FACILITATORS – Àsìkò 2014 “A History of Contemporary Art in Dakar in 5 Weeks”
FACILITATORS – THE ARCHIVE: STATIC, EMBODIED, PRACTICED 2013
THE ARCHIVE: STATIC, EMBODIED, PRACTICED sessions will be led by distinguished visiting faculty, artists and curators including: Andrea Stultiens (NL); Carla Zaccagnini (AR| BRA); Godfried Donkor (GH/UK); Kianga Ford (US); Shane Alsan Selzer (US); Miguel Luciano(US); Karyn Olivier (US); Eddie Chambers (UK) ; Jabulani Perreira (SA); Tamar Garb (SA/UK); Sven Augustijnen (BE); David Breslin (US); Bojana Piškur (SI); Aura Seikkula (FIN); Adriano Pedrosa (BRA); Nana Ofori-atta Ayim (GH); Bernard Akoi-Jackson (GH); N’Gone Fall(SEN) Chiara Figone (IT/GR)
Andrea Stultiens (Roermond, NL, 1974) studied photography at Utrecht School of the Arts (BFA) and Post St. Joost Breda (MFA). She received an MA in Photographic Studies from Leiden University/Royal Academy of Art. Not completely comfortable with being called a photographer or artist, she rather mentions simply doing things with photographs. She collects and makes them, and thoughtfully writes about their possible uses for understanding the ways that we present ourselves and try to represent others. Stultiens has published several photobooks, and exhibits her work internationally.
Since 2007, her work is particularly produced in Uganda, and largely in Africa in general. Stultiens initiated the platform “History In Progress, Uganda” in 2011, in order to collect and share historical photographs from Uganda to crowdsource information and to see if these photographs can be used to nuance historiographical endeavors.
Andrea Stultiens teaches for the BFA Photography Program at the Royal Academy of Art and the design department of Academy Minerva in Groningen. She is also a scholar connected to the research group Art in Context.
Carla Zaccagnini is an Argentinian artist, living and working in São Paulo, Brazil. Her work is often concerned with the fallibility of perception and she has created many deliberately disconcerting works that require mental agility from the viewer to decode what is happening in any given piece. A fair comparison may be to imagine Escher’s Infinite Staircase without actually seeing it. Zaccagnini often works with on-site specific installations or in projects carried out as part of residencies through which she reflects on place and language as ways of relating and editing formats of the work itself. Recently, Carla has been engaging with works involved with making private and intimate use of language, and with concerning herself with notions of the displacement of meaning.
In 2006, she participated with several other Latin American artists in the Zoo Portfolio Latin American edition, a portfolio of works curated by Adriano Pedrosa, published by Archeus, and sold to raise funds for the Zoo Art Fair for emerging artists.
In 2008, Frieze Magazine reviewed her exhibition at Galeria Vermelho, São Paulo.
Godfried Donkor was born in Kumasi, Ghana, and moved to London in 1973 where he later studied Art and Art History at St. Martins College of Art (1989) and the School of Oriental and African Studies (1995). He also studied post-graduate painting at Escola Massana in Barcelona, Spain (1991).
Donkor is a painter who works with mixed media collages and printmaking, and he has also started working with video. He includes iconography of mass media as a major theme in his work. In mixing styles and imagery from conflicting political and social divides, Donkor’s work emphasizes “creolization” as the creative force emerging from the reciprocity of language, culture, and social interaction.
Since 1995, Donkor has held several solo exhibitions in locations such as Belgium, France, Germany, Ghana, Senegal, Sweden, South Africa, the UK and USA. He was featured in biennial exhibitions in Salamanca (2003), Venice (2001), Havana (2000) and Dakar (1998); “Pin Up” at Tate Modern (2003-4), “Around the World in 80 days” at the ICA (2006); group shows in Austria, Belgium, Ghana, Luxembourg, Mexico, Norway, Spain, Trinidad and Tobago, Turkey, South Africa, the UK and USA.
Kianga Ford (Lead Facilitator) is a visual artist and writer whose work focuses on the immersive experience of contemporary place. Bringing together cultural and material histories and personal narratives, she works on the edge of “what is true enough” to create informed fictions and environments that contextualize our daily encounters with others in public spaces. Her works combine design-based installation, cinematic forms, sound, and site-specific research to explore the dynamics and demographics of contemporary social identity, proximity, intimacy and relationship. She has worked and exhibited internationally at venues from Tokyo Wonder Site to LACMA. She has been supported in her work by awards from Creative Capital, Asian Cultural Council, and the California Community Foundation. She is currently a smARTpower Fellow for the US Department of State, and is an Assistant Professor of New Genres in the School of Art, Media, and Technology at Parsons, The New School for Design in New York.
Karyn Olivier was born in Trinidad and Tobago, and received her MFA at Cranbrook Academy of Art and her BA at Dartmouth College. Olivier has exhibited nationally and internationally at venues such as the World Festival of Black Arts and Culture (Dakar, Senegal), the Gwangju and Busan Biennials (Korea), The Museum of Fine Arts, Houston, The Contemporary Arts Museum, Houston, the Wanas Foundation (Sweden), the Whitney Museum of Art at Altria (NY), MoMA P.S.1 (NY), Uferhallen (Berlin), the SculptureCenter (NY), Atlanta Contemporary Art Center and The Mattress Factory (Pittsburgh). Olivier has been the recipient of many awards and grants including a John Simon Guggenheim Memorial Foundation Fellowship, the Joan Mitchell Foundation Award, the New York Foundation for the Arts, the William H. Johnson Prize, an Art Matters grant, the Louis Comfort Tiffany Foundation Biennial Award and a project grant from the Creative Capital Foundation. Olivier was an artist-in-residence at the Core Program (MFAH), the Studio Museum in Harlem and the Skowhegan School of Painting and Sculpture. Her work has been reviewed in The New York Times, Time out New York, The Village Voice, Art in America, Flash Art, Mousse, Nka: Journal of Contemporary African Art, and Frieze among others. Olivier is currently an Assistant Professor of Sculpture at Tyler School of Art.
Shane Aslan Selzer
Shane Aslan Selzer is an artist, writer and organizer whose practice develops micro-communities where artists can expand on larger social issues such as generosity, exchange and failure. Selzer uses historical research to make personal interventions into social and material archives. Her work has been exhibited at venues including The Suburban, Oak Park IL, Andrew Kreps Gallery, NY P.S.1 MoMA, The Poor Farm, WI, and The Bag Factory, South Africa. Selzer is a part-time faculty member at Parsons, The New School for Design where she is coordinating development of a new Social Practice minor for students across departments. She is currently a fellow at A Blade of Grass, and just finished her book, What We Want is Free: Critical Exchanges in Recent Art (SUNY Press 2014) with Ted Purves.
Eddie Chambers is a writer and an exhibition organiser. He was born in Wolverhampton, England and gained a BA degree (Hons) in Fine Art from Sunderland Polytechnic in 1983. He now holds a PhD from Goldsmiths College, awarded in 1998, for his thesis research on press and public responses to black visual arts practices in England during the 1980s. Chambers began organising exhibitions while still a student. Since then, he has organised a large number of exhibitions in Britain and abroad. In 1989, he established the African and Asian Visual Artists’ Archive, a research and reference facility, after co-ordinating the project for several years until the autumn of 1992. Living in Bristol, England, he continues to research visual arts activity, organise exhibitions and write on various aspects of visual art practices.
Eddie Chambers is an Associate Professor of the History of Art at the University of Texas at Austin, teaching visual arts of the African Diaspora.
Jabulani Pereira graduated from New York University. She holds a Masters degree in Museum Studies. Her thesis titled “Museum Exhibitions, Mass Violence and Human Rights,” examines and tracks the display and use of found photographs taken by perpetrators and exhibited within museums. Prior to her studies, she worked extensively on human rights programs within South Africa. She is currently working on visual memory and integrates issues of history (fact and fiction), and human rights and memory into her photographic work. During her time in New York, she collaborated with Professor Peter Lucas and assisted in the producing a film titled, “Mural of Pain.” This film focuses on photographs and memories of families in Brazil who lost loved ones due to gun violence. She also worked with Professor Jian Chen and co-curated an exhibition, titled “SKIN.”
In South Africa, Jabu curated two exhibitions titled, “Reflections on the Truth and Reconciliation Commission” (Red Location Museum, Nelson Mandela Metro) and “100 Years of Women in Law” (Traveling Exhibition).
Jabu is a member of the Center for Historical Reenactments (CHR) and works at the Alf Kumalo Museum in Johannesburg.
Tamar Garb is Durning Lawrence Professor in the History of Art. She graduated from the Michaelis School of Fine Art at the University of Cape Town with a BA in Art (1978). In 1980, she was awarded an MA in Art Education from the Institute of Education at the University of London, and in 1982 she graduated with an MA in Art History from the Courtauld Institute of Art. While working part time in secondary and higher education, she completed her PhD at the Courtauld Institute in 1991. Tamar was appointed as Lecturer at the Courtauld Institute in 1988 and at UCL in 1989, and was promoted to Reader in 1995 and Professor in 2001. Her research interests have focused on questions of gender and sexuality, and the woman artist and the body in nineteenth and early twentieth century French art. She has published extensively in this field, and some of her key publications include Sisters of the Brush: Women’s Artistic Culture in Late Nineteenth Century Paris (Yale University Press, 1994); Bodies of Modernity: Figure and Flesh in Fin de Siecle France, (Thames & Hudson, 1998) and The Painted Face, Portraits of Women in France 1814 -1914 (Yale University Press, 2007). Her latest publication in this area is The Body in Time: Figures of Femininity in Late Nineteenth-Century France, (University of Washington Press, 2008). She has also published on questions of race and representation, and in 1995 she collaborated with Linda Nochlin on a volume of essays entitled The Jew in the Text; Modernity and the Construction of Identity (T&H). In 2010, she acted as External Exhibition Consultant on Gauguin: Maker of Myth for the Tate and as Consultant Editor on the accompanying catalogue.
In addition, Tamar has written about contemporary artists including Nancy Spero, Christian Boltanski, Massimo Vitali and Mona Hatoum. In 2007, she curated the exhibition ‘Reisemalheurs,’ which situated the paintings of the New York-based, South African artist, Vivienne Koorland in the Freud Museum, London.
Her interests have turned recently to post-apartheid culture and art as well as the history of photographic practices in Southern Africa. In 2008, she curated an exhibition on Landscape and Language in South African Art entitled Land Marks/Home Lands; Contemporary Art from South Africa at Haunch of Venison Gallery in London. In April 2011, her exhibition Figures and Fictions: Contemporary South African Photography opened at the Victoria & Albert Museum, London. The show was nominated for a Lucie award in Curating. She is currently curating a series of exhibitions for the Walther Foundation, New York and Germany, entitled ‘Distance and Desire: Encounters with the African Archive’ and is a Leverhulme Research Fellow for 2012-2014.
Sven Augustijnen (born in 1970 in Mechelen) studied at the Royal Academy of Fine Arts in Antwerp, the Hoger Saint-Lukas Instituut in Brussels, and at the Jan van Eyck Academy in Maastricht. In his work, he mainly concentrates on the tradition of portraiture and the porous boundaries between fiction and reality, by using a range of genres and techniques to disorienting effects. His films have been included in exhibitions and festivals in Athens, Basel, Fribourg, San Sebastián, Siegen, Rotterdam, Tunis, Tel Aviv, Tokyo and Vilnius, among others. In 2007, he collaborated with A Prior Magazine on the documenta 12 Magazine Project. In 2011, he received the Evens Prize for Visual Arts. Sven Augustijnen lives and works in Brussels.
David Breslin is the Associate Director of the Research and Academic Program, and Associate Curator for Contemporary Projects at the Clark Art Institute. He has curated exhibitions on the works of El Anatsui and Juan Muñoz, and has published essays on a range of artists from Paul Thek to Jenny Holzer. Breslin is currently completing a manuscript on public art, feminism, and language-based practices in the United States in the 1980s. He holds a PhD in the History of Art and Architecture from Harvard University, an MA in the History of Art from Williams College, and a BA in English from Amherst College.
Bojana Piškur was born in Ljubljana, Slovenia. She graduated with a major in Art History from the University of Ljubljana, and received her PhD at the Institute for Art History at the Charles University in Prague, the Czech Republic, in 2005. She works as a Senior Curator in the Moderna Galerija / Museum of Modern Art in Ljubljana (MG+MSUM). Her main theme of research is experimental art contexts, concepts, forms, and relations, in wider social environment. Bojana is a member of the Radical Education Collective.
Exhibition Selection of her curatorial work:
Krištof Kintera, It won’t be better, Galerija Škuc Ljubljana, 2001; Olafur Eliasson, The Structural Evolution Project, Moderna galerija Ljubljana, 2001; Slaven Tolj, 11.09.2001, Moderna galerija Ljubljana, 2002; Laura Lima, Costumes, Moderna galerija Ljubljana, 2002; Walking (Artur Barrio, Jože Barši & Bojana Piškur, Dean Ivandić, Pavel Mrkus, Miloš Šejn), Galerija Škuc Ljubljana, 2002; Tobias Putrih, Moderna galerija, 2003; a series of sound events, exhibitions, performances, lectures: Oscillations, 30 days of sound, Moderna galerija, 2005; Conversations (with Ricardo Basbaum, Rio de Janeiro), Galerija Škuc, 2006; Mapping / Archiving / Analysing Defunct Spaces of Art, Moderna galerija Ljubljana, 2006; Museum in the Street (with Zdenka Badovinac), Moderna galerija Ljubljana, 2008; 2000+ Arteast (with Zdenka Badovinac), UG Maribor, 2008; Encounter on Radical education, Škuc gallery, 2008; Tomislav Gotovac, Gone with the Wind, Moderna galerija Ljubljana, 2009; This is all film, experimental film in Yugoslavia from 1951 to 1991 Moderna galerija (with A. Janevski, J. Meden, S. Vuković), 2010; Museum of Affects (with B. Mari, T. Grandas, B. de Baere, L. de Backer), MSUM, 2011; Present and Presence (with Z. Badovinac, I. Španjol), MSUM, 2012.
In 2006, Bojana initiated a collective called the ”Radical Education.” The collective organized a series of events such as Spaces in becoming, an Encounter on radical education, a conference Radical Education in 2009, as well as various seminars, talks, debates, research (Workers Inquiry), and smaller scale exhibitions related to the topic (http://radical.temp.si).
Bojana Piškur has written for various magazines, catalogues, books and web journals: Aletheia (Belo Horizonte, Brazil); Praesens (Budapest, Hungary); Flash Art (Prague); Arhitext (Bucharest, Romania); Život umjetnosti (Zagreb, Croatia); Newspaper of the platform “What is to be done” (Moscow, Russia); Maska (Ljubljana); tropico (Sao Paulo, Brazil); edu-factory, 27 Bienal de Sao Paulo guide; was co-editor of an “Activism/Art/Spectacle” issue of Journal for the Criticism of Science, Imagination and New Anthropology (Ljubljana, Slovenia); co-editor of the text New Public Spaces: Dissensual Political and Artistic Practices in the post-Yugoslav Contex (Jan van Eyck Academy, Maastricht and Radical Education Collective); Magazine of Laboratories des Aubervilliers (Paris); Manifesta journal, La Internationale book, Lokavidya Jan Andolan (Varanasi).
Aura Seikkula (1977) is an independent curator and researcher based in Stockholm. She is a Doctoral candidate in cultural policy at the University of Jyväskylä. Current and recent projects include KOPIOITU a residency and exhibition program with Komplot Brussels and SIC Helsinki (2013); Show Your Sisu TV parody and performance event at the Baltic Circle Theater Festival (2012); the 6th Momentum Biennial Imagine Being Here Now, Moss Norway (2011); J.D. Okhai Ojeikere: Moments of Beauty survey exhibition for the Centre for Contemporary Art Lagos and ARS 11 Kiasma Helsinki (2011); Nordic Art Today, Loft Project Etagi, St Petersburg Russia (2011); Urban Studies event series and residency program in Shanghai (2010-2011); On Independence and the Ambivalence of Promise residency and exhibition program, Centre for Contemporary Art Lagos (2010).
Seikkula has worked in curatorial positions at the Künstlerhaus Bethaninen, Berlin; NIFCA Nordic Institute for Contemporary Art and the Finnish Museum of Photography, Helsinki. Additionally, she has acted as guest curator and curatorial advisor in various organizations including CCA,Lagos, santralistanbul, the European Economic and Social Committee and European Peace Museum. She is the co-founder of SKY Finnish Society for Curators, member of the board of the National Council of Media Art and the Society for Cultural Policy Research.
Adriano Pedrosa is a curator, writer and editor based in São Paulo. He studied Law at the Universidade Estadual do Rio de Janeiro (B.L., 1988), Economics at Pontifícia Universidade Católica do Rio de Janeiro, and Art and Critical Writing at the California Institute of the Arts, Valencia (MFA 1995). He has published in Arte y Parte (Santander), Artforum (New York), Art Nexus (Bogota), Bomb (New York), Exit (Madrid), Folha de S. Paulo (São Paulo), Frieze (London), Lapiz (Madrid), Mousse (Milan), Parkett (Zurich), Tate etc (London), The Exhibitionist (Berlin), among others.
His writings have appeared in numerous books and catalogs, among them Fresh Cream, Vitamin D, Vitamind 3D, Vitamin P2 (Phaidon). He was adjunct curator of the XXIV Bienal de São Paulo (1998), co-curator of the 27th Bienal de São Paulo (2006), curator of InSite_05, San Diego/Tijuana (2005), curator of 31st Panorama da Arte Brasileira (Museu de Arte Moderna de São Paulo, (2009), artistic director of the 2nd Trienal Poli/Gráfica de San Juan (2009), and co-curator of the 12th Istanbul Biennial (2011).
He was a juror of the UNESCO Prize for the Promotion of the Arts (Istanbul Biennial, 2001), of the Prêmio EDP Novos Artistas (Museu Serralves, Porto, 2003), of the Hugo Boss Prize (Guggenheim Museum, New York, 2004), and of the Hans Nefken Award for Contemporary Art (MACBA, Museu d’Art Contemporani de Barcelona, 2012). Pedrosa is the director of PIESP—Programa Independente da Escola São Paulo.
Nana Oforiatta Ayim received her MA in African Art History at the School of Oriental and African Studies. Before pursuing graduate education, Nana studied Russian and Politics and worked as a research in the Eastern European Section of the United Nations in New York. She was awarded an Arts & Humanities Research Council Award for doctoral study on Ayan, or Drum Poetics, as an indigenous philosophical, aesthetic and analytical took in Ghana. Ayim has presented her research at the University of Legon, London, Oxford and Cambridge.
Nana founded ANO (http://anoghana.org), an online platform that integrates writing, film, arts and research projects, which explores the construction of narratives, meaning, and the play of power. As a curator, Nana organized “One,” a multidisciplinary exhibition of contemporary Ghanaian art at the Liverpool Biennial; co-coordinated “Africa 05” at the British Museum; “The Word and Afrofuturism at the Southbank Centre;” “Living History,” at the British Council in Accra, Ghana; “Indepdedence Days,” at the Black Cultural Archives; and “Through the Lens,” at Bonham’s.
She has worked with African arts publisher Revue Noire in Paris, and has written on a range of topics on African contemporary culture in The National Geographic, The Statesman, The Dubliner, Arise, Frieze, and Kaleidoscope. Oforiatta Ayim has also created films, such as “CrossOver,” “A Shred of Identity.” and “Nowhere Else But Here,” the latter was made with Invisible Borders and first shown at the New Museum Triennial in 2012. She wrote The Tightrope Walker in five languages, which was also first shown as an installation at NGBK in Berlin.
Bernard Akoi-Jackson (b.1979) is an artist and writer interrogating hybrid post-colonial African identities, through ephemeral make-shift memorials and performative rituals of the mundane. He often becomes the proverbial jester or Esu moving between genres; painting, sculpture, dance, poetry, installation, photography and video to confront the complexities of his specific cultural moment. His work has featured in group and solo exhibitions in venues across Ghana, including the Nubuke Foundation Accra; Institute of African Studies, University of Ghana, Legon; Goethe-Institut Accra; Centre for National Culture, Kumasi; Alliance Française, Kumasi, Accra and internationally in Germany at the ACC Galerie, Weimar; Halle 14, Leipzig and Monte dos Ciprestes, Sintra, Portugal. His work is largely performative, bringing together visual, verbal and textual metaphors. These are then fashioned, in recent time, with elements of video and photography, into participatory, performances or object -based installations. He is particularly interested in the poetic relationships between disparate objects and materials. His strategy navigates a path towards what he calls ‘critical absurdity,’ where jest and play become very potent tools for contemplation and musing.
He was educated in the College of Art, Kwame Nkrumah University of Science and Technology, Kumasi, from where he holds an MFA in (Painting and Sculpture). After completing an artists residency in Kofi Setordji’sArtHAUS, Accra in 2006, Akoi-Jackson has subsequently facilitated and participated in International Artists’ Workshops like SaNsA in Accra (2007), SaNsA in Kumasi (2009) and Xerem International Artists’ Residency Home & Abroad in Portugal (2010). Bernard Akoi-Jackson’s writing tracks the development of contemporary Ghanaian and African visual art and culture. He is a regular contributor to ArtFOCUS, Accra, and has written essays for several exhibition catalogues among which are Nutata: An exhibition of Drawings by G.W.K. Dawson, (2009) Out of your mind: Dialogues on mental health in Ghana, (2009), Hearing the skies: Paintings by FatricBewong (2010) and Totobieto: Recent Paintings by Kofi Agorsor 2011. Other artists he has written on include Wiz Kudowor, Augustine Gokah, Ato Annan, Dorothy Amenuke, Constance Swaniker and the list continues to grow.
FACILITATORS – HISTORY/MATTER 2012
History/Matter sessions will be led by a distinguished visiting faculty of artists and curators including: El Anatsui (NIG/GH); Jelili Atiku (NIG); Candice Breitz (SA/GER); Tam Fiofori (NIG); Kianga Ford (US); Shane Aslan Selzer (US); Tessa Jackson(UK); Simone Leigh (US); Amilcar Packar (BR); Simon Njami(FR/CAM); Emeka Ogboh (NIG); J.D. ‘Okhai Ojeikere (NIG); Dan Leers and Kofi Setordji (GH)
Emeka Ogboh works primarily with sounds and videos to explore ways of understanding cities as unique, characteristic cosmopolitan spaces. It has been his goal to employ field recordings to explore the history and aural infrastructure of cities, in particular his city of domicile-Lagos, Nigeria.
Emeka obtained a Bachelor of Art degree in Fine and Applied Arts from University of Nigeria, Nsukka in 2001. He has exhibited variously in Nigeria, and Internationally at venues including the Centre for Contemporary Art, Lagos; Massachusetts Museum of Contemporary Art; Shin Minatomura, Yokohama; Museum of Contemporary Arts Kiasma, Helsinki; Rauternstrauch-Joset-Museum, Cologne; Museum of Contemporary Arts, Roskilde; International Contemporary Art Fair (ARCO) Madrid, and at Venice Biennale under the one minutes train.
Emeka is the Co-Founder of the Video Art Network Lagos, a member of the African Centre for Cities Project on African Urbanism, and the Urban Dialogues International Collective. He is also an affiliate member of the World Forum for Acoustic Ecology, and was part of the Media Lab in Africa Delegation to the 16th International Symposium on Electronic Art, ISEARHUR 2010.
Tessa Jackson is Chief Executive of Iniva (Institute of International Visual Arts), London. Iniva explores key issues in society and politics, offering a platform for artistic experiment, cultural debate and exchange of ideas. Tessa has over 25 years experience within the visual arts as a curator, gallery director, writer and consultant on cultural policy internationally and in Britain.
She was the founding Artistic Director of Artes Mundi, Wales’ International Visual Art Exhibition and Prize, and co-author of the Review of the Presentation of the Contemporary Visual Arts which led to Arts Council England’s 10 year visual arts strategy “Turning Point” (2006). As Director of the Scottish Arts Council (1999-2001) she contributed to Scotland’s first National Cultural Strategy, and as Director at Arnolfini, Bristol (1991 – 1999), she curated a range of significant exhibitions and prepared the way for its building redevelopment.
During her time in Glasgow (1982-1991), she was Head of Visual Arts for Glasgow 1990, European City of Culture, establishing Tramway as a venue and curating a wide range of exhibitions and projects. As a curator, she has worked with many artists including Abdoulaye Konaté, N.S. Harsha, Berni Searle, Xu Bing, Kara Walker, Eija-Liisa Ahtila, Yael Bartana, Subodh Gupta and Chen Chieh-jen: http://www.iniva.org
Jelili Atiku is a Nigerian multimedia artist with political concerns for human rights and justice. Through drawing, installation sculpture, photography, video and performance art, he strives to help viewers understand the world and expand their understanding and experiences, so that they can activate and renew their lives and environments.
Since 2008, he has been involved in an ongoing performance project, In the Red, which uses red as a symbol of life, suffering, danger and violence. In 2008/2009, his performance video, Victim of Political Assassination was showcased in the Video Library section of Rencontres Internationales in Paris, Berlin and Madrid. He also featured in the Geisai #12 Contemporary Art Fair, Tokyo, Japan (2009), 16th Festival International D’Art Video de Casablanca, Morocco (2009), Old News #6, Malmo, Lagos and Copenhagen (2009/2010) and Freedom to Create Prize, Singapore (2009).
Born on 27th September, 1968 in Ejigbo (Lagos), Nigeria, Atiku was trained at Ahmadu Bello University, Zaria, Nigeria and University of Lagos, Nigeria, where he was awarded Bachelor of Arts (Fine Arts) and Master of Arts (Visual Arts) respectively. He is presently teaching sculpture in Department of Art and Industrial Design, Lagos State Polytechnic, Lagos, Nigeria.
Amilcar Packer was born in Santiago, Chile in 1974 and moved to Brazil in 1982. He graduated from the University of São Paulo with a focus in philosophy, and carries a working practice in which he shifts, subverts and re-contextualizes everyday objects, architecture and the human body in action. Packer performs his work and usually presents them in photographs, videos and installations. His work is based on ideas about the organization of the world as language and construction where art practices point to the possibility of renewal and invention of modalities of seizure, behavior and subjectivation, resistance and friction to confront hegemonic and homogenizing historical, political and social structures that rigidly determine individuals. In recent years, he developed and organized presentations and meetings involving reading formats, actions and talks, as well as walks and meals. Amilcar has participated in many solo and group shows, workshops, and lectures.
contact Rua Mário Amaral nº278, Paraíso, CEP. 04002-021, São Paulo / São Paulo Tel. (+55 11) 8136 1417 / 4508 1578 email@example.com
Simone Leigh creates ceramic works, videos and installations informed by her interest in African art, ethnographic research, feminism and performance. She is a 2012 Creative Capital Grantee. In 2011, Simone was awarded the Joan Mitchell Foundation grant and was an artist-in-residence at the Studio Museum in Harlem from 2010–11. She has exhibited work at The Kitchen and the SculptureCenter in New York City; the Kunsthalle Wien in Vienna; L’Appartement22 in Rabbat, Morocco; the Andy Warhol Museum in Pittsburgh; and the AVA Gallery in Cape Town, South Africa.
Leigh has been awarded grants and residencies including the Lower Manhattan Cultural Council’s Workspace program, the Bronx Museum’s Artist in the Marketplace program, the Art Matters Foundation grant and the New York Foundation for The Arts Fellowship for Sculpture. Her work has been written about in Modern Painters, The New Yorker, The New York Times, Nka Journal of Contemporary African Art and Ebony Magazine.
Simon Njami is a Paris-based independent curator, lecturer and art critic. Njami was co-founder and editor-in-chief of Revue Noire, a journal of contemporary African and extra-occidental art. His publications include essays in the catalogue for the Sydney Biennale and other exhibition catalogues. Njami has been the Artistic Director of the Bamako Photography Biennale since 2001, and was co-curator with Fernando Alvim of the first African pavilion at the 52nd Venice Biennale in 2007. He has curated numerous exhibitions of African art and photography, including Africa Remix and the first African Art Fair, held in Johannesburg in 2008. He lives in France, and has Cameroonian roots.
J.D. ‘Okhai Ojeikere (b. 1930) documented significant moments in Nigerian history with great passion and discernment. Throughout his career, he has focused on the social, political and cultural transformations occurring during Nigeria’s transition from a colonial state to an independent republic. His formal investigations, documentary work and various commercial endeavors captured the unique atmosphere and élan of Nigeria during a period of great euphoria and ambivalence.
In 1975, Ojeikere founded his own photography studio, Foto Ojeikere and a year later the artist had his first solo exhibition at the Nigerian Arts Council in Marina, Lagos. The artist was commissioned by the Ministry of Culture in 1977 to document one of the largest cultural events on the continent to date—FESTAC ’77, which featured more that 17,000 participants from over fifty countries.
Practicing since the early 1950’s, Ojeikere is a leading artist of his generation who is devoted to the art of image making, the history of his country and the critical possibilities of the photographic medium.
Kianga Ford works primarily with sound and environment. Using design-based installation, sound, performance and site-specific projects to create scored environments, her works explore the dynamics of contemporary social identity, proximity, intimacy and relationship.
Her immersive, often story-based, projects ask questions about the relationship between physical and cultural proximity. Since 2003, a major focus of her work has been on developing the series of narrative walking tours titled “The Story of This Place,” that create historically-informed but fictional stories for mapped routes through cities. In the increasingly considered field of sound art, she has worked collaboratively with a range of international composers, from Toronto to Bergen. Her work has been shown at venues including Nuit Blanche (Toronto, Ontario); Art in General; The Studio Museum in Harlem; USF Verftet (Bergen, Norway); Contemporary Art Museum, Houston; The Museum of Contemporary Art, Miami; The Contemporary Museum in Baltimore; and the California Biennial at The Orange County Museum of Art. She is a Creative Capital grantee and a recipient of the California Community Foundation fellowship for emerging artists and the LEF Foundation grant. She has recently been awarded a grant by the Asian Cultural Council to pursue a new project in Japan. She is currently Director of BFA Fine Arts and Assistant Professor of New Genres in the School of Art, Media, and Technology at Parsons, The New School for Design in New York. She lives and works in Los Angeles and New York.
Kofi Setordji a Ghanaian born artist is arguably the most outstanding contemporary Ghanaian artist of this generation with an abundance of expressions as varied as his eclectic style. Kofi has worked literally in every conceivable medium, genre and style, from his vintage, humane Black and White photography that capture the varnishing monumental colonial architectural skyline of Accra through the stills of moments of the sublime in various human activities, to portraits of ordinary people.
He is a Founding Member and an Associate Director at the Nubuke Foundation for Contemporary Art and Culture in Accra, Ghana.
Candice Breitz was born in Johannesburg and has lived and worked in Berlin since 2002. She holds degrees from the University of the Witwatersrand (Johannesburg), the University of Chicago and Columbia University (New York). She has participated in the Whitney Museum’s Independent Studio Program and ran the Palais de Tokyo’s Le Pavillon residency as a visiting artist during the year 2005-2006. She has been a tenured Professor of Fine Art at the Hochschule für Bildende Künste in Braunschweig since 2007.
Breitz has participated in biennales in Johannesburg (1997), São Paulo (1998), Istanbul (1999), Taipei (2000), Kwangju (2000), Tirana (2001), Venice (2005), New Orleans (2008) and Singapore (2011). Selected group exhibitions include New Frontier (Sundance Film Festival, 2009), The Cinema Effect (Hirshhorn Museum + Sculpture Garden, 2008), Made in Germany (Kunstverein Hannover, 2007), Superstars (Kunsthalle Wien, 2005) and Remix: Contemporary Art and Pop (Tate Liverpool, 2002).
She is currently working on a three-part project that will be shot and produced backstage in Hollywood, Bollywood and Nollywood.