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Born from parents of Nigerian descent in the American south (b. 1984, Tuscaloosa, Alabama), Richmond, Virginia-based Amobi bridges the fields of contemporary art, electronic music, literature, film and fashion with experimental ease. Working across these platforms enhances the richness of each medium; indistinguishable, they dissolve together in unity.

Iyapo Repository (Salome Asega + Ayodamola Tanimowo Okunseinde) is a resource library that houses a collection of digital and physical artifacts created to affirm and project the future of people of African descent. The collection is managed and developed through a series of workshops where participants become archivists of a future they envision. The resource library holds workshops in which participants sketch out and rapid-prototype future artifacts in domains such as food, music, politics, and fashion. These sketches constitute a collection of manuscripts. The Repository then works to bring a select few of these artifacts to life. They become technologically functional while staying true to the participants’ original blueprints. Alongside the art and artifacts collection, Iyapo Repository also hosts manuscripts, films, and rare books.

Salome Asega is an artist and researcher based in Brooklyn, NY. Salome has participated in residencies and fellowships with Eyebeam, New Museum, The Laundromat Project, and Recess. She has exhibited at the Shanghai Biennale, MoMA, Carnegie Library, August Wilson Center, Knockdown Center, and more. She has also given presentations and lectures at Performa, EYEO, Brooklyn Museum, MIT Media Lab, NYU, and more. Salome is currently a Ford Foundation Technology Fellow landscaping new media artist and organization networks. She sits on the boards of National Performance Network and POWRPLNT, a youth digital art collaboratory. Salome received her MFA from Parsons at The New School in Design and Technology where she teaches classes on speculative design and participatory design methodologies.

Ayodamola Okunseinde is a Nigerian-American artist, cultural anthropologist, educator, and time-traveler living and working in New York. His works range from painting and speculative design to physically interactive works, wearable technology, and explorations of “Reclamation”. He has exhibited and presented at the 11th Shanghai Biennale, Tribeca Storyscapes, EYEO Festival, Brooklyn Museum, M.I.T. Beyond the Cradle, and Afrotectopia amongst others. Okunseinde holds an MFA in Design and Technology from Parsons School of Design where he serves as Assistant Professor of Interaction and Media Design.

Jonas Staal is a visual artist whose work deals with the relation between art, propaganda, and democracy. He is the founder of the artistic and political organization New World Summit (2012–ongoing) and the campaign New Unions (2016–ongoing). With BAK, basis voor actuele kunst, Utrecht, he co-founded the New World Academy (2013-16), with Florian Malzacher he is currently directing the utopian training camp Training for the Future (2018-ongoing) and with Laure Prouvost he is co-administrator of the Obscure Union (2017-ongoing). Recent exhibition-projects include Art of the Stateless State (Moderna Galerija, Ljubljana, 2015), After Europe (State of Concept, Athens, 2016), The Scottish-European Parliament (CCA, Glasgow, 2018) and Museum as Parliament (with the Democratic Federation of North Syria, Van Abbemuseum, Eindhoven, 2018-ongoing). His projects have been exhibited widely at venues such as the Stedelijk Museum in Amsterdam and Moderna Museet in Stockholm, as well as the 7th Berlin Biennial (2012), the 31st São Paulo Biennale (2014), The Oslo Architecture Triennale (2016) and the Warsaw Biennale (2019). Recent publications and catalogues include Nosso Lar, Brasília (Jap Sam Books, 2014), Stateless Democracy (With co-editors Dilar Dirik and Renée In der Maur, BAK, 2015), Steve Bannon: A Propaganda Retrospective (Het Nieuwe Instituut, 2018) and Propaganda Art in the 21st Century (The MIT Press, 2019). Staal completed his PhD research on propaganda art at the PhDArts program of Leiden University, the Netherlands.

Angela Dimitrakaki is Senior Lecturer in Contemporary Art History and Theory at the University of Edinburgh, where she also directs the MSc Modern and Contemporary Art. She has authored articles, essays and books on subjects such as globalisation, labour, gender, social reproduction, democracy, anti-fascism, and the art institution. She co-edited the special issue on ‘Anti-fascism/Art/Theory’ for Third Text in 2019 and ‘Social Reproduction and Art’ for the same journal in 2017. She is Corresponding Editor of Historical Materialism and a co-organiser of the Marxist feminist stream for the journal’s annual London conference. She is currently working on a book titled Feminism, Art, Capitalism.

Bureau de Crise is an open and collaborative research platform of artists, engineers, and psychologists (Geneva based) who map out privacy issues in our digital society governed by the opaque laws of surveillance capitalism. Our artistic practice aims to empower people’s knowledge in protecting its data from the dark mechanisms of both behavior commodification and data weaponization. BC seeks to cultivate a sense of autonomy based on aspirations for both individual and collective freedom in our digital realm. We operate with the need for critical debates about the effects of online surveillance and censorship techniques to take place inside of cultural, artistic and academic institutions, while also collaborating with critical communities working on strategies of resistance. To contribute to the urgent appeal of global surveillance resistance, Bureau de Crise organises open and free workshops, talks and other events in which we invite artists, activists, researchers, hackers, and NGOs to share knowledge, multiple perspectives and empowering practices. www.bureaudecrise.org

Mabe Bethônico is a Brazilian artist living between Geneva and Belo Horizonte. Her artistic work departs from historical accounts from Brazilian colonial history and archives. One of the main references in her works is the history of mining in Minas Gerais. She narrates the cultural, economical and political transformations caused by extractivist activities, using both documents and field documentation, focusing on destruction and workers’ life around the mines. She has dealt with contents from collections such as the Eisenbibliothek in Schlatt and the Museum of Ethnography in Geneva, the Imperial College in London, the geology museum of Medellin and with materials from Brazilian archives, such as photographs from the Mining sector of the Ministry of Labor and Employment. Mabe has a Masters and a PhD from the Royal College of Art, London and is a member of World of Matter.  www.mabebethonico.online

Kader Attia grew up in Paris and in Algeria, and lives today in Berlin, Paris and Algiers. Preceding his studies in Paris and Barcelona, he spent several years in Congo and in South America. Kader Attia’s intercultural and interdisciplinary approach of research explores the perspective societies have on their history, especially as regards experiences of deprivation and suppression, violence and loss, and their traces in collective memory. In 2016, Kader Attia founded La Colonie, a space in Paris providing an agora for discussing decolonialisation of knowledge, attitudes and practices to de-compartmentalise knowledge by a transcultural, transdisciplinary and transgenerational approach. Kader Attia’s comprehensive solo show “Roots also Grow in Concrete” is currently on display at MacVal in Vitry-sur-Seine, after recent solo-exhibitions at the 57th Venice Biennial; Musée Cantonal des Beaux Arts de Lausanne; Beirut Art Center; Whitechapel Gallery, London; KW Institute for Contemporary Art, Berlin; dOCUMENTA(13) in Kassel. In 2016, Kader Attia was awarded with the Marcel Duchamp Prize, followed in 2017 by the Prize of the Miró Foundation, Barcelona, and the Yanghyun Art Prize, Seoul.

Patricia Reed is an artist, writer and designer based in Berlin. Her work concerns the entanglements between epistemology, diagrammatics and modeling with politics, adapted to planetary scales of cohabitation. Recent writings have been published in e-flux Architecture; _AH Journal; Cold War Cold World (Urbanomic); Reinventing Horizons (Tranzitdisplay); Moneylab (Inst. of Networked Cultures); and The Neurotic Turn (Repeater Books). Reed is also part of the techno-feminist working group Laboria Cuboniks.

Çağla E. Aykaç currently teaches in the Departments of Geography and Gender studies of Geneva University and in the CCC Research Master at HEAD Geneva.  She holds a Phd in sociology and her research focuses on social movements, racisms and nationalism, Islam in Europe, and contemporary Turkey.