, Zineb Sedira, Hurvin Anderson and Sonia Boyce and presented works at NAE including Christian Marclay’s ‘The Clock’ and Turner prize winners Elizabeth Price and Duncan Campbell. Several commissions have been bought by Tate, Arts Council Collection and international museums. Skinder is also Executive Producer for NAE’s international programme partnership ‘Here, There & Everywhere’ which spans South Asia, South Korea, Africa, the Caribbean and Middle East. He is also Executive Producer and Artistic Director for UK’s original Mela Festival in Nottingham.

Rikke Jørgensen is the CEO of the arts, media and communications agency UrbanArt Communications and the initiative taker of the Arts & Globalization Conference. She works as an independent curator, project manager, communicator and freelance journalist. Since 2003 she has worked with contemporary art in different projects in Denmark, France and Spain. In 2004 she started Nørrebro Art Salon – an exhibition and debate space in Copenhagen with a focus on dialogue and global arts ressources within the Danish community. In 2005 she was the project manager of the first research festival in Denmark on behalf of the Ministry of Science, Technology and Innovation. Education: MA, Comparative Literature, Media and Art History, University of Copenhagen and Université Paris Diderot.

Valerie Kabov is an independent scholar, curator and educator. She is Editor at Large of Art Africa Magazine, co-founder and director of First Floor Gallery Harare, Zimbabwe’s first independent international artist led gallery and co-founder and Chair of the Emerging African Art Galleries Association. As a researcher, writer and cultural advocate, Valerie is focused on the welfare of artists and the nexus between audiences, policy, and the art market in the globalised context. Valerie holds a Masters in Curatorship and Modern Art from University of Sydney, as well as degrees in Law and Economics from University of Melbourne, Australia.

Martin Kennedy is a freelance curator and consultant based in the Seychelles and specialising in art and education. An artist and writer, Martin's most recent publication is 'Art in Seychelles, then and now'. He was the national curator for the Seychelles pavilion at the 2017 Venice Biennale. Martin oversaw the writing of the Seychelles national curriculum for the arts and served on the University of Seychelles governing Council for 8 years, three of them as Chair. Prior to this he was a member of the Seychelles University Foundation which established the national university. Prior to relocating to the Seychelles in 1997, Martin Kennedy was an arts educator in London, teaching, lecturing and training. He served as elected Chair of the London Art and Design Association (LAADE).  During his career in education in Seychelles and the UK he has held several senior management and Principal posts yet always maintained a robust teaching timetable, mainly in art and literature.

Kiluanji Kia Henda is an autodidact which a profound springboard into this realm comes from growing up in a household of photography enthusiasts.  His conceptual edge was sharpened by immersing himself into music, avant-garde theater and collaborating with a collective of emerging artists in Luanda´s art scene. Kiluanji has participated in several residencies programs and in the following selected exhibitions: The First Triennial of Luanda, 2007; Check List Luanda Pop, African Pavillion, 53rd Biennale of Venice, 2007; Farewell to Post-Colonialism, 3rdTriennial of Guangzhou, 2008; There is always a cup of sea to sail in, 29th São Paulo Biennial, 2010; Mondays Begins On Saturday, First Bergen Triennial – Bergen Assembly, Bergen, 2013; The Shadows Took Shape, The Studio Museum of Harlem, New York, 2013; Producing The Common, 11th of Dakar Biennale – Dak´Art, 2014, Museum (Science) Fictions - MUSEUM ON/OFF, Centre George Pompidou, Paris, 2016; Constellations, Tate Gallery, 2017, Imagened Borders, 12th Gwangju Biennale, Gwangju, 2018; 9th Busan Biennale, 2018. In 2012 he won the National Award for Culture and the Arts from the Angolan Ministry of Culture and in 2017 won the Frieze Artist Award.

Frank Kilbourn is a respected business entrepreneur who holds separate degrees in Law, Commerce and Philosophy. He began his professional career as an articled clerk and practised as an attorney until 1991. After a period at Standard Corporate and Merchant Bank, he joined Sun International in 1995. He founded the Bright Group of companies in 2002, focusing on private equity and venture capital. He is also the co-founder of the Bright Foundation, a public benefit organisation involved in education, nature conservation and promotion of the arts and culture. Frank and his wife Lizelle began collecting art while students at the University of Johannesburg, maturing into a family mission to build a representative collection of modern and contemporary South African art. The core of the collection is made up of paintings and includes important works by Irma Stern, Walter Battiss, Cecily Sash, Christo Coetzee and Robert Hodgins. Of the view that private collectors should make their collections available for public viewing, Frank has co-hosted a fundraiser exhibition of his work at the historical Cape home of Welgemeend. His foundation has also co-sponsored several exhibitions and publications by South African artists, including John Kramer and Paul Emsley. In addition to his Bright Group activities, Frank also serves on the board of City Lodge Hotels Ltd, in the capacity of head independent director. He was chairperson of the South African Tourism Board until 2014 and chaired the Jan van Riebeeck Primary School Board of Governors, also until 2014. He is a co-owner of Grootbos Nature Reserve near Gansbaai, a trustee of WWF (South Africa) and was a member of the advisory panel of the Centre for Business in Society at University of Stellenbosch Business School. Frank was appointed Chairman of Strauss & Co in 2016, succeeding Strauss & Co’s former chairman, Elizabeth Bradley.

Francois Knoetze completed his BFA at Rhodes University, Makhanda in 2012. Knoetze works across sculpture, performance, video and installation, and is interested in the connections between social histories and material culture. Cultural theorist Ashraf Jamal has described Knoetze as a psychogeographer’, noting how his roaming costumed performances and videos pick at the socio-spatial force-fields that attempt to rigidly order the contaminated, folded, and entangled worlds of people and things. His first major series, Cape Mongo (2013-2016) was created as part of his MFA degree (Michaelis School of Fine Art, UCT) and has been exhibited extensively both locally and internationally (at La Triennale di Milano in 2019, Kunsthal KAdE in 2018, Wiener Festwochen in 2015, LagosPhoto Festival in 2015, Somerset House in 2015). Since completing his formal education, Knoetze’s practice has been itinerant. He has spent the past 5 years working on projects in South Africa, Tanzania (artist in residence at Nafasi Art Space), The Democratic Republic of the Congo (as part of Kinact3), Dakar (Afropixel6/Digital Imaginaries), New York and Shenzhen (Digital Earth Fellowship). In 2015, Knoetze was featured as one of Mail & Guardian Newspaper’s ‘Top 200 Young South Africans’.

Anna-Alix Koffi was born in Abidjan and was raised in Paris. As creative director and photo editor, she founded and self-published the journal, OFF the wall cultures photo in 2013, a collection of 10 book-magazines 10 about photography. Since 2016, Koffi created and produced magazines for fairs and festivals (Arles, Visa, Paris Photo, Fiac!, 1/54) as well as commissioned projects. Since then, Koffi has been involved with multiplied projects related to photography between France and Africa. She is now working on something we africans got, her new journal about arts and critical thinking from Africa. something we Africans got is a journal that celebrates the works of artists from Africa and its diaspora, as well as others whose work is related to the continent. The journal focuses on currents of thought, photography, cinema, contemporary art, fashion, literature amongst other forms of art. Each issue includes a focus on an African country, a special theme and a country outside of the continent which emphasis cultural bridges with Africa.

Albertine Kopp is one of the founder of Caribbean Art Initiative, a non for profit program that aims to support contemporary arts from and across the Caribbean region and promote its cause globally. Prior to Caribbean Art Initiative, Albertine led Davidoff Art initiative for 6 years, where she formed a profound Caribbean network of artists, institutions and local businesses. Through her role she was able to promote Caribbean arts at international art fairs, incl. Art Basel, Venice Biennale, Frieze, ARCO. She connected local artists to widely recognized institutions in New York, London, Berlin, Beijing and Bogota and created a lively artist residency exchange that allowed various international artists to work in the Caribbean. Her work was recognized with the European Corporate Art Awards in 2017. Throughout her career, Albertine worked in arts, communications and marketing with museums, art fairs and corporations. Prior to focusing on Caribbean Arts, Albertine worked with Volta Show, Deutsche Bank Collection and Louis Vuitton Communications in New York, Paris and Frankfurt. Albertine is member of the board of Kunsthalle Basel.

Bruno Leitão lives between Lisbon and Madrid, studied at ESAD CR, Fundação Calouste Gulbenkian and is a Ph.D. candidate at UCLM on curating between political art and formalism. He is the FAS collection head curator, and he is the curatorial director of Hangar Centre for Artistic Research. At Hangar he has curated and programmed several exhibitions, public talks and seminars with such artists as Luis Camnitzer, Coco Fusco, Carlos Amorales, The Otolith Group, John Akomfrah, Rosa Barba, João Onofre, Lawrence Abu Hamdan, Elena Bajo, João Maria Gusmão e Pedro Paiva, Alfredo Jaar, Fernanda Fragateiro, Zineb Sedira, among others. Leitão was invited curator for the Bienal de Vila Franca de Xira in Portugal and curated exhibitions such as You love me You love me not con Wangechi Mutu, Santu Mofokeng, Seydou Keïta, Samuel Fosso, William Kentridge, and others in a show with works from the Collection Sindika Dokolo at Galeria Municipal Almeida Garrett (Porto, Portugal, 2015). El Buen Caligrama with Alain Arias Misson, Detanico Lain, Musa Paradisiaca and Los Torreznos at Gallery The Goma, Galeria 3+1 in Lisbon, Fundação EDP Porto, and Kadist Foundation in Paris. His texts have been published in publications such as Atlantica (CAAM), Contemporanea, Dardo but also in catalogs such as The Gap (curated by Luc Tuymans for the Parasol Unit and MUKHA), En Construcción (CGAC- Santiago de Compostela). He is currently editing a book on Curating and Coloniality in Iberia together with Carlos Garrido Castellano and preparing the first solo show by Ângela Ferreira in Spain at CGAC, Santiago de Compostela, Spain.

Nkule Mabaso graduated with a Fine Arts degree from the University of Cape Town (2011) and received a Master in Curating at the Postgraduate Programme in Curating ZHdK, Zürich (2014). Ms Mabaso is the curator at the Michaelis Galleries, at the university of Cape Town and is responsible for co-ordinating the exhibitions programme. In 2017 she has also collaborated with the art historian, Manon Braat to towards the realization of the Exhibition and publicatio “Tell Freedom: 15 South Africa Artist” in 2017. This publication is based on a curatorial project Tell Freedom which was exhibited at the Kunsthalle KaDE, Amersfoort, in the Netherlands and included 15 South African Artists who produced new work, critically engaging with the historical connection of South Africa and the Netherland. She has authored articles and reviews in the OnCurating journal, Artthrob, Africanah. In 2017, she convened the Third Space symposium in collaboration with the Institute for Creative Arts, Decolonizing Art Institutions, where she had major South African scholars presenting papers. Ms Mabaso works collaboratively and her research interests engage the South Africa and Afro-continental context. She has curated shows and organised public talks in Switzerland, Malawi, Tanzania, and South Africa, and the Netherlands.

Gonçalo Mabunda is interested in the collective memory of his country, which has only recently emerged from a long civil war. Mabunda works with weapons recovered in 1992 at the end of the sixteen-year conflict that divided the region, creating objects of beauty from instruments of death – land mines, Kalashnikovs, rocket launchers, pistols, rifles, bombs and grenades – which he warps and welds to create vivid sculptures such as thrones, prehistoric animals with giant wings and legs, and anthropomorphic robots of the most diverse expressions and characteristics. While the deactivated weapons of war carry strong political connotations, the beautiful objects he creates simultaneously convey a positive reflection on the transformative power of art and the resilience and creativity of African civilian societies.Mabunda is best known for his “thrones,” which, according to the artist, function as attributes of power, tribal symbols and traditional pieces of ethnic African art. They are an ironic commentary on his childhood experience of violence and absurdity amidst the long civil war that isolated his country. Mabunda’s work has been exhibited at Museum Kunst Palast in Dusseldorf, the Hayward Gallery in London, the Centre Pompidou in Paris, the Mori Art Museum in Tokyo, and the Johannesburg Art Gallery, among other venues.

Ibrahim Mahama uses the transformation of materials to explore themes of commodity, migration, globalisation and economic exchange. Often made in collaboration with others, his large-scale installations employ materials gathered from urban environments, such as remnants of wood, or jute sacks which are stitched together and draped over architectural structures. Mahama’s interest in material, process and audience first led him to focus on jute sacks that are synonymous with the trade markets of Ghana where he lives and works. Fabricated in South East Asia, the sacks are imported by the Ghana Cocoa Boards to transport cocoa beans and eventually end up as multi-functional objects, used for the transportation of food, charcoal and other commodities. ‘You find different points of aesthetics within the surface of the sacks’ fabric’, Mahama has said. ‘I am interested in how crisis and failure are absorbed into this material with a strong reference to global transaction and how capitalist structures work.’ Mahama was born in 1987 in Tamale, Ghana. He lives and works in Accra, Kumasi and Tamale. His work has appeared in numerous international exhibitions including the Norval Foundation, Cape Town (2019); Documenta 14, Athens and Kassel (2017); All the World’s Futures, 56th Venice Biennale, Venice (2015); Artist’s Rooms, K21, Dusseldorf (2015); Material Effects, The Broad Art Museum, Michigan (2015); An Age of Our Own Making, Kunsthal Charlottenborg, Copenhagen and Holbæk (2016) and Fracture, Tel Aviv Art Museum, Israel (2016). Ibrahim Mahama features in Ghana's first national pavilion at the 58th Venice Biennale.

Nomusa Makhubu (PhD, Rhodes University) is a senior lecturer of art history at the University of Cape Town and an artist. She is the recipient of the ABSA L’Atelier Gerard Sekoto Award (2006), the Prix du Studio National des Arts Contemporain, Le Fresnoy (2014) and the First Runner Up in the Department of Science and Technology (DST) Women in Science Awards (2017). Makhubu was a fellow of the American Council of Learned Societies and an African Studies Association (ASA) Presidential Fellow in 2016. In 2017, she was a Mandela-Mellon fellow at the Hutchins Centre for African and African American Studies, Harvard University. Makhubu is a member of the South African Young Academy of Science (SAYAS) and the deputy chairperson of Africa South Art Initiative (ASAI). In 2015, she co-edited a Third Text Special Issue: ‘The Art of Change’ (2013) and co-curated with Nkule Mabaso the international exhibition, Fantastic. Her research interests include African popular culture and socially-engaged art.

Pascal Martin Saint Leon and Jean Loup Pivin are architects by profession and founders of Revue Noire -- with Simon Njami and Bruno Tilliette, in 1991. The two have worked together since the 1970s. They began their careers as designers and architects of the National Museum of Mali in Bamako (1977-1981, expanded in 2000). Several heritage missions in Africa have permitted them to work on, among them, the renovation of the Palace of Homnè in Porto Novo, Benin. With the Bureau d'Ingénierie Culturelle they created in 1986, they have carried out more than two hundred heritage, cultural, urban and rural missions and projects on the African continent. Included among them, are the design and programming studies of the "Familistère de Guise" on social utopia 2016 and the "ACTe 2015 memorial on slavery" in Pointe-à-Pitre, Guadeloupe, to name a few.  Revue Noire's legacy on contemporary African expressions and the diaspora, has included the production of films, musical recordings and exhibitions including La photographie africaine (1992), Suites africaines (1996), L'Afrique par elle-même (panorama de la photographie africaine, en 1998 - 2006), the Opening Ceremony of the CAN (2002) in Bamako, PhotoQuai for the Musée du Quai Branly (2006). This year, Revue Noire produced with the Kantoko association the first pavilion of Madagascar at the Venice Biennale represented by the artist Joël Andrianomearisoa. They are also authors and co-authors of numerous books, including the Anthology of African Photography, the Indian Ocean and the Diaspora (1998), Anthology of African Art in the 20th Century (2002), Pierre Verger (1994) and Rotimi Fani Kayodé (1996). Jean Loup Pivin has just released his latest book Act of Utopia (January, 2019).

Zanele Muholi is a visual activist and photographer born in Umlazi, Durban, and living in Johannesburg. Muholi’s self-proclaimed mission is ‘to re-write a black queer and trans visual history of South Africa for the world to know of our resistance and existence at the height of hate crimes in SA and beyond’.Muholi co-founded the Forum for Empowerment of Women (FEW) in 2002, and in 2009 founded Inkanyiso (www.inkanyiso.org), a forum for queer and visual (activist) media. They continue to train and co-facilitate photography workshops for young women in the townships. Muholi studied Advanced Photography at the Market Photo Workshop in Newtown, Johannesburg, and in 2009 completed an MFA: Documentary Media at Ryerson University, Toronto. In 2013 they became an Honorary Professor at the University of the Arts/Hochschule für Künste Bremen.  Awards and accolades received include France’s Chevalier de l'Ordre des Arts et des Lettres (2017); the Mbokodo Award in the category of Visual Arts (2017); ICP Infinity Award for Documentary and Photojournalism (2016); Africa'Sout! Courage and Creativity Award (2016); Outstanding International Alumni Award from Ryerson University (2016); Fine Prize for an emerging artist at the 2013 Carnegie International; Prince Claus Award (2013); Index on Censorship - Freedom of Expression art award (2013); and Casa Africa award for best female photographer and Fondation Blachère award at Les Rencontres de Bamako biennial of African photography (2009). Solo exhibitions have taken place at institutions including the Colby Museum of Art, Maine (2019); the Spelman College Museum of Fine Art, Atlanta (2018); New Art Exchange, Nottingham (2018); Museo de Arte Moderno de Buenos Aires (2018); Fototgrafiska, Stockholm (2018); LUMA Westbau, Zürich (2018); the Durban Art Gallery (a survey exhibition conceptualised as a homecoming, 2017); Market Photo Workshop, Johannesburg (2017); Glasgow School of Art (2017); Stedelijk Museum, Amsterdam (2017); Autograph ABP, London (2017); Maitland Institute, Cape Town (2017); North Carolina Museum of Art (2016); Standard Bank Gallery, Grahamstown (2016); Gallatin Galleries, New York (2016); Open Eye Gallery, Liverpool (2015); Brooklyn Museum (2015); Akershus Kunstsenter, Norway (2015); Einsteinhaus, Ulm (2014); Schwules Museum, Berlin (2014); Williams College Museum of Art, Williamstown (2014); and Casa Africa, Las Palmas (2011). The Faces and Phases series has been shown at the South African Pavilion at the 55th Venice Biennale (2013); dOCUMENTA 13 (2012), and the 29th São Paulo Biennial (2010).

Tinashe Mushakavanhu, PhD is a writer and scholar from Zimbabwe invested in how the poetics of anarchy inform creative writing, digital media and African literature. He co-founded Black Chalk & Co a boutique agency engendering new forms of publishing and creative production; and curates readingzimbabwe.com a digital archive mapping more than 60 years of Zimbabwe's published history. His latest book, Some Writers Can Give You Two Heartbeats, has just been published.

Riason Naidoo is an independent curator and writer. He created the public art project Any Given Sunday (2016) in Cape Town and produced and directed of the documentary Legends of the Casbah with Damon Heatlie (2016).  He curated the retrospective exhibitions on Peter Clarke in Dakar, London and Paris (2012-13) and on photographer Ranjith Kally in South Africa, Mali, Austria, Spain and Reunion Island (2004-2007). Public art project with Ernest Pignon-Ernest on ‘Soweto-Warwick’ in Durban (2001-2002). He was co-curator of the 10th edition of Dak’art in Senegal (2012); curator of 1910-2010: From Pierneef to Gugulective at the South African National Gallery (2010). He is author and curator of The Indian in DRUM magazine in the 1950s book (2008) and exhibition shown in Johannesburg, Durban and Cape Town (2006-11). He served as Director of the South African National Gallery (2009-2016), Director of the South Africa-Mali Project on the Timbuktu Manuscripts (2003-2009). He was in charge of artistic projects at the French Institute of South Africa (2001-2003), and was Lecturer in drawing and painting at the University of the Witwatersrand (1999-2001). He was also in charge of art education at the Durban Art Gallery (1996-1999). He is Chevalier de l'Ordre des Arts et des Lettres from the French Ministry of Culture & Communication (2016), Institut Francais laureate (Paris, 2018), and Cité internationale des arts laureate (Paris, 2019).  

Damian Nixon is a London-based art business consultant and independent researcher. He is the author of ’The Impact of Acceptance: validation mechanisms and legitimating authorities in ‘African’ contemporary art,’ an academic paper that argues cogently for the strengthening of critical art discourses and cultural infrastructure within the African continent to provide local and regional validation mechanisms for the continent’s artists. After a career in financial asset management, he focuses his attention on the construction of ‘art world’ value, the relationship between local cultural production and the international art world and the importance of the cultural economy in national development. He is currently compiling the first edition of ‘Africa: Art and Philanthropy’ with the leading global art market research and analysis firm ArtTactic. The report is the first major survey of non-profit and private philanthropic art initiatives highlighting trends and challenges in Art and Philanthropy across the continent. It is intended to spark a debate, expose the gaps that still need to be filled and inspire emerging philanthropists across Africa to continue developing new models and initiatives around philanthropy in the arts.

Azu Nwagbogu is the founder and director of the African Artists’ Foundation (AAF), a non-profit organisation based in Lagos, Nigeria, dedicated to the promotion and development of contemporary African arts and artists. Established in 2007, the AAF organises art exhibitions, competitions, and workshops with the aim of unearthing and developing talent in Nigeria. Nwagbogu founded the National Art Competition in 2008, an annual arts competition in that provides a platform of exposure for emerging Nigerian artists. He also serves as founder and director of the LagosPhoto Festival, an annual international photographic arts festival that brings leading local and international photographers into dialogue with the multifaceted stories of Africa. He is the creator of Art Base Africa, a new virtual space to discover and learn about contemporary African art and diaspora.

Hannah O’Leary first joined Sotheby’s in 2005, initially working in the Dublin and Melbourne offices. In 2006 she joined Bonhams in London, where she helped pioneer the first international auctions of South African Art and Modern & Contemporary African Art, becoming Head of Department in 2010. With 10 years’ experience in this field, and having overseen record-breaking sales in both categories, she was delighted to return to Sotheby’s in 2016 to further develop this burgeoning market. Ms O'Leary maintains close relationships with private collectors and public institutions alike, often advising on their collections and assisting with private sales and exhibition loans, most recently as international consultant to the South African National Gallery and contributing author to the Irma Stern retrospective catalogue ‘Brushing Up on Stern’ (Cape Town, 2015). She holds a Master’s degree in History of Art with Cultural Anthropology from Glasgow University.

Nana Oforiatta Ayim is a writer, filmmaker, and art historian based in Accra, Ghana. She is founder and director of ANO Institute of Contemporary Arts, and the Creative Director of the Ghana Institute of Photography. She has written for publications such as frieze, Manifesta, Kaleidoscope, and African Metropolitan Architecture; and shown her films at institutions like Tate Modern, UK; the New Museum, New York; LACMA, LA; and the Witte de With, Rotterdam. Her first novel will be published in 2017 by Bloomsbury. She was a Sacatar Fellow in Brazil and the recipient of the 2016 AIR Award, which “seeks to honour and celebrate extraordinary African artists who are committed to producing provocative, innovative and socially-engaging work”. She received the 2015 Art & Technology Award from the Los Angeles County Museum of Art and was named one of Africa’s top 50 trailblazers by The Africa Report.

Rina Ralay-Ranaivo started his career at the Institut Français of Madagascar. For twelve years (2006 to 2018) ha was in charge of the artistic programming of this flagship institution of Malagasy cultural life.This transversal work enabled him to design  produce and manage several projects in the field of visual arts and dance. It gave him the opportunity to work with countless Malagasy artists (Joël Andrianomearisoa, Madame Zo, Rijasolo, Ariry Andriamoratsiresy, Pierrot Men, Christiane Ramanantsoa,  ...), Pan-African artists (Kettly Noël, Omar Viktor Diop, Ballaké Sissoko ...) Oceanic artists (Pascal Montrouge, Hans Nayna, Davy Sicard...) and artists from Europe (Claude Brumachon, Moise Touré, Bernardo Montet, Pascal Maitre, The Shopping..). Rina Ralay-Ranaivo is also a visual artist and his work has been shown in art centers and contemporary art events in Africa and Europe. He has curated several exhibitions, all in his country, the most important of which is entitled “Ici la limite du royaume est la mer” (2018): a collective and retrospective exhibition of the last twenty years of the history of Malagasy contemporary artistic expressions.

Justin Randolph Thompson is a new media artist and educator born in Peekskill, NY in ’79. Living between Italy and the US since 2001, Thompson is a co-founder of Black History Month Florence. He has exhibited internationally and participated in numerous residencies in the US and in Europe in venues such as the Whitney Museum of American Art, The Reina Sofia, Blue Star Contemporary Art Museum, The Mobile Museum of Art, the American Academy in Rome and more. Thompson is the recipient of numerous awards including the Louis Comfort Tiffany Award, a Franklin Furnace Fund Grant, The FCA Emergency Grant, The EAF from Socrates Sculpture Park and a Jerome Prize from Franconia Sculpture Park and a Visual Artist Grant from the Marcelino Botin Fundation. Thompson’s work questions the implications of cultural relics and the mutability of their veneration within the context of displacement. Broadly collaborative and inherently interdisciplinary he relies upon the collective power of creative dialogue to provide platforms that envision communities as temporary monuments. Resisting a legacy of American triumph and problematizing aspirations towards Roman expansionist history, site-specific works engage community-oriented groups across disciplines in the creation of installations and sound-based performances utilizing gestures of labor as rhythmic structures. The work shifts the lens of legibility in African American history against the backdrop of a culture that uses monuments to forget.

Tabita Rezaire is infinity incarnated into an agent of healing, who uses art as a mean to unfold the soul. Her cross-dimensional practices envision network sciences - organic, electronic and spiritual - as healing technologies to serve the shift towards heart consciousness. Navigating digital, corporeal and ancestral memory as sites of struggles, she digs into scientific imaginaries to tackle the pervasive matrix of coloniality and the protocols of energetic misalignments that affect the songs of our body-mind-spirits. Inspired by quantum and cosmic mechanics, Tabita’s work is rooted in time-spaces where technology and spirituality intersect as fertile ground to nourish visions of connection and emancipation. Through screen interfaces and collective offerings, her digital healing and energy streams remind us to see, feel, think, intuit, download, know and trust beyond western authority but towards the soul. Tabita is based in Cayenne, French Guyana. She has a Bachelor in Economics (Fr) and a Master of Research in Artist Moving Image from Central Saint Martins (UK). Tabita is a founding member of the artist group NTU, half of the duo Malaxa, and the mother of the energy house SENEB.

Flurina Rothenberger is a Swiss photographer raised in Zuénoula, Côte d'Ivoire. She has spent most of her career photographing the continent where she grew up, Africa. Her photographs focus on the expanding urban landscape, often based in some of the fastest growing economies in the world, and the people that move within it, from fashionable teenagers to savvy businessmen. They paint a picture of a continent in rapid development and the swings of globalisation, with a strong and varied cultural heritage. She published I love to dress like I am coming from somewhere and I have a place to go, in 2015 with Edition Patrick Frey, covering 10 years of working across different African countries. The book was edited and designed by the graphic design duo Hammer, with whom Flurina collaborates on a majority of her projects. The youngest result of their collaboration is Edition Nice, a self-published youth magazine conceived with young contributors in Pemba, Moçambique. Flurina Rothenberger is the Co-founder of Klaym an independent association and movement - founded in 2015 - dedicated to support, train and publish talented photographers, visual artists and writers in African countries. Flurina holds a degree in photography from the University of Arts Zurich and regularly lectures at F+F School of Arts and Design Zurich. Her work has been exhibited and awarded with the Swiss Design Award.

Born in Italy, Gabriele Salmi studied modern literature and political science and worked for a communication company in the film industry. In 2004, tempted by the world of international cooperation and fascinated by the rich history of the Congo, he volunteered for ALBA, an Italian nonprofit organisation dedicated to the education of children. He took part in the creation of the educational project of the American Tenke Fungurume Mining, and coordinated a project of the World Food Programme bringing one hundred trucks for the distribution of humanitarian aid in different places in the country. He co-produced several documentaries together with the filmmaker and documentary maker Douglas Ntimasiemi. He was also co-producer of the documentary by Sammy Baloji and Filip De Boeck “Pungulume” produced by Auguste Orts. He joined Picha in 2016, as a collaborator, supporter and sponsor. He actively participated in the organisation of the 5th edition of the Biennale de Lubumbashi by bringing logistical support and raising funds from sponsors.

Alaa Satir is a Sudanese cartoonist from Khartoum, graduated in architecture from the University of Khartoum. She is currently working as graphic designer, illustrator and cartoonist. She designed her first personal exhibition in 2017, Morning Doodles, addressing topics of feminism, social media and politics. She has taken part in exhibitions for women’s right and gender-based violence.

Massimo Scaringella is a contemporary art independent curator and cultural events organizer. For over thirty years of activity in Italy and abroad he has presented innumerable Italian and foreign artists, many of them belonging to new generations and today highly valued in the international field. On 1977 he started aside Italo Mussa his active path through the Roman avant-garde, especially in the Pastificio Cerere. He has presented contemporary art exhibitions in Italy; Argentina, Chile, Uruguay, Peru, Brazil, Mexico, USA; France, Germany, Austria, Spain, Belgium, United Kingdom, Sweden, Romania, Serbia, Bulgaria, Russia, Portugal; China, Japan, Kazakistan, Thailand, Korea, Indonesia, Taiwan, India, Turkey, Lebanon, Persian Gulf; Egiypt, Morocco, Ethiopia, Libya, Kenya, Mozambique, Angola, Zimbabwe; Australia and New Zealand. He has written numerous critical texts and articles in the specialized press (Il Tempo dell’Arte, Artribune).

Arthur Steiner is an art historian working at the crossroads of contemporary arts and technology. He is programme manager at Hivos Foundation and initiator of the Digital Earth fellowship, African Crossroads and the Force of Art with the Prince Claus Fund and European Culture Foundation. In his hometown, Amsterdam, he is actively involved with the art space W139 and is organizing and curating exhibitions and lecture series in the Netherlands and around the world. The most recent one is the Vertical Atlas. Digital Earth is a 6 month-long fellowship for artists and designers based in Africa or Asia, working across a variety of media, who would like to investigate our current technological reality. It is a unique research support programme, which supports experienced artists to reflect, research, experiment and produce work. The fellowship consists of a monthly stipend for work and production costs, mentorship and other various resources. The final results will be exhibited in a roaming exhibition.

Amina Zoubir is a visual artist and filmmaker living and working between Algiers (Algeria) and Paris (France). She graduated with a Master in Theory and Practice of Contemporary Art and New Media at University Paris 8 and from the School of Fine Arts in Algiers. Her work tackles the social and historical thoughts and the poetics and myths of the Maghreb. She exhibited in Algeria and internationally at Foundation Donwahi (Abidjan, Ivory Coast), Artos (Nicosi, Cyprus), Fondazione  Pistoletto (Biella, Italy); at Biennals in Dakar (Senegal), Lagos (Nigeria), Cairo (Egypt), Pontevedera (Spain), Yakutsk Biennal BY14 (Russia) and at museums such as MAXXI Rome (Italy), CAAM Las Palmas (Canaries Islands, Spain), MUSAC (Spain),Torrance Art Museum (California, USA), Museum Mohamed VI of Modern and Contemporary Art (Rabat, Morocco), Museum Rochechouart of Contemporary Art (Rochechouart, France), Museum Beaux-Arts (Yakoutsk, Russia), MAMA Museum of Modern and Contemporary Art (Algiers, Algeria).

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