Dianna Jacksan (she/her), a Black trans woman from Brazil born in 1997, is an artist, dancer, and movement director currently based in Berlin. She holds the title of Legendary Overall Mother of The House of Manzamussa. Her artistic practice is influenced by urban dances, capoeira, and ballroom culture. She learned to transform experiences of shame, anger, and repulsion into joy and liberation. Her work critically examines the complexities of trans embodiment, the impacts of colonial erasure, and the intersections of racial and gender-based violence. Dianna is committed to using her personal experiences and artistic vision to nurture her research, striving to bring greater diversity to the dance community by highlighting the importance of Black trans femmes in narratives of healing.

Navild Acosta (he/him) is a Multi-award winning and internationally acclaimed multi-medium artist based in Berlin. His intersectional identities as a Transgender Non-Binary, disabled, queer, and Afro-Latino 1st Generation American Artist have continuously inspired his community based work. His performance work has debuted in Institutions nationally and abroad including The MoMA, Neuer Berliner Kunstverein & SAVVY among many. Navild has collaborated with notable artists such as Alicia Keys, Fannie Sosa, Andrea Geyer, Ralph Lemon & Ishmael Houston-Jones.

Jere Ikongio (no pronouns), a Berlin-based BiPOC artist using performance & immersive art to examine infrastructure, identity & marginalized histories, explores themes of socio-political landscapes of cities, through interdisciplinary installations that recontextualize public and personal archives. Jere is a Magnum Foundation fellow, a Digital Earth Fellow and a World Press Photo grantee. Jere has been selected for the Lagos-Berlin Artist/Curator residency 2021, the Dekoloniale Berlin Residency 2023 & Artist and Scientist in Residence 2025 at Ligetizentrum Hamburg and shown at the Douglas Hyde Gallery, Dublin, Odessa Biennale of Contemporary Art, ISEA Durban, Bienal do Mercosul, Porto Alegre, Savvy contemporary, Berlin, Hong-Gah Museum, Taiwan, 2nd Lagos Biennale and Museum Rietberg, Zurich and others.

Chōri Collective emerged as a collaborative platform for Asian artists to explore colonial histories and question binaries through the metaphor of cooking. It has evolved into a dynamic space where artists, performers, and non-human agents mix, contaminate, and ferment through experimental, interdisciplinary practices.
 “Chōri” (조리/料理) in Hanja means “cooking,” emphasizing process over product—unlike “Yōri” (요리/料理), which highlights the final dish. We view bodies as food, recipes as power structures, and seek to decompose and understand them as ferments. The kitchen disrupts sensory hierarchies, fostering collaborative gestures and performative happenings. Between white-cube and black-box, Chōri kneads, breaks, and ferments colonial structures.