Established in 2003, we are one of the oldest companies working in the conflict and security sector. In the 15 years since our first assignments in the Niger Delta, Russia and the North Caucasus region we have developed excellent technical capacities and extensive field and political networks in over 50 countries, stretching across Europe, Central Asia, the Middle East and North Africa, Sub-Saharan Africa, Central and Latin America, and Asia Pacific.
7 non-EU conflict-affected or fragile countries, including Ukraine
11 North African and Middle Eastern countries, including Tunisia, Egypt, Libya, Iraq, Syria and Yemen
11 Asian countries, including Afghanistan, Pakistan, Myanmar, India, and Indonesia
16 Sub-Saharan countries, including Nigeria, Somalia, DR Congo, Zimbabwe, and South Sudan
Central and Latin America
5 Central and Latin American countries, including Colombia, Brazil and Nicaragua
Since our establishment in 2003, we have set down strong roots in the countries where we work and branched out to broaden our regional perspectives and consolidate our areas of expertise.
We now maintain a diverse and high-calibre team of 50 Advisors, Partners and Associates. Between us, we have working fluency in over 30 languages.
We develop evidenced and creative solutions that address the task at hand and client requirements. As a group we encourage our experts to seek out innovative approaches, take considered risks, and influence wider thinking and practice.
Our experts have significant experience in the regions we operate in and have played leading roles in field delivery. We are hands-on, unpretentious and credible with key players on the ground.
As a network of high-calibre experts and with company low overheads, we are able to configure the right team for client requirements and do so at competitive rates.
We are from, live and work in the regions we cover, and we invest time and resources to cultivate strategic networks. This enables us to gauge and ground-truth social and political dynamics, appreciate cultural sensitivities, and access hard-to-reach stakeholders.
We maintain an institutional relationship with Artraker, an NGO co-founded by INCAS Chairman, David Nyheim, which supports visual art that shapes how people and organizations understand, engage, and respond to violence and awards extraordinary artistic contributions to peace around the world.
Our Group has funded Artraker since the very first exhibition at Goldsmith’s University in 2013 and more recently the 2017 Awards given by the President of Malta at St James Cavalier in Valletta.
We are very pleased to feature the work of several Artraker artists on this website. Each image tells a different and remarkable story from countries where we work. We invite you to read more about each image and the artist.
A Dictionary of the Revolution is an experiment in multi-vocal storytelling. Hanafi created a box of 160 words in Egyptian colloquial that were frequently used between 2011-2013 in public political conversation. She then held conversations: choosing cards, people talked about what the words meant to them, who they heard using them, and how meanings had changed since the uprising. The digital publication of the project contains 125 imagined dialogues woven from transcription of this speech.
Hassani uses graffiti and 3D street art painting to demonstrate the power of art for all people. The subject of the artworks is an Afghan woman with and without the burqa. Since everybody forgets women in society, painting women in public ways can encourage other people to see women in society differently. Freedom is not to remove the burqa, it is to have peace.
The orphan is wrapped in the traditional Pagne fabric, which is representative of the culture, power, heritage and fashion of central Africa. The irony of the Pagne is that it was imposed by colonial rule on locals to ensure that they did not adopt European dress. After decolonization, the Congolese adopted it for their own cultural identity. Today, the major distributor of Pagne is Belgium and the cheaper, mass-produced versions come from China. No Pagnes are actually produced in central Africa. DRC imports $25 million-worth of textiles a year.
We Are The Future
From Kabul to Kirkuk through the mountains of Pakistan, Iraq, and Colombia, Luisset seeks to raise questions about the representation of conflict and how we perceive it. In Theatre of War, the artist stages deliberately very mannered scenes to betray the process and question the theatricalization of the image of conflict. We are here with real fighters, in a real war zone, and yet, we are in a staged reality.
Theatre of War