[1] It is structured around a series of residencies for artists from across Africa and the African diaspora working in numerous media and styles, a wide range of exhibitions, installations, performances, screenings, Internet link-ups, publications, round-table discussions and workshops.

[2] Through its multiple projects, SPARCK aims to foster cross-disciplinary and trans-local partnerships and endeavours, to promote dialogue and exchange that transcends the boundaries of age, social class, gender, as well as spatial, professional and ethnic difference.

Thematically and formally, the work focused on notions of deal-making: how things are made and un-made, done and undone and how economies of violence (monetary, political, social) are developed and implemented through such processes.

Using various materials, the project sought to call attention to the bombardment of electronic technology overtaking the world and, more specifically, the devastation caused in the Congo by the West's mad rush for coltan.

The project examines the impact of globalised capitalism on African art, in two parts: an ephemeral architectural space made of travel bars, and a photo exhibition of portraits of artists from the "developing world."

In the photographs, the artists wear sunglasses whose lenses have been covered by the logos of major museums, art fairs, galleries, or auction houses, intended to suggest, among other things, admiration, envy, and alienation.

[10] Artists Mega Mingiedi and Androa Mindre held one-month residencies in Dakar, Senegal from December 2012 to January 2013 to explore issues of urban public and common space, body politics and theatricality in the neighbourhood of Ouakam.

[11] In early 2009, SPARCK's directors, Kadiatou Diallo and Dominique Malaquais, were invited to participate in Transmediale, an international festival of contemporary art and digital culture held in Germany.

The session was a live, online collaboration between Mowoso and SPARCK, linking Kinshasa and Berlin in real time with discussants on four continents, around an experimental performance and a debate about a highly contentious subject: the trade in Coltan, a metal essential to the production of cell phones, which has had a powerful and violent impact on vast swaths of Central and Eastern Africa.