Originally from Columbus, Ohio, Linda Goode Bryant came to New York City in 1972 to attend graduate school and become involved in the arts. After working as Director of Education at the Studio Museum in Harlem, she opened Just Above Midtown, Inc. (JAM) in 1974. JAM was the first gallery to show work by African-American and other artists of color in a major gallery district. After closing the gallery in 1986, she began making experimental and documentary films in the mid 1990s.

While filming a project on voting in America, she started Active Citizen Project (ACP) to provide ways and opportunities for non-voters and disenfranchised individuals to be more active and effective in having their social, economic, environmental, and cultural priorities addressed by community, local and national leaders. In 2009, ACP’s work shifted from elections to Project EATS (PE), a network of community-based small-plot production farms and programs located in communities throughout New York City where many individuals and families live on low incomes. PE has built and operated 19 farms, on approximately 5 acres of land located throughout New York City’s five boroughs.

Linda is also a Guggenheim Fellow and Peabody Award recipient.

Marielle Ingram is a writer based in Brooklyn. She has contributed to exhibitions and programs at the Art Institute of Chicago, Gallery 400 in Chicago, Washington Park Arts Incubator, MoMA PS1, and the Museum of Modern Art, New York. Her writing and film projects have appeared in art publications such as Real Life, Artforum, Take Shape X-TRA and MIT Thresholds. She holds a B.A. in Philosophy from the University of Chicago.

Gudskul (Contemporary Art Collective and Ecosystem Studies) is a public learning space established in 2015 by three Jakarta-based art collectives: ruangrupa, Serrum, and Grafis Huru Hara (GHH). After being immersed within the realm of contemporary art for nearly twenty years, we formed an ecosystem to practice and expand the understanding of collective values—such as equality, sharing, solidarity, friendship, and togetherness.

Arthur Jafa (b. 1960, Tupelo, Mississippi) is an artist, filmmaker and cinematographer. Across three decades, Jafa has developed a dynamic practice comprising films, artefacts and happenings that reference and question the universal and specific articulations of Black being. Underscoring the many facets of Jafa’s practice is a recurring question: how can visual media, such as objects, static and moving images, transmit the equivalent “power, beauty and alienation” embedded within forms of Black music in US culture?

Jafa’s films have garnered acclaim at the Los Angeles, New York and Black Star Film Festivals and his artwork is represented in celebrated collections worldwide including The Metropolitan Museum of Art, The Museum of Modern Art, The Tate, The San Francisco Museum of Modern Art, The Studio Museum in Harlem, The High Museum Atlanta, The Dallas Museum of Art, The Museum of Contemporary Art in Chicago, Stedelijk, Luma Foundation, The Perez Art Museum Miami, Los Angeles Museum of Contemporary Art, The Hirshhorn Museum and Sculpture Garden; and the Smithsonian American Art Museum, among others.

Jafa has recent and forthcoming solo exhibitions of his work at the Pérez Art Museum Miami; the Berkeley Art Museum and Pacific Film Archives; Galerie Rudolfinum, Prague; Moderna Museet, Stockholm; and the Louisiana Museum of Art, Denmark. In 2019, he received the Golden Lion for the Best Participant of the 58th Venice Biennale “May You Live in Interesting Times.”

Louis Massiah is a documentary filmmaker and screenwriter. His award winning films include The Bombing of Osage Avenue, W.E.B. Du Bois: A Biography in Four Voices, Cecil B. Moore, two films for the landmark PBS series, Eyes on the Prize II, which have been broadcast on television and screened internationally. Commissions include the five-channel video installation The President’s House, a collaboration with Lorene Cary. His work has earned him numerous awards, including a MacArthur Foundation “genius” fellowship, two Rockefeller-Tribeca and a Pew fellowship, a Peabody, and two first place awards from the Black Filmmakers Hall of Fame. He is also the recipient of several Emmy nominations, including for his writing of Power! part of the Eye on the Prize series. In 2019 he was chosen to represent the United States, exhibiting 44 short films for the inauguration of the Musée des Civilisations Noires in Dakar. Massiah founded and directs the Scribe Video Center in Philadelphia.

Dr. Bonaventure Soh Bejeng Ndikung (born in 1977 in Yaoundé, Cameroon) is an independent curator, author and biotechnologist. He is founder and artistic director of SAVVY Contemporary in Berlin and is the artistic director of Sonsbeek20–24, a quadrennial contemporary art exhibition in Arnhem, the Netherlands. He is artistic director of the 13th Bamako Encounters 2022, a biennale for African photography in Mali. Ndikung was the curator-at-large for Adam Szymczyk’s Documenta 14 in Athens, Greece and Kassel, Germany in 2017; a guest curator of the Dak’Art biennale in Dakar, Senegal in 2018; as well as artistic director of the 12th Bamako Encounters in 2019. Together with the Miracle Workers Collective, he curated the Finland Pavilion at the Venice Biennale in 2019. He was a recipient of the first OCAD University International Curators Residency fellowship in Toronto in 2020 and is currently a professor in the Spatial Strategies MA program at the Weissensee Academy of Art in Berlin. From 2023 he will take on the role of Director at Haus der Kulturen der Welt (HKW) in Berlin.

Bryant Wells is an independent designer and developer based in New York City. Bryant is interested in the intersection of cultural production and design for (and of) networks. Current and recent collaborators and clients include The Shed, Kunsthall Stavanger, Practicing Refusal Collective, Yale School of Art, Yale School of Architecture, and Art Center College of Design. Bryant has worked as an adjunct faculty teaching interaction design and development at The New School, holds a B.S. in Communication Design from University of Cincinnati and an M.F.A. in Graphic Design from Yale School of Art.

Sarah Workneh has worked in alternative education spaces for artists for over 20 years. She has served as Co-Director of the Skowhegan School of Painting & Sculpture since 2010. Primarily focused on the educational program, and off-season programming with Alumni, Sarah leads all efforts to support artists in the expansion of their practices. Understanding the holistic nature of the program, Sarah oversees the admissions process, facilities usage and expansion under Skowhegan’s Master Plan, as well as the educational daily life on campus. Sarah has lectured widely as a Visiting Artist/Critic at schools & programs around the US and has served as an advisor to both academic and residency programs, particularly around issues of equity. Sarah has published a variety of texts — most recently an essay on participatory education and a catalog essay on radical education published by the New Museum. She serves on the boards of Colby College Museum of Art, the Black Lunch Table, RAIR in Philadelphia, Buxton School in Williamstown, MA and is a member of the Lake Wesserunsett Association Conservation Committee in Maine. In 2020, she partnered with Linda Goode Bryant & Project Eats to convert one of the organization’s farms to a food pantry in Brownsville, NYC. Sarah has a BA in Linguistics & Russian and pursued graduate work focused on Social Movement Theory, Political Economy, & Liberation Theology.

Rehema Chachage is a visual artist whose practice can be viewed as a performative archive which untraditionally collects stories, rituals and other oral traditions in different media (performance, photography, video, text as well as physical installations); which traces hi/stories directly tied to (and connecting with) her matrilineage; and, which utilizes
methodologies which are both embodied and instinctual, employing written texts, oral and aural stories, melodies, and relics from several re-enacted/performed rituals as source of research.

She has a BA in Fine Art (2009) from Michaelis School of Fine Art, University of Cape Town; and an MA Contemporary Art Theory (2018) from Goldsmiths, University of London. Currently she is doing her PhD in practice with the Academy of Fine Art in Vienna with her research focusing on the archive and its methodologies, specifically observing ways of doing the archive differently through one’s practice as an artist.

Ibrahim Cissé’s artistic practice is grounded in his early yet expanding musings with poetry and prose. Embracing this stance and outlook to decipher the world, to move in the cracks of it, Cissé’s work accounts for the points of conflicts between the material, ethereal and transient nature of the human experience. Cissé identifies with the form of documentary to recall or co-create narratives of his time and surroundings, unveiling the universal traits, virtues and failures that orchestrates and bond the will of all living matters.

His trial and errors research based process oscillates between visual art, writing and performance, borrowing from fiction to enhance the social and historical framings of his encounters.

Besides, Ibrahim works on various art-related projects as a freelance editor and educator between London, Amsterdam, Dakar and Bakoteh.

Dale Lawrenceʼs practice is motivated by an understanding of art as a fundamental tool of human collective communication and as such, inseparable from other facets of life and industry. Lawrence seeks moments of novelty in repetitive behaviours: in the mechanical actions of craftsmanship; in the daily rituals of domestic life; in familiar national histories; in the habits of industry of art itself. In this, he investigates the complexities surrounding notions of value, finality, intent, labour, productivity, and authenticity.

Lawrenceʼs practice combines various media such as print, performance, installation and text, frequently blurring lines between them. In creating new works by tearing up others that have gone unsold or recreating Kounellisʼ Tragedia Civile (1975) from chip packets, Lawrenceʼs interventions seek to locate the value—and origin—of both an artwork and its maker.

Born in the south of France and based in Paris, Baptiste Manet is architect specialising in the field of contemporary heritage founder of Sapiens Architects Studio, activist teacher, founder and director of publication of the independent publishing house Cosa Mentale.

Since the beginning of his formation, he has always tried to maintain, in parallel with the exercise of his profession as an architect, a reflective activity engaged in writing or setting up various projects around architectural criticism and the question of its transmission and diffusion.

He founded the magazine Cosa Mentale-Carnets d’Architecture et de Résistance in 2009, which became Editions Cosa Mentale in 2015. Cosa Mentale is a collective European editorial project, independent and militant, which promotes an approach to architecture as a discipline of reflection and thought that can be read and discussed as much as it is designed and built. It is a space for sharing and diffusing ideas and knowledge through literary and pictorial creation.

Since 2009, Éditions Cosa Mentale tries to bring a resistant and creative voice. It produces magazines, books, conferences and exhibitions on a voluntary basis, all of which are fragments of a collective construction that is transversal to reflection.

In 2018, after six years of experience as project manager at the Pierre Louis Faloci Architecture and Landscape Studio, Grand Prix d’architecture 2019, Baptiste Manet created the Sapiens Architecture Studio with his partner Yann Legouis. Sapiens enthusiastically takes up the dual economic and ecological challenge of our generation: to do better and with less. Sapiens attempts to question the multiple potentialities of Architecture and to reformulate the question of production. Production from the material, from experimentation, from manufacturing, from construction. Production resulting from criticism, thought, reflection and exchange.

In 2019, Baptiste Manet wins the European Best Architects 19 Award.

The studio Sapiens Architects is designated winner in 2020 of the ALBUMS DES JEUNES ARCHITECTES ET PAYSAGISTES – AJAP 2020. Awarded by the French Ministry of Culture, the Cité de l’Architecture et du Patrimoine and the Institut of France, the competition recognizes 15 young professionals who distinguish themselves by their design and innovation skills, the care taken in the realization of their projects and their commitment to societal issues.

Moad Musbahi is an artist and curator based between Tripoli and Tunis. He is currently co-curating with the Harun Farocki Institut the research and exhibition project, ‘Teaching Travel’, investigating migration as a method for cultural production and political expression, focusing on the pedagogical practices and forms of knowledge that movement engenders.

Recent work has been presented in Project Arts Centre, Dublin (2021); Protocinema, New York (2021); Sonic Acts, Amsterdam (2021); Jameel Arts Center, Dubai (2020); Beirut Art Center, Beirut (2019) among others. His writing has appeared in The White Review (2021), Kayfa-Ta Press (2020), AA Files (2019), The Funambulist (2018), among others. He is a recipient of the Goethe Visual Arts Fund (2021), the Sharjah Art Foundation Production Programme grant (2020) and recently a resident at Gasworks, London (2021).

In the broadest and truest sense, Matthias’ research is best described as a sustained engagement with Amiri Baraka’s liner notes for the album Live at Birdland (1964) by John Coltrane, with specific attention to Baraka’s refusal of regulatory logics that formulate beauty as inextricably linked to terror. His writing was most recently featured in Obsidian: Literature & Arts in the African Diaspora where he contributed an analysis of Cecil Taylor’s critical reception in Paris during the late 1960s. He has presented his research at a variety of academic conferences spanning the fields of Film Studies, Black Studies, Improvisation Studies, and Jazz Studies. Embracing constant preparation as a precondition for slipping with the music as it slips from our grasp, Matthias spends his days meditating on the distinction—or lack thereof—between montage and ensemble, while rigorously celebrating free jazz’s appeal to a different formulation of time, space and being all/together. He is a PhD student in Film & Moving Image Studies at Concordia University.

Dani Kyengo O’Neill (they/them) is a Kenyan-South African sound artist, composer, filmmaker and spatial artist. Their practice explores black sonic auralities, dialogues of riddim, movement and gendered histories in South Africa and its relationship to the diaspora, through filmmaking, sound installation, audio-visual scoring and experimental performance.

Their composition practices try to engage the listener in the movement of sound as an option for asking questions. Questions that ask us to listen or locate or parody or confront and carefully discern past-and-present-myths of our reality, narratives of displacement, critical fabulating and plural imaginings of home and belonging in the world, through sound and film.

They blend together theatre, film (the act of seeing) and space with composition, digital performance, improvisation and arrival, jazz, electronic music histories, space, assembly, gathering, memory through sonically curated and textured experiences in their installations and films.

They are based in South Africa, and are currently completing their MA at the Institute for Creative Arts at the University of Cape Town. Current projects include directing a short film for the BFI and ‘Liquid Geographies, Liquid Borders’ at the 17th International Architecture Exhibition – La Biennale di Venezia, How will we live together? curated by Hashim Sarkis. They’ve worked with composer, cellist and improviser Okkyung Lee and Argentinian composer Laura Andel.

Ana works with collaborative learning, cultural management, activism and free culture. Based in Colombia she has organised diverse projects including Radio Vallena, a collective radio station that traveled Colombia’s Pacific Coast to Panama City, sharing stories about migration and resistance. Territories, an Arts Collaboratory project based on radical learning and sharing. She is also part of the alternative communication research group Mutó la Radio (mapping of non-conventional radio practices). She is part of Arts Collaboratory, Arts Collaboratory (AC) is a translocal ecosystem consisting of 25 diverse organisations around the world focused on art practices, processes of social change, and working with broader communities beyond the field of art. For the last eight years Ana has been part of Más Arte Más Acción, a cultural space on the Pacific Coast of Colombia as project manager and director. Currently she is transitioning to work as an independent cultural manager and curator.

Aziz Sohail is an art curator, writer and researcher whose work is focused on building interdisciplinary connections and supporting new cultural and pedagogical infrastructures. Since 2020, with The Many Headed Hydra, he has been co-leading a language where yesterday are the same word. Kal, a trans*oceanic platform supporting practices enacting queer pasts/futures and decolonial ecologies. His current research is a meditation on the longue-duree intersections of sexuality and colonialism with migration, law and identity through the work of practitioners who navigate empire(s) and its afterlives.

Sohail has been part of residencies and workshops with The New Art Gallery Walsall, England (2015), Khoj, New Delhi (2018), the Nepal Picture Library (2019), and Maxim Gorki Theater, Germany (2019) and the ONE Archives, Los Angeles (2021-2022). His current practice is being supported by a fellowship from the Asian Cultural Council (2019-2022). He has previously worked with organizations such as the British Council and the Lahore Biennale Foundation to build new cultural initiatives and spaces in Pakistan. As a South Asia Fellow at Cornell University in 2017, he began a long term project building an archive of cultural and visual production in Karachi from the 1990s through today which led to an exhibition-symposium co-organised with Bani Abidi at the Sharjah Art Foundation (2019).

Sanaz Sohrabi (b.1988, Tehran) is a research-based artist and filmmaker, currently a doctoral candidate at the Center for Interdisciplinary Studies in Society and Culture at Concordia University, Montréal. Her doctoral artistic research project maps an unlikely geopolitical calendar of political affinities, competing and contradictory national projects wherein oil was both the agent of imperial power and the catalyst for anticolonial political projects, examining the ways in which oil was tasked to navigate the political task of nation-building on the one hand and transnational solidarity during the global decolonization on the other. Sohrabi’s work has been screened and exhibited internationally at the 50th International Film Festival Rotterdam, Iran Cinéma Vérité Festival (Winner of International Mid-length), IndieLisboa (Portugal) – Best Short Film Award, FicValdivia (Chile) – Special Jury Mention, Montréal International Documentary Festival, Mimesis Documentary Film Festival (Best Documentary Short), Ann Arbor Film Festival (Jury Award), Sheffield Doc/Fest (UK), SAVVY Contemporary, Centre Clark Montréal, and Kunstmuseum Bonn’s VIDEONALE 16 (Germany).

Sohrabi has been awarded numerous fellowships and residencies such as Skowhegan School of Painting and Sculpture, Forum Transregionale Studien at American University of Beirut, SOMA Summer School DF, México, Est-Nord-Est résidence d’artistes, and Vermont Studio Center. Her most recent essay titled “Ruminations on Petropublics Across Borders,” was published by Kunstlicht Magazine in Amsterdam, along with recent presentations at the Visible Evidence Conference in Frankfurt, and the Experiences of Oil Conference in Stavanger, Norway.

Chantal Vorobei Thieves is a multimedia artist who creates to both understand what is to be & to stay alive. She writes of spies & prophets, Y2K conspiracies & the relationship between abstraction, perception & interoception, using her body as a question mark meant to disturb our assumptions about what we say we know about what we are. Titles of her recent works include, Piano Lessons, Memory, Vein, A Portrait of the Artist as a Young Terrorist, Mulata She-male Gets it From All Sides, & Not One & Simple, or, What Would James Baldwin Do? She was resident at the Queer Materials Lab, Translab, The Performance Intensive, PAPA, and PAAFF. She is founding a church devoted to the worship & study of art called The Church of the Quarter-Closed Eyes.

Dulcie Abrahams Altass is a British curator and art historian who lives in Dakar, Senegal. She is Curator of Programs at RAW Material Company in Dakar where she has co-curated numerous exhibitions including Toutes les fautes qu’il y avait dans le monde, je les ai ramassées (2018), PO4 (Blackout) (2019) and The School of Mutants (2021). Recent discursive projects of note with RAW Material Company include Kan jaa ta; From the shadow into the light (Bamako Encounters Photography Biennale, 2019), Condition Report 4: Stepping out of line; Art collectives and translocal parallelism (Dhaka Art Summit, 2020) and the public programme of the Sex Ecologies exhibition (Kunsthall Trondheim, 2021). Her work in Senegal has included research on diverse topics ranging from the country’s performance art history to the nexus of hip hop and contemporary art in the country, and her writing has been published in SUNU Journal, Making & Breaking, ESPERANTO and Obieg. Dulcie has also been a member of artist’s collective Les Petites Pierres.

Appointed the executive director and chief curator at Zeitz MOCAA in Cape Town in March 2019, Cameroonian-born Koyo Kouoh has already made a significant impression, launching an ambitious program of symposia, summits, and special commissions, as well as overseeing Acts at the Crossroads, Otobong Nkanga’s first solo exhibition in South Africa. Previously, Kouoh was the artistic director of RAW Material Company, an exhibition space and center for critical education in Dakar that she founded in 2008.

As an independent curator, she has organized exhibitions internationally—including Body Talk: Feminism, Sexuality and the Body in the Work of Six African Women Artists, a touring exhibition including Zoulikha Bouabdellah, Marcia Kure, and Tracey Rose, amongst others that debuted at WIELS, Brussels in 2015; the 37th EVA International in Limerick in 2016; and Dig Where You Stand, an exploration of colonial histories as represented through objects from the collections of the Carnegie Museums of Pittsburgh within the context of the 57th Carnegie International in 2018. Kouoh also served on the curatorial teams for Documenta 12 and 13 (2007/12) and has written and published numerous critical works, including Breathing Out of School: The RAW Académie and Condition Report on Art History in Africa; both coedited with Ugochukwu-Smooth C. Nzewi et al.

Marie Hélène Pereira is Curator and Director of Programs at RAW Material Company where she has organized exhibitions and related discursive programs including the participation of RAW to “We face forward: Art from West Africa Today” Whitworth Art Gallery, Manchester; ICI Curatorial Hub at TEMP, New York; The 9th Shanghai Biennial, Shanghai; MARKER Art Dubai (2013).

She co-curated Scattered Seeds in Cali-Colombia (2015-2017) and curated Battling to normalize freedom at Clarkhouse Initiative in Mumbai, India (2017). Pereira was a co-curator of Canine Wisdom for the Barking Dog – The Dog Done Gone Deaf. Exploring The Sonic Cosmologies of Halim El-Dabh at the 13th edition of Dakar Biennale of Contemporary African art (2018).

In 2021 she was selected as one of the recipients of the ICI Curatorial Research Fellowship – a Marian Goodman Gallery initiative conceived by artist Steve McQueen in honor of the late Okwui Enwezor. Pereira is a member of Kader Attia’s curatorial team for Berlin Biennale 12. She has a strong interest in politics of identity and histories of migration.

This program is also made possible by the RAW Material Company team in Dakar; Marie Cissé, Mame Farma Fall, Tabara Korka Ndiaye, Marie Flavienne Sambou, Aminata Sané, Fatou Sané, Fatima Bintou Rassoul Sy and Kerry Etola Viderot.

Alex Klein is the Dorothy and Stephen R. Weber (CHE’60) Curator at ICA where she has organized numerous exhibitions since 2011, including Trevor Shimizu: Performance Artist (2020); Michelle Lopez: Ballast & Barricades (2019); Suki Seokyeong Kang: Black Mat Oriole (2018); Nathalie Du Pasquier: BIG OBJECTS NOT ALWAYS SILENT (2017) co-organized with the Kunsthalle Wien; Myths of the Marble (2017) co-organized with the Henie Onstad Kunstsenter, Norway (HOK), and Barbara Kasten: Stages (2015). Her collaborative research initiative, I is for Institute (2016 – present) invites individuals working within arts organizations to imagine other models as a way to enact structural change within arts institutions.

Kate Abercrombie, Registrar; Greg Biché, Preparator; Aaron Billheimer, Audio/Visual Technician; Gabrielle Bing, RAW Project Coordinator; Dustin Campbell, Preparator; Robert Chaney, Marc J. Leder Director of Curatorial Affairs; Elizabeth Chong, Visitor Services Coordinator; Scott Currie, Preparator; Lauren Downing, Executive Assistant to the Director; Emily Elliott, Preparator; Joy Feasley, Preparator; Shannon Freitas, Director of Finance and Operations; David Harper, Preparator; Linda Harris, Security Officer; Taja Jones, Associate Director of Development & Alumni Relations; Jes Kaminski, Business Administrator; Jill Katz, Director of Marketing & Communications; Olive Martin, Social Media Coordinator; Ali Mohsen, Digital Content Editor; Bruno Nouril, Director of Development; Derek Rigby, Audio/Visual Coordinator; Zoë Ryan, Daniel W. Dietrich, II Director; Paul Swenbeck, Chief Preparator & Building Administrator; Christina Yu, Associate Director of Grants and Planned Giving.