Guest Facilitators

Dr. Bonaventure Soh Bejeng Ndikung
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 the artistic director of sonsbeek20–24, a quadrennial contemporary art exhibition in Arnhem, the Netherlands. Ndikung was the curator-at-large for Adam Szymczyk’s Documenta 14 in Athens, Greece and Kassel, Germany in 2017;
Dr. Bonaventure Soh Bejeng Ndikung
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 the artistic director of sonsbeek20–24, a quadrennial contemporary art exhibition in Arnhem, the Netherlands. 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; and the artistic director of the 12th Bamako Encounters photography biennial in Mali last year. Together with the Miracle Workers Collective, he curated the Finland Pavilion at the Venice Biennale in 2019 and was a guest professor in curatorial studies and sound art at the Städelschule in Frankfurt. He is currently a professor in the Spatial Strategies MA program at the Weissensee Academy of Art in Berlin and is also a recipient of the first OCAD University International Curators Residency fellowship in Toronto in 2020.

George Buma Ampratwum
George Buma Ampratwum is an Art Market Professional, Exhibition Maker, Historian and a Lecturer at the Kwame Nkrumah University of Science and Technology-Kumasi. He is a co-founder of blaxTARLINES KUMASI, an experimental incubator of Contemporary Art and a sharing community. blaxTARLINES KUMASI credited for spearheading the radical ruptures and resurgence of young Ghanaian Contemporary Artists on the world stage
George Buma Ampratwum
George Buma Ampratwum is an Art Market Professional, Exhibition Maker, Historian and a Lecturer at the Kwame Nkrumah University of Science and Technology-Kumasi. He is a co-founder of blaxTARLINES KUMASI, an experimental incubator of Contemporary Art and a sharing community. blaxTARLINES KUMASI credited for spearheading the radical ruptures and resurgence of young Ghanaian Contemporary Artists on the world stage
Alongside kąrî’kạchä seid’ ou (leader) and K.B. Kissiedu, he served as a Co-Artistic Director in the trilogy exhibitions; held at the Museum of science and technology-Accra; (“Orderly Disorderly” -2017, “Cornfields in Accra” -2016 “The Gown must go to Town” -2015).
He graduated in Kingston University-London with an MA in Arts Market (Art Economic Histories and Museum Studies-2007, and completed his first degree in Fine Art at KNUST-Kumasi, 2001, He is currently leading a research on Mapping Exhibition Histories and Cultures in Ghana since the 1960s

Ibrahim Mahama
Ibrahim Mahama (b.1987) in Tamale Ghana is an artist who lives and works in Accra, Kumasi and Tamale, Ghana. He started his practice through his interest in the history of materials and architecture. Failure and delay through specific forms always inform his choice of sites which he believes the works do not only occupy but are also occupied within the works/objects. Residues and points of chaos registered as marks within the forms he selects, they present us alternative perspectives of looking into the materials/Labour conditions of society.
Ibrahim Mahama
Ibrahim Mahama (b.1987) in Tamale Ghana is an artist who lives and works in Accra, Kumasi and Tamale, Ghana. He started his practice through his interest in the history of materials and architecture. Failure and delay through specific forms always inform his choice of sites which he believes the works do not only occupy but are also occupied within the works/objects. Residues and points of chaos registered as marks within the forms he selects, they present us alternative perspectives of looking into the materials/Labour conditions of society. Form is important. His work has included objects from jute sacks used to transport commodities to the point of decay and later sewn together with a network of collaborators under specific Labour conditions which is then superimposed on architecture. The politics of the hand and it’s parallel relation with architectural forms become a lot more evident. His work, a straight line through the carcass of history has also dealt with forms related to the second world war and bacteria life. His work has been included in the 56, 57 and 58 Venice Biennale, documenta 14 Athens and Kassel, Orderly Disorderly, Accra, Images An Age of Our Own Making, Denmark, the island is what the sea surrounds, Valletta 18, Malta and Spectacles Spectations, Kumasi Ghana and Labour of Many at the Norval Foundation, Cape Town, Parliament of Ghosts at the Whitworth Art Gallery in Manchester and currently at the 22nd Sydney Biennale. He finished a year residency with the DAAD in Berlin in 2018. In march 2019 he opened SCCA Tamale, which is an artist run space, built and dedicated to retrospectives of practices which emerged from the 20thcentury. His current interests are using specific architectural forms within history in the formation of spaces inspired by the potentialities and failures of modernity.

Fatric Bewong
Fatric Bewong is an artist and educator who lives and works in Accra. Her artistic practice spans from the studio to the classroom and to the field. Her inter-disciplinary body of works engages themes such as death, memory and healing from the sacred feminine and masculine energies perspective using shared stories. She explores the role humanity has played in these thematic areas using different cultural lenses through physical manipulation of discarded materials/objects.
Fatric Bewong
Fatric Bewong is an artist and educator who lives and works in Accra. Her artistic practice spans from the studio to the classroom and to the field. Her inter-disciplinary body of works engages themes such as death, memory and healing from the sacred feminine and masculine energies perspective using shared stories. She explores the role humanity has played in these thematic areas using different cultural lenses through physical manipulation of discarded materials/objects.
She is interested in how these explorations could lead to self-emancipation. Her artistic expressions manifests in the form of performative installations, painting, photography, video and sounds.
Bewong’s work has been featured at Nubuke Foundation, Accra, Dei Centre for Contemporary Art, Accra. Schlachthaus theatre, Bern, Switzerland, Koubek Center, Miami. Real Art Ways, Connecticut. Copenhagen Contemporary Art, Copenhagen. Kerry Parker Art Gallery, Adelaide, Australia and Joseloff Gallery, Connecticut.
In addition to her studio and teaching practice, she works as a freelance mentor to students who wants to develop their creative skills. Bewong is an alumna of ASIKO and GlobalCrit. She holds both a Bachelors and Masters Degree in Fine Art from the College of Art and Built Environment, Kwame Nkrumah University of Science and Technology and The Hartford Art School, University of Hartford, Connecticut respectively.

Selom Koffi Kudjie
Selom Koffi Kudjie is an artist and curator based in Kumasi and Tamale. His work is informed by drawing which is approached as a conceptual and relational medium, and also considered as a site to reflect on technological objects mediating our social relations. His project Something Played in 2017 focused on the human-machinic labour embodied in the production, distribution and consumption of images.
Selom Koffi Kudjie
Selom Koffi Kudjie is an artist and curator based in Kumasi and Tamale. His work is informed by drawing which is approached as a conceptual and relational medium, and also considered as a site to reflect on technological objects mediating our social relations. His project Something Played in 2017 focused on the human-machinic labour embodied in the production, distribution and consumption of images. Kudjie was a co-curator on the trilogy exhibitions organised by blaxTARLINES KUMASI at the Museum of Science and Technology in Accra (2015, 2016, 2017), and has co-curated if you love me… (2016) at the Kumasi Railway. He is the Artistic Director of Savannah Centre for Contemporary Art in Tamale, Ghana, and is presently a PhD student at the Kwame Nkrumah University of Science and Technology (KNUST).

Dr. Dorothy Akpene Amenuke
Dorothy Akpene Amenuke lives and works in Kumasi, Ghana. She is a lecturer in the department of Painting and Sculpture of the Kwame Nkrumah University of Science and Technology, Kumasi, Ghana and also runs her art studio from Kumasi. Amenuke has participated in various local and International art workshops and residencies.
Dr. Dorothy Akpene Amenuke
Dr. Dorothy Akpene Amenuke lives and works in Kumasi, Ghana. She is a lecturer in the department of Painting and Sculpture of the Kwame Nkrumah University of Science and Technology, Kumasi, Ghana and also runs her art studio from Kumasi. Amenuke has participated in various local and International art workshops and residencies. She directed the International Women Artists Workshop (IWAWO 2009) organized by Art In Aktion in collaboration with Goethe-Institut Accra and currently coordinates OFKOB Artists’ Residency in Ghana. Amenuke was the recipient of the 2012 Howard Kestenbaum/Vijay Paramsothy International Fellowship in Haystack Mountain School of crafts, USA, and her work, “How Far How Near” is in the collections of Stedelijk Museum Amsterdam (SMA). She has been manipulating different fabrics and fibres as metaphors to material processes. Employing techniques such as stitching, tying, gluing and dyeing among others, she explores themes that reference to a large extent, ‘space’ consumption and its inherent relationships.
Studio- Dot Art Studio, Kumasi
Website- www.dorothyamenuke.com

Nana Osei Kwadwo
Nana Osei Kwadwo (b. 1988) is a trained journalist, and a new media strategist based in Accra, Ghana. He holds a Bachelor of Arts degree in communication Studies from Ghana Institute of Journalism. He’s worked as a new media strategist and a communications consultant for UNICEF Ghana. For the past year, he’s been researching and documenting Ghana’s public transport system called the “Trotro” in a project titled This Trotro Life.
Nana Osei Kwadwo
Nana Osei Kwadwo (b. 1988) is a trained journalist, and a new media strategist based in Accra, Ghana. He holds a Bachelor of Arts degree in communication Studies from Ghana Institute of Journalism. He’s worked as a new media strategist and a communications consultant for UNICEF Ghana. For the past year, he’s been researching and documenting Ghana’s public transport system called the “Trotro” in a project titled This Trotro Life. The project has been featured in three art exhibitions in Accra, Copenhagen and Berlin. He’s currently working as a projects manager for 360 Projects Ghana. In 2016, Nana Osei worked as a projects manager and a curator of UNICEF Ghana’s “Let’s Talk Sh*t” project. In 2018, he curated Serge Attukwei Clottey’s exhibition “360 La.”

Shane Aslan Selzer
Shane Aslan Selzer

Chiara Figone
Chiara Figone is an editor, researcher and agitator based in Dakar and Berlin. She is the founder of Archive, a non-profit organization and publishing house whose work is rooted in a sustained scrutiny of the role of languages, visuality, and archives in the perpetration of the coloniality of knowledge. She is editor in chief of Archive Journal and editor of No order magazine. Since 2007 she is professor of Art Publishing at NABA – New Academy of Fine Arts in Milan.
Chiara Figone
Chiara Figone is an editor, researcher and agitator based in Dakar and Berlin. She is the founder of Archive, a non-profit organization and publishing house whose work is rooted in a sustained scrutiny of the role of languages, visuality, and archives in the perpetration of the coloniality of knowledge. She is editor in chief of Archive Journal and editor of No order magazine. Since 2007 she is professor of Art Publishing at NABA – New Academy of Fine Arts in Milan. Among others, she has collaborated in different forms with organizations such as Arsenal – Institute for Film and Video Art, Atelier Picha, Bamako Encounters, Dak’Art Biennale, DEPO, documenta 14, Cinenova, Casco, HKW – Haus der Kulturen der Welt, Kàddu Yaraax, Pune Biennale, Savvy Contemporary, The Showroom, Steirischer herbst, Tate Modern, and the Venice Biennale.

Renzo Martens
Renzo Martens (1973) studied political science and art. He gained international recognition with the films Episode I, and Episode III: Enjoy Poverty, which was televised in more than 23 countries. In 2012, Martens established Human Activities and its Gentrification Program in DR Congo. Together with the plantation workers of Cercle d’Art des Travailleurs de Plantation Congolaise (CATPC), he uses artistic critique to redress economic inequality — not symbolically, but in material terms. Consequently, they opened an OMA-designed White Cube on a former Unilever plantation in 2017. The work of the CATPC has been shown in a solo exhibition in ScultptureCenter New York, Mori Art in Tokyo, KW Berlin and in the 21st Biennale of Sydney.
Renzo Martens
Renzo Martens (1973) studied political science and art. He gained international recognition with the films Episode I, and Episode III: Enjoy Poverty, which was televised in more than 23 countries. In 2012, Martens established Human Activities and its Gentrification Program in DR Congo. Together with the plantation workers of Cercle d’Art des Travailleurs de Plantation Congolaise (CATPC), he uses artistic critique to redress economic inequality — not symbolically, but in material terms. Consequently, they opened an OMA-designed White Cube on a former Unilever plantation in 2017. The work of the CATPC has been shown in a solo exhibition in ScultptureCenter New York, Mori Art in Tokyo, KW Berlin and in the 21st Biennale of Sydney.
White Cube, Martens’ new feature-length documentary film, shows how Congolese plantation workers set e new precedent: they successfully co-opt the concept of the ‘white cube’ to buy back their land from international corporations. The film will premiere in Lusanga, Democratic Republic of Congo and at the IDFA film festival in Amsterdam, The Netherlands this November, before touring globally.

Baerbel Mueller
Baerbel Mueller is an architect and researcher based in Austria and Ghana. She is associate professor at the University of Applied Arts Vienna, and head of the [applied] Foreign Affairs lab at the Institute of Architecture, which investigates spatial and cultural phenomena in rural and urban Sub‐Saharan Africa and the Middle‐East. She is also founder of nav_s baerbel mueller [navigations in the field of architecture and urban research within diverse cultural contexts], with a focus on project located on the African continent since 2002.
Baerbel Mueller
Baerbel Mueller is an architect and researcher based in Austria and Ghana. She is associate professor at the University of Applied Arts Vienna, and head of the [applied] Foreign Affairs lab at the Institute of Architecture, which investigates spatial and cultural phenomena in rural and urban Sub‐Saharan Africa and the Middle‐East. She is also founder of nav_s baerbel mueller [navigations in the field of architecture and urban research within diverse cultural contexts], with a focus on project located on the African continent since 2002. Her work comprises architecture, urban research, installations, scenography, and curatorial projects, and has been widely exhibited; e.g. at the Venice Architecture Biennale in 2006, the Architekturmuseum Pinakothek Munich in 2013, and the Marrakech Biennial in 2016. She received various prizes and scholarships. In 2015, she was awarded with the Ars Docendi State Award for excellence in teaching by the Republic of Austria. In 2017, she edited [applied] Foreign Affairs ‐ investigating spatial phenomena in rural and urban Sub‐Saharan Africa (Birkhäuser), in 2020 she has been co-editing Structures of Displacement (Birkhäuser). End of 2019, she completed the widely publicized project Nubuke Extended, an arts gallery and campus in Accra, in collaboration with Juergen Strohmayer.
Renzo Martens
Renzo Martens (1973) studied political science and art. He gained international recognition with the films Episode I, and Episode III: Enjoy Poverty, which was televised in more than 23 countries. In 2012, Martens established Human Activities and its Gentrification Program in DR Congo. Together with the plantation workers of Cercle d’Art des Travailleurs de Plantation Congolaise (CATPC), he uses artistic critique to redress economic inequality — not symbolically, but in material terms. Consequently, they opened an OMA-designed White Cube on a former Unilever plantation in 2017. The work of the CATPC has been shown in a solo exhibition in ScultptureCenter New York, Mori Art in Tokyo, KW Berlin and in the 21st Biennale of Sydney.
White Cube, Martens’ new feature-length documentary film, shows how Congolese plantation workers set e new precedent: they successfully co-opt the concept of the ‘white cube’ to buy back their land from international corporations. The film will premiere in Lusanga, Democratic Republic of Congo and at the IDFA film festival in Amsterdam, The Netherlands this November, before touring globally.