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.

RUI ASSUBUJI

Both a photographer and researcher on visual histories of Mozambique, Rui Assubuji is currently working in European archives. His academic base is the University of the Western Cape, Bellville/South Africa.

Apart from doing many photographic exhibition and international projects; Assubuji most recently edited the Kronos edition on Mozambique: Nationalism and Historiography (with Paolo Israel and Drew Thompson). You can find the TOC here.

Within the Bayreuth Academy of Advanced African Studies, Rui Assubuji is involved in the research of sub-project 1, “Narratives of Future in History“.

ACHIM VON OPPEN

Prof. Dr. Achim von Oppen is professor of History with special emphasis on the History of Africa at the University of Bayreuth. Geographically focusing on Eastern and Central Africa, his research interests include social, cultural and religious history in rural and urban contexts, history of space and history of knowledge. He is first director of the Bayreuth Academy of Advanced African Studies as well as project leader of sub-project 1, “Narratives of Future in History“.

Among his publications are:

  1. (ed., with Silke Strickrodt): Religious biographies in Southern Africa. Thematic cluster in Journal of Southern African Studies, 2012
  1. (ed., with Ulrike Freitag): Translocality. The study of global processes from a southern perspective. (Studies in Global Social History, 4) Leiden: Brill
  1. (ed., with Beatrix Heintze), Angola on the Move / Angola em Movimento. Transport, Communications and History / Vias de Transporte, Communicação e História. Frankfurt/Main: Lembeck
  1. The painting and the pen. Approaches to Heinrich Barth and his African heritage” In: Mamadou Diawara, Paulo Fernando de Moraes Farias und Gerd Spittler (eds.), Heinrich Barth et l’Afrique. Köln: Rüdiger Köppe Verlag, pp. 105-132
  1. A place in the world. Markers of the local along the Upper Zambezi. In: Peter Probst and Gerd Spittler (eds.) Between Resistance and Expansion. Explorations of Local Vitality in Africa (Beiträge zur Afrikaforschung, 18), Münster: LIT Verlag, pp. 175-192
  1. The Village as Territory. Enclosing Locality in Northwest Zambia, 1950s to 1990s. In: Journal of African History 47 (2006), 1, pp. 57-75
  1. (with Ulrike Freitag) Translokalität als ein Zugang zur Geschichte globaler Verflechtungen. In: Matthias Middell and Rüdiger Hohls (eds.), Fachforum
  1. Terms of Trade and Terms of Trust. The history amd contexts of pre-colonial market production on the Upper Zambezi and Kasai (ca. 1790-1910). (Studien zur Afrikanischen Geschichte, Bd.6). Münster: LIT-Verlag

EMEKA ALAMS

Emeka Alams was born in Nigeria and his name has a strong meaning: God has done something wonderful
He has spent his life between western Africa, Europe and the States. He feels like a semi-homeless person, and can’t help but feel nostalgic about Africa from New York, city where he currently lives and works. The strong feeling of belonging to the continent fills his spirit and the one of Gold Coast Trading, the brand he has created.
Emeka sets a date in the story of his journey Live from the coast for when it all began, it’s 1444, the same year in which European colonists began the deportation of the first Africans. The first breaking point with a cultural world filled with suggestion that the African continent is trying hard to defend today and that those that have grown in the States or in Europe are loosing.

– See more at: http://www.vogue.it/en/vogue-black/the-black-blog/2011/04/gold-coast-trading#sthash.N3eK3Oxv.dpuf

picture: Amber French

RUTH SACKS

Ruth Sacks is a South African visual artist who lives and works in Johannesburg. Her 3rd artist book, Twenty Thousand Leagues Under Seas, was launched in 2013. Group exhibitions include: The Global Contemporary: Art Worlds after 1989 at ZKM |Centre for Art and Media (Germany, 2011), Performa 09, facilitated by the Museum for African Art New York (USA, 2009) and Luanda_Pop Checklist at the 52nd Venice Biennale (Italy, 2007). In 2013 and 2014, she was one of the organizers of Regions A-G, a program of artist interventions at the Johannesburg City Library. Recent solo shows have been: Open Endings at TTTT  in Ghent (Belgium, 2015), 2,000 Meters Above the Sea at the Center for Historical Reenactments in Johannesburg (SA, 2012) and Double-sided Accumulated at Extraspazio in Rome (Italy, 2010).

Sacks was born in Port Elizabeth, South Africa, in 1977. She is currently based at the Wits Institute for Social and Economic Research (WiSER), where she is a doctoral fellow. Together with Simon Gush, she facilitates the collaborative arts platform, the Parking Gallery, which was hosted by the Visual Arts Network of South Africa (VANSA) in 2012 and 2013. She is a laureate of the Higher Institute for Fine Art (HISK) in Ghent, Belgium.

Artist Statement

I tend to look at historical moments in architecture and the applied arts, particularly from the late 19th century, as a way of commenting on contemporary environments. I work with fictional narratives a lot; writing my own texts but also adapting existing material and familiar motifs to encourage new interpretations of dominant themes. I am interested in using installations and book works as a way of testing various design systems while at the same time developing new ones.