Jury 2022

Fadzai Veronica Muchemwa ist Schriftstellerin und Kuratorin. Ihr Forschungsinteresse gilt den Begriffen der Fürsorge in der künstlerischen Praxis und Fragen der sozialen Gerechtigkeit.

Derzeit arbeitet sie an zwei laufenden Projekten: Harare/Insomnia und The Oxymoronic Tea Party. Sie war Mitkuratorin von Moulding a Nation (2018-2019), Dis(colour)ed Margins (2017), Culture in Communities (2016) und Jazzified: Expressions of Protest (2016).

Darüber hinaus kuratierte sie The Unseen: Creatures of Myth and Legend, im Lusaka National Museum im Jahr 2018 und If you think about it, just midding in the meantime oder Progression für die KKNK virtual Gallery im Jahr 2021. Sie produzierte die Publikation Curating Johannesburg: rest.less, under siege/in transition während ihres Aufenthalts in der Bag Factory im Jahr 2019. Kürzlich kuratierte sie die nationale Beteiligung Simbabwes an der 59. La Biennale di Venezia. Muchemwa ist Stipendiatin des ITP am British Museum, Master-Forscherin im Programm Arts of Africa and the Global Souths an der Rhodes University und Mitarbeiterin des ICI. Sie ist ein Gründungsmitglied des Practice Theory Collective.

Oyindamola Fakeye is an Experiential Art Curator and Learning & Participation Producer working to facilitate contemporary art workshops, events and exhibitions. She is the current Executive & Artistic Director of the Centre for Contemporary Art, Lagos (CCA, Lagos), where she previously co-founded the Video Art Network Lagos, alongside artist Jude Anogwih and Emeka Ogboh (2009).

Oyindamola is a Company Director for Res Artis the worldwide professional body for artists residencies, she sits on the board of Arts in Medicine Projects and is the Director of Special Projects for the Arts in Medicine Fellowship training Art and healthcare practitioners on best practices within the field.

In addition, she curated The Unseen: Creatures of Myth and Legend, at the Lusaka National Museum in 2018 and If you think about it, just midding in the meantime or Progression for KKNK virtual Gallery for 2021. She produced the publication curating Johannesburg: rest.less, under siege/in transition during her visit at the Bag Factory in 2019. She recently curated Zimbabwe’s National Participation at the 59th La Biennale di Venezia. Muchemwa is a fellow of the ITP at the British Museum, a Master’s researcher with the Arts of Africa and the Global Souths program at Rhodes University and an ICI collaborator. She is a founding member of the Practice Theory Collective.

Bernard Akoi-Jackson (PhD), is a Ghanaian artist, writer, curator and educator who lives and works from Tema/Accra/Kumasi. He interrogates hybrid post-colonial identities, through ephemeral make-shift memorials and performative rituals of the mundane. His interests cut across forms and media. Using critical absurdity, he becomes the proverbial jester or Eṣu moving between genres.

His multi-disciplinary, audience implicating installations and performative “pseudo-rituals”, have featured in exhibitions like An Age of Our Own Making (Reflection II), Roskilde, Denmark, (2016); Silence Between The Lines, Kumasi, Ghana (2015), Material Effects, East Lansing, USA (2015), WATA don PASS: Looking West, Lagos and Malmö, Sweden (2015) and Time, Trade and Travel, Amsterdam and Accra, Ghana (2012 and 2013).

He has co-curated exhibitions with blaxTARLINES, most prominent being The GOWN must go to TOWN (2015), Cornfields in Accra, (2016) and Orderly Disorderly, (2017). Akoi-Jackson holds a PhD in Painting and Sculpture from the College of Art and Built Environment, (KNUST), Kumasi, where he also lectures with particular interest in disruption and the revolutionary potential in contemporary art practice.

He is drawn to the politics of such vestiges of colonialist encounter as the overtly bureaucratic rituals that lead to absurdist stalemate in society. By means of paintings, performances, videos, murals, installations and texts, he creates immersive, absurdist interventions and situations that are both atmospherically dense, yet permeable to critical audience reactions.

Within his works a plurality of the senses are engaged, initiating processes of action, reflection with a penchant for the disruptive. He curated the inaugural exhibition: “Galle Winston Kofi Dawson: In Pursuit of something 'Beautiful', perhaps…” at the Savannah Centre for Contemporary Art (SCCA), Tamale, Ghana. He co-curated the inaugural Stellenbosch Triennale in Stellenbosch, South Africa.

Akoi-Jackson is a member of the Ghanaian Artist Collective Exit Frame. He also leads the performative lab, eX-para-Mental.