About the Author
He is the founder and artistic director of Invisible Borders: The Trans-African Project, and his work has been presented internationally, including at the Bamako Encounters, Lagos, Cape Town, Berlin, Brussels, New York, Paris and the 56th Venice Biennale. Borderbeing extends this wider practice as a literary and philosophical space where his long-standing enquiries into movement, difference and relation continue to unfold.
About Borderbeing
Borderbeing is an evolving enquiry into being, relation and movement. It is a living archive and a space of enactment: a place where essays, poetry, conversations, images, notes and public encounters come into relation with one another. It emerges from a sustained practice of questioning, not as a quest for final answers, but as a way of moving through the world.
The Igbo say, “Onye ajụjụ anaghỏ efu ụzọ” — one who questions does not miss their way. Borderbeing takes this as an orientation device.
At its foundation, Borderbeing holds over fifty selected essays by Emeka Okereke, gathered and maintained on the platform since 2008. The visitor is therefore invited to time-travel through the archive, even as the archive continues to evolve. These writings form a body of thought shaped by what may be called the aesthetics of the iterative: a practice in which ideas return, deepen, mutate and become newly visible through contact, repetition and the everyday rhythm of life.
In 2026, Borderbeing evolves from an archive of essays into a transdisciplinary literary platform for the enactment and dissemination of a living enquiry. It gathers writing, reflections on image-making, conversations, poetry, public events, lectures, readings and other forms of encounter into one active field. The platform grows out of Emeka Okereke’s wider transdisciplinary practice across photography, film, writing, podcasting, teaching, organising and philosophical reflection — a practice concerned with the phenomenon of relation and its psychosomatic and psychospiritual emanations.
Borderbeing is therefore not simply a publication, nor only an archive of completed works. It is a field in which thought remains active. An essay may speak to a photograph; a conversation may extend a poem; a note may become the beginning of a larger enquiry; an event may become an enactment of an idea already moving through the archive. Yet they are all merely “objects of relation”. What is observed in the process is essentially movement.
The name Borderbeing points to this condition. It suggests the human being not as an object, isolated, reducible to the impositions of scale and fixed definitions, but as one formed at the edge of encounter: between places, histories, bodies, languages, memories, worlds.
Borderbeing invites the reader into an unfolding practice of thought — one grounded in presence, care and movement.