ULF VIERKE

Ulf Vierke is the director of Iwalewahaus, museum for contemporary African arts and the African Studies Center of the University of Bayreuth. Furthermore is the head of DEVA, the digial research archive of the African Studies in Bayreuth. Additionally he acts as Principal Investigator at the Bayreuth International Graduate School of African Studies (BIGSAS). Together with Ute Fendler and Nadine Siegert he is a leading researcher at “Revolution 3.0”, one of the subprojects of the Bayreuth Academy of Advanced African Studies. In his curatorial practice he focuses on photography and contemporary media arts, mostly in the Eastern African and lusophone context.

CONSTANTIN KATSAKIORIS

Constantin Katsakioris (PhD, EHESS Paris) is historian of contemporary international history, working on the relations between the communist countries and the Third World. He is currently completing a book, entitled “Soviet lessons. The Education of African and Arab Students in the URSS during the Cold War”. He has published papers in the Cahiers du Monde Russe, the Journal of Modern European History, the Ezhegodnik sotsialnoi istorii, other reviews and collectives volumes.

NASTIO MOSQUITO

Nástio Mosquito born in 1981 in Angola, largely educated in Portugal, and now currently living in Belgium, Nástio Mosquito is emerging to be one of the most exciting artists of his generation and was recently awarded the Future Generation Art Prize. Rooted in the broadcast industry, where he worked previously as director and cameraman, his practice embraces video and music, performance and installation.

Theatrically, Mosquito takes centre stage in his work. He often assumes roles, through mimicry, in order to express ideas occurring to him, not so much as his own cherished beliefs but rather observations on human folly manifested in modern life. The distance between his actual identity and such characterisations enables him to express himself variously as being transgressive, cool, cynical, profane and vulgar. “Nástia”, a know-it-all with a Russian accent – a monster engendered by the Cold War – epitomises this tendency, and often makes an appearance.

Mosquito has performed at music festivals within the context of visual arts programmes – Biennale of Bordeaux (2009), Tate Modern (2012), Berardo Collection (2013) – whilst having a lively online presence, including an app, and a recently released album, Se Eu Fosse Angolano. Ikon presented DAILY LOVEMAKING, Nástio Mosquito’s first solo museum show from February –April 2015 in Birmingham

Previous group exhibitions include 9 Artists at Walker Art Center (2013); Politics of Representation, Tate Modern (2012); and the 29th São Paulo Biennial (2010).

KARA LYNCH

kara lynch is a time-based artist living en exilio in Brooklyn, NY. Born in the auspicious year of 1968. Ambivalent towards hyper-visual culture, she is curious about duration, embodiment, and aural experience ; and through collective practice and social intervention lynch explores aesthetic/political relationships between time + space. Her work is vigilantly raced, classed, and gendered – Black, queer and feminist. kara is a member of Interdiciplinario, La Linea, a feminist artist collective on the Tijuana/San Ysidro border. She completed her MFA in Visual Arts at UCSD, a Permaculture Design Certification from the Center for Bioregional Living, and and has been a research fellow in the African and African Diaspora Studies Department, University of Texas, Austin and the Academy for Advanced African Studies at Bayreuth University in Germany. She currently earns a living as an Associate Professor of Video and Critical Studies at Hampshire College in Amhest, MA.

Major projects include: ‘Invisible’ – an episodic, speculative installation and performance project; ‘Mouhawala Oula’ – a trio performance for oriental dance, live video and saxophone, ‘Black Russians’ – a feature-length documentary; and ‘The Outing’ – a video travelogue. Awards for her video and performance work include iFilms and PlanetOut and Individual artist grants from Lila Wallace, NYFA, NYSCA, Paul Robeson Foundation, and Franklin Furnace. She has participated in various artist residencies: Arts International Residency in Moscow; the Banff Centre for the Arts; el Laboratorio Fronterizo de Escritores/Writing Lab on the Border; and the Civitella Ranieri Center in Italy. She is published in XCP Streetnotes, Ulbandus Review, BFM, contributed audio to Cabinet Magazine, video to PocketMyths, and drawings/writings to the Encyclopedia Project v.II F-K. lynch is currently co-editing the forthcoming anthology: We Travelled the Spaceways Black Imagination, Fragments and Diffractions.

KATHARINA FINK

Katharina Fink works as researcher, writer and cultural organizer. She holds a Magister in Cultural Studies from University of Thübingen and a PhD from BIGSAS, University of Bayreuth. She is and has been engaged in various projects ranging from all cultural areas to research and teaching. Her particular interest is to combine theoretical and practical aspects of aesthetics with societal issues: What can ‘beautiful’ mean? She’s also facilitating the literary estate of late South African author, Bloke Modisane.

Currently she holds the position of a Post-Doc-researcher at the Bayreuth Academy of Advanced African Studies, where she is part of the sub-project TP 5, Revolution 3.0. She not only was essential in developing a new method, used in this sub-project, called the Icon Lab, but also forms part of the curatorial and organisational team for the upcoming exhibition, Future Africa – Visions in Time. Keeping in touch with her second home university, she’s affiliated researcher at the Department of Historical Studies, University of Johannesburg.

frl_fink@gmx.net
katharina.fink@uni-bayreuth.de

www.sübkültür.de
www.revolvermaedle.wordpress.com
www.bayreuth-academy.uni-bayreuth.de/resources/TP5-poster-revolution.pdf

ABDI OSMAN

Abdi Osman is a Somali-Canadian multidisplinary artist whose work focuses on questions of black masculinity as it intersects with Muslim and queer identities. Osman’s video and photography work has been shown in Canada and internationally in both group and solo exhibitions. He holds an MFA in Documentary Media from Ryerson University, and B.A. in African Studies from the University of Toronto. Previous work has been supported by a grant from the Ontario Arts Council. His photographs are also in private collections and the Art Bank of the Canada Council for the Arts. Some of his work was in the year-long group show DiaporaArt: Strategy and Seduction by Canadian Artists from Culturally Diverse Communities at Rideau Hall. Abdi was a 2010 artist-in-resident at the McColl Centre for Visual Arts in Charlotte North Carolina. Most recently in 2012, he was a fellow at The Interdisciplinary Center for Culture and Creativity (ICCC) at the University of Saskatchewan.

STORM JANSE VAN RENSBURG

Storm Janse van Rensburg (b. 1972) is an independent South African curator currently based in Berlin. He was previously senior curator at Goodman Gallery Cape Town (2007 – 2011) and curator of the KwaZulu Natal Society of Arts (KZNSA), Durban (2000 – 2006). He was a founding member of the Visual Arts Network of South Africa (VANSA), and facilitated and coordinated the first VANSA Curator’s Workshop, Robben Island (2006). Curated group exhibitions include New Painting a national traveling exhibition at the KZNSA, University of South Africa Gallery and the Johannesburg Art Gallery (2006) and Nation State (co-curator, 2009), The Marks We Make (2009), and EAT ME! (2011) amongst others for Goodman Gallery South Africa.

Curated solo exhibitions include Beau Diable by James Webb for the National Arts Festival (2007) and Wonderland, the Standard Bank Young Artist exhibition by Nontsikelelo Veleko (2008). He curated the first South African solo exhibition by Hank Willis Thomas, All Things Being Equal (2010) and the first exhibition focused on the portraiture of David Goldblatt,  Portraits at Goodman Gallery Cape Town (2011).

Since his relocation to Berlin in 2012 he has been working closely with the artist Abrie Fourie as project curator for Oblique, which has been presented at Haus der Kulturen der Welt, Berlin, Germany; the Johannesburg Art Gallery, South Africa; Iwalewahaus, University of Bayreuth, Germany, SMAC Gallery Cape Town (2012 – 2013) and Savannah College of Art and Design, Savannah (2013) and Atlanta (2014).

He curated the group exhibition The Beautyful Ones at Nolan Judin, Berlin (2013) and co-curated with Nadine Siegert the two person exhibition GhostBusters II with Delio Jasse and kara lynch at SAVVY Contemporary, Berlin (2013). Most recently he curated A temporary admission by Bridget Baker for the National Arts Festival, Grahamstown South Africa (2014). He has edited a number of exhibition catalogues and has written for African Arts journal, Art South Africa and Canvas magazines amongst others. He is a Fellow of the Academy for Advanced African Studies, University of Bayreuth, Germany, and co-curator Roundtables for the year long research and exhibition project Giving Contours to Shadows, an initiative by SAVVY Contemporary in association with Neuer Berliner, Kunstverein.

ATO MALINDA

Ato Malinda lives and works in Rotterdam, The Netherlands. She has a Masters of Fine Art (MFA) from Transart Institute, New York and is a PhD candidate at Leiden University and the Royal Academy of Art in The Hague. She works in the mediums of performance, drawing, painting, installation and video, as well as has a growing interest in object-making. Her previous work has focused on Afrocentricity based in a postcolonial context. Within this context, Malinda has focused on the hybrid nature of African identity, contesting notions of authenticity. Through her research, Malinda has discovered numerous histories of intermingling of Africans through colonialism, but also trade, with other cultures. In addition, Malinda focuses on ontology of the female experience pertaining to Africa, examining gender and ideologies surrounding the history and current state of gender and sexuality in Africa. She has exhibited at Neue Gesellschaft für Bildende Kunst (NGBK) in Berlin (2011), Museum für Moderne Kunst Frankfurt am Main (2014), the National Museum of African Art, Smithsonian Institution (2015), Salon Urbain de Douala in Cameroon (2010) and the Karen Blixen Museum in Copenhagen (2010).

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Selected Solo Exhibitions

2013 GAMES, Savvy Contemporary, Berlin

2011 Incommensurable Identities, im Rahmen von IMAGINE – towards an ecoaesthetic, The Aarhus Art Building, Aarhus

2009 Dans Mon Brun, Doual’art, Douala

2009 Solo exhibition at Goethe Institute Nairobi: Looking at Art; Looking at Africa; Looking at Art, Prison Sex II.

Selected Group Exhibitions

2012 Untitled January 2012, Roots Contemporary, Brüssel

2011 the Urban Cultures of Global Prayers, Neue Gesellschaft für Bildende Kunst (NGBK), Berlin

2011 One Minutes Africa, at Townhouse Gallery, Cairo

2011 FOCUS 11, Contemporary Art Africa, Art 42 Basel

2011 Fertile, South London Gallery, CONTEMPORARY AFRICA ON SCREEN, London

2011 Kaddou Diggen, La Paroles aux Femmes, Women Speak Out, Galerie Le Manège, Dakar

2010 Salon Urbain de Douala, SUD2010: Douala Triennial, Douala

2010 II Trienal Luanda 2010. Luanda

2010 My World IMAGES, Contemporary Arts Festival 2010, Copenhagen, Denmark. Rebuilding, Remembering & Renewing, Karen Blixen Museum, Rungstedlund