SummarySouth African photographer and visual activist is the recipient for the 2026 Hasselblad Award, the world’s top photo prizeMulholi is known for their bold portraits which speak to Black queer visibility and challenge historical representations of Black bodies in visual cultureThe artist will be the center focus of an upcoming exhibition at Hasselblad Center in Gothenburg, Sweden this fallZanele Muholi has become one of the most important artists working today. Striking a
South African photographer and visual activist is the recipient for the 2026 Hasselblad Award, the world’s top photo prize
Mulholi is known for their bold portraits which speak to Black queer visibility and challenge historical representations of Black bodies in visual culture
The artist will be the center focus of an upcoming exhibition at Hasselblad Center in Gothenburg, Sweden this fall
Zanele Muholi has become one of the most important artists working today. Striking and sublime, their images shape the arc of contemporary photography, making legible the complex codes of identity, belonging and being human. To honor this impact, the South African artist has been named this year’s Hasselblad Award winner, widely regarded as the most prestigious prize in photography.
Based between Johannesburg and Cape Town, Muholi was born in Umlazi during the apartheid. They studied advanced photography at the Market Photo Workshop in Johannesburg before earning an MFA in documentary media at Toronto’s Ryerson University. Over the past two decades, Muholi, represented by Yancey Richardson, has gained international recognition, with major solo presentations at institutions including Fotografiska Shanghai, Tate Modern, International Center of Photography and the Venice Biennale.
More than a photographer, Muholi’s work is one of an activist, using art as a tool to confront the erasure and discrimination of Black bodies in visual culture. Their work merges precision and political urgency to, as the Hasselblad Foundation describes, “articulate and celebrate the depth and dignity†of Black queer communities in South Africa and beyond.
“For years, my work has been about visibility and resistance," the artist wrote. “It has been about creating an archive so that no one can say, ‘We did not know.’ When this honour comes, I receive it on behalf of my community; those who have been erased, those who are still here, and those who are yet to see themselves reflected with dignity.â€
Landmark projects from the winner include Faces and Phases (2006–ongoing), one of the most significant series of its time, chronicles lesbian, transgender and gender-nonconforming communities as an act of resistance against systemic violence. Another, perhaps Muholi’s most recognized, series, Somnyama Ngonyama (Hail the Dark Lioness) (2018–ongoing), culls cues from fashion photography, classical portraiture, labor and ethnographic imagery in valiant self-portraits, evoking themes of dignity, performance and empowerment.
The Hasselblad Award carries a prize of SED 2,000,000 (approximately $217,790 USD), a gold medal and a Hasselblad camera. As part of the honor, Muholi will also be the subject of a major solo exhibition at the Hasselblad Center in Gothenburg, Sweden, opening October 10 and running through April 4, 2027.
Photo Credit: Asake/Instagram
From the moment he burst onto the scene with that signature “Ololade mi Asake†tag, Nigerian music has not been the same. And Spotify just made it official. Asake has been confirmed as the most streamed artist in Nigeria since the platform launched in 2021, with four of the top ten most streamed songs in the country belonging to him, including the number one track “Remember.†Four out of ten. L
From the moment he burst onto the scene with that signature “Ololade mi Asake†tag, Nigerian music has not been the same. And Spotify just made it official. Asake has been confirmed as the most streamed artist in Nigeria since the platform launched in 2021, with four of the top ten most streamed songs in the country belonging to him, including the number one track “Remember.†Four out of ten. Let that sink in.
If you have ever found yourself at a party, a wedding, a road trip, or simply in your room at midnight and an Asake song came on and the whole atmosphere shifted, you already understand why the numbers look the way they do. Now We’re diving into the five tracks that have had Nigeria on a collective loop, with the volume firmly at 100.
Remember
As the official most-streamed song in Spotify Nigeria’s history, this standout from the 2023 album “Work of Art†remains a masterclass in Amapiano-infused nostalgia. Its infectious refrain and high-energy production turned it into a global anthem that still feels like a brand-new release every time it hits the speakers.
Lonely At The Top
Also from his 2023 sophomore project Work of Art, this soulful masterpiece became a national anthem for anyone navigating the pressures of success. It showcased a more vulnerable side of Mr. Money, proving he could dominate the charts with quiet introspection just as easily as with loud club bangers.
Â
Joha
A fan-favorite from his record-breaking 2022 debut album Mr. Money With The Vibe, this track originated from a dance he created during his university days. Its fusion of traditional Fuji vibes with modern log drums made it an irresistible replay staple that continues to ignite dancefloors across the continent.
Sungba (Remix) ft. Burna Boy
First appearing on his debut Ololade Asake EP in early 2022, this explosive remix gave the street hit global wings by adding a heavyweight verse from the African Giant. The heavy log drums and “Sungba†chant created a sonic earthquake that still moves crowds years later, particularly after its inclusion on his debut album “Mr. Money With The Vibe.â€
Â
Peace Be Unto You (PBUY)
Released in June 2022 as a cornerstone of his record-breaking debut album Mr. Money With The Vibe, this track solidified his status as an untouchable hit-making machine. The unique blend of Islamic-inspired chants and high-octane production made it one of the most distinctive and replayed songs of his breakout era.
Photo Credit: Tyla/Instagram
If your body naturally starts to move the moment a Tyla song comes on, you’re not alone. There’s something about her music that skips over thinking and goes straight to motion — the kind that has you swaying in your seat, practising footwork in your room, or turning the mirror into a mini stage. Tyla makes music that demands the dance floor, and she does it without trying too hard or losing where sheâ€
If your body naturally starts to move the moment a Tyla song comes on, you’re not alone. There’s something about her music that skips over thinking and goes straight to motion — the kind that has you swaying in your seat, practising footwork in your room, or turning the mirror into a mini stage. Tyla makes music that demands the dance floor, and she does it without trying too hard or losing where she’s from.
Now, fresh off the news of her second Grammy win at the 68th Annual Grammy Awards, it feels like the perfect moment to refresh your dance playlist. From smooth Amapiano rhythms to pop moments that still carry groove, Tyla’s sound keeps finding its way into parties, timelines and late-night car rides.
If you’re ready to update your rotation and lean fully into feel-good movement, here are 5 Tyla songs you need on your playlist right now.
Push 2 Start
The song that secured her second Grammy is a mandatory addition. With its clever car metaphors and that signature log drum rhythm, it’s the ultimate high-energy track for when you’re getting ready to head out or need a boost at the gym.
Chanel
Released as a lead single for her highly anticipated second album, “A-Pop,†“Chanel†is pure luxury in audio form. It’s an upbeat, confident anthem about being treated like the prize you are. If you’re feeling yourself, this is the soundtrack.
Jump (feat. Gunna & Skillibeng)
If your playlist needs a bit of edge, this is it. Tyla teams up with American rapper Gunna and Jamaican star Skillibeng for a track that bridges the gap between Johannesburg, Atlanta, and Kingston. It’s gritty, catchy, and guaranteed to get you moving.
Dynamite (feat. Wizkid)
A standout collaboration from her WWP project, this track features our very own Wizkid. The chemistry between the two is undeniable, creating a smooth, mid-tempo groove that is perfect for a sunset drive or a chilled weekend hang.
Water
We couldn’t leave out the classic that started it all. Even years after its release, “Water†remains the blueprint for the Popiano genre. Its breezy, rhythmic flow is timeless and still hits just as hard as the first time we heard it.
It was a night of celebration for South Africa’s golden girl, Tyla, who officially clinched her second Grammy Award at the 68th Annual Grammy Awards in Los Angeles. Stepping onto the stage just days after her 24th birthday, the singer took home the trophy for Best African Music Performance for her hit, “Push 2 Start.â€
This victory marks a significant milestone in Tyla’s career, as she becomes the first artist to win this s
It was a night of celebration for South Africa’s golden girl, Tyla, who officially clinched her second Grammy Award at the 68th Annual Grammy Awards in Los Angeles. Stepping onto the stage just days after her 24th birthday, the singer took home the trophy for Best African Music Performance for her hit, “Push 2 Start.â€
This victory marks a significant milestone in Tyla’s career, as she becomes the first artist to win this specific category twice since its inception in 2024. The category was a star-studded affair this year, featuring a powerful lineup of Africa’s finest. Tyla emerged ahead of Nigeria’s Burna Boy (“Loveâ€), Davido featuring OmahLay (“With Youâ€), and AyraStarr featuring Wizkid (“Gimme Datâ€), as well as Uganda’s EddyKenzo and MehranMatin (“Hope & Loveâ€).
“Push 2 Start†has been a standout track for the singer since its release on 11 October 2024. The song was introduced as a lead single for “TYLA +,†the deluxe edition of her self-titled debut album. Produced by Sammy Soso, AriPenSmith, and Mocha, the track is a masterclass in the Popiano genre, a seamless fusion of Amapiano, Pop, and R&B that has become Tyla’s signature sound.
The song’s journey to the Grammy stage began with a viral tease at the 2024 MTV VMAs, followed by a high-profile music video directed by Aerin Moreno, which premiered in November 2024. Its success on the Billboard U.S. Afrobeats Songs chart and the UK Afrobeats Singles Chart throughout late 2024 and 2025 set the stage for this eventual Grammy recognition.
The 68th Annual Grammy Awards are officially around the corner, and for us in the motherland, Sunday, 1st February 2026, is the only date that matters. While the world watches the “Big Four,†we have our eyes firmly fixed on the Best African Music Performance category. It is more than just an award; it is a celebration of the sounds that have moved from our local streets to the global stage.
This year’s “Big 5â€
The 68th Annual Grammy Awards are officially around the corner, and for us in the motherland, Sunday, 1st February 2026, is the only date that matters. While the world watches the “Big Four,†we have our eyes firmly fixed on the Best African Music Performance category. It is more than just an award; it is a celebration of the sounds that have moved from our local streets to the global stage.
This year’s “Big 5†contenders are a perfect mix of seasoned giants and the “new school†leaders who are currently holding the world in a chokehold. Here is everything you need to know about the songs and the stars vying for that golden gramophone.
Gimme Dat – Ayra Starr Featuring Wizkid
The “Celestial Being†and the “Starboy†teamed up once again for “Gimme Dat,†and the results were pure magic. Released on 25th April 2025, the song samples the iconic “911†by WyclefJean and Mary J. Blige, blending jazzy reggae beats with sultry Afrobeats rhythms. It’s a confident, sensual track where Ayra lists exactly what she needs in a lover—peace of mind and 100% commitment—while Wizkid delivers a breezy, seasoned verse.
The “City Boy†himself is back in the Grammy conversation with “Love,†a standout track from his eighth studio album, “No Sign of Weakness,†released on 10th July 2025. Produced by DreSkull, the song is a beautiful, introspective Afro-fusion piece that explores themes of loyalty, self-protection, and genuine devotion. It’s Burna Boy at his most vulnerable, trading his usual high-energy “pon di beats†for a mid-tempo, soulful reflection on who truly stands by you when the lights go out.
Burna is no stranger to the Recording Academy; this nomination brings his career total to a staggering 13 nods over seven consecutive years. Having already won Best Global Music Album in 2021 for “Twice as Tall,†he enters this race as a heavyweight veteran.
With You – Davido Featuring Omah Lay
Released on 18th April 2025 as a highlight of Davido’s fifth studio album, “5ive,†the track is a masterclass in modern Highlife. Inspired by BrightChimezie’s 1984 hit “Because of English,†the song features a repeating guitar loop and an easy, flirtatious charm that is hard to resist. Davido actually considered scrapping the song initially, but we are so glad he didn’t.
Omah Lay’s aching delivery pairs perfectly with Davido’s tender performance, making this a fan favourite. The nomination builds on Davido’s growing Grammy momentum after his historic three-nomination run last year, while for Omah Lay, it’s another well-earned nod that reinforces his place as one of the genre’s most distinctive voices.
PUSH 2 START – Tyla
After making history as the inaugural winner of this category 2024 with “Water,†South African sensation Tyla is looking for a back-to-back victory with “PUSH 2 START.â€
Released on 11th October 2024 as part of her TYLA + deluxe album, the song uses car metaphors to navigate the thrills of attraction and commitment. It’s a flawless blend of Amapiano, Pop, and R&B that has already dominated the Billboard and UK Afrobeats charts.
Eddy Kenzo & Mehran Matin – Hope & Love
Adding a unique, cross-cultural flavour to the category is “Hope & Love,†a collaboration between Uganda’s Eddy Kenzo and Iranian artist Mehran Matin. Released on 13th August 2025, the song is an uplifting Afrobeat anthem designed to unite hearts across borders. Featuring the joyful energy of the Masaka Kids Africana, the track is a reminder that music is a universal language that shines brightest in the darkness.
Eddy Kenzo remains a pioneer for East African music on the global stage. This isn’t his first rodeo; he made history in 2023 as the first Ugandan artist to be nominated for a Grammy. His return to the category with Mehran Matin shows that his mission to “spread love†through music is far from over.
Did You Know?
The Best African Music Performance category is relatively new. It was created in June 2023 and first awarded in 2024 to recognise recordings that utilise unique local expressions from across the continent. The Recording Academy established this dedicated space to acknowledge the massive global impact of genres like Afrobeats, Amapiano, Highlife, and Bongo Flava.
SummarySotheby’s revenue dropped nearly 20 percent in 2024, posting a $248 million USD pre-tax loss as the art market slowedThe auction house secured a $909 million investment from Abu Dhabi’s ADQ to pay down debt and buy a new Madison Avenue buildingThe art world’s blue-chip auction house just had a rough year. Sotheby’s, the 280-year-old giant that sells everything from Picassos to Patek Philippes, saw its revenues tumble nearly 20% in 2024 which means that fewer collectors purchased luxury go
Sotheby’s revenue dropped nearly 20 percent in 2024, posting a $248 million USD pre-tax loss as the art market slowed
The auction house secured a $909 million investment from Abu Dhabi’s ADQ to pay down debt and buy a new Madison Avenue building
The art world’s blue-chip auction house just had a rough year. Sotheby’s, the 280-year-old giant that sells everything from Picassos to Patek Philippes, saw its revenues tumble nearly 20% in 2024 which means that fewer collectors purchased luxury goods and fine art and the house took a major hit.
According to filings in Luxembourg, Sotheby’s brought in $1.13 billion USD in 2024, down from $1.36 billion USD the year before. The losses stacked up fast, with the company posting a pre-tax loss of about $248 million USD, more than double its $106 million USD loss in 2023.
So what happened? Commissions and fees, the bread and butter of Sotheby’s, shrank as big-ticket auctions cooled as per Business of Fashion. The global art market has been sluggish and even a powerhouse like Sotheby’s is feeling it. Last year, Abu Dhabi’s sovereign wealth fund, ADQ, bought a 24 percent stake for $909 million USD. Sotheby’s used the cash along with a top-up from owner Patrick Drahi to pay down debt and buy a new Madison Avenue building in New York.
The big picture is that Sotheby’s is not just about gavel drops anymore. They are also lending money against art, flipping buildings and leaning on wealthy backers to weather the storm. But with sales still sliding, the question is whether this old-school auction house can be relevant in a world where hype culture and social media are already setting the rules.
SummarySOLO CSV is the latest can't-miss art venue in Madrid, Spain, hailing from the international SOLO arts project and collection led by Ana Gervás and David CantollaCurrently on view is WE ALL SHINE ON, an exhibition of new paintings by Los Angeles-based artist Aaron Johnson, at its recently-opened Bowman Hal art galleryMadrid may be well known as an Old Masters capital - Picasso, Bosch, Goya among the sort - but in recent years, the city has been steadily rewriting its reputation in the con
SOLO CSV is the latest can't-miss art venue in Madrid, Spain, hailing from the international SOLO arts project and collection led by Ana Gervás and David Cantolla
Currently on view is WE ALL SHINE ON, an exhibition of new paintings by Los Angeles-based artist Aaron Johnson, at its recently-opened Bowman Hal art gallery
Madrid may be well known as an Old Masters capital - Picasso, Bosch, Goya among the sort - but in recent years, the city has been steadily rewriting its reputation in the contemporary art conversation, and redefining its place on the global stage. Adding to your roster of must-see art venues in Spain is SOLO CSV, a new arts and culture space from the Madrileño international arts project SOLO.
Situated just a stone's throw from the lush Parque del Oeste, the space signals an exciting new chapter for the Ana Gervás and David Cantolla-helmed collection. The venue welcomed visitors for the first time in June with its inaugural show by William Mackinnon at Bowman Hal, its purpose-built gallery, where Aaron Johnson's cosmic splendor, WE ALL SHINE ON, is currently on view.
To bring the space to life, SOLO tapped Spanish architecture firm Estudio Herreros to transform the 4,000-square-meter ex-printworks into what's perhaps best described as an ever-unfurling art labyrinth that keeps both an industrial grit and domestic charm at heart. Eschewing your typical white-walled walkthrough, CSV presents itself as a series of unexpected encounters — from its interior-exterior design that flirts with perceptive play, to paned windows peppered throughout the space, framing off-guard glimpses into collection.
/> Beyond Bowman Hal, the site doubles as a home base for the many projects that make up the SOLO arts incubator at large: ONKAOS, its digital arts and new media initiative; a spacious, on-site conservation and restoration lab; and the recently-announced Movimiento 37, an experimental ode to art as a cross-cultural dialogue, set to debut with a spectral showcase of sound and video works by Georgian artist Koka Nikoladze.
As SOLO’s main venue, Independencia (formerly Colleción SOLO) continues to house its 1,200-piece core across town, the opening of CSV ushers in an exciting era for the collection, one that both reinforces its position as a unifying thread and measures up to the unyielding curiosity that defines its vision. Even as its full scale is yet to come, CSV has already claimed its spot as a must-see destination for the city's contemporary art explorers.
SOLO CSV Cta. de San Vicente, 36, Moncloa - Aravaca, 28008 Madrid, Spain
Streetwear label XLARGE is bringing its cultural footprint from Long Beach to Honolulu with the announcement of its official sponsorship of Hawaii Walls 2025.The art festival, taking place September 15–21 at Farrington High School in Kalihi, will feature over 50 artists from Hawaii and across the globe, working alongside local students and residents to transform the campus into one of the state’s largest public art collections. In keeping with its long-standing connection to mural culture, XLARG
Streetwear label XLARGE is bringing its cultural footprint from Long Beach to Honolulu with the announcement of its official sponsorship of Hawaii Walls 2025.
The art festival, taking place September 15–21 at Farrington High School in Kalihi, will feature over 50 artists from Hawaii and across the globe, working alongside local students and residents to transform the campus into one of the state’s largest public art collections. In keeping with its long-standing connection to mural culture, XLARGE will not only support event operations but also outfit artists and staff in special edition tees designed exclusively for the festival.
The collaboration builds on XLARGE’s recent presence at Long Beach Walls and Art Renzei Festival, where the brand dropped limited-run tees celebrating creativity and community. For Hawaii Walls, the new designs take inspiration from the event’s concept color “Mocha Mousse,” incorporating earthy tones that mirror the natural beauty of the islands. The shirts will be available in white and brown, offered in sizes up to 3XL, and release on September 19 through XLARGE’s U.S. Legacy Store and Japan’s calif online store.
. What makes this collaboration stand out is how it threads art, community, and streetwear into a single narrative. Each shirt serves as a wearable piece of festival history, while XLARGE’s role as a sponsor underscores the brand’s mission to support creative expression worldwide. With Hawaii Walls entering its 13th edition and set to unveil a staggering 67 murals across the Farrington High School campus, the event is poised to highlight the global impact of mural culture.
SummaryDaisies, the traveling exhibition series curated by Paige Silveria, is now on view at Dover Street Market in Paris through September 21The showcase brings together an international roster of over a dozen names, spanning painting, sculpture, design, sound and performanceIn its latest move, Daisies, the traveling exhibition series, returns to France – this time, landing at Dover Street Market Paris.Launched in 2018 by Paige Silveria, a mainstay in New York's downtown scene, the project has
Daisies, the traveling exhibition series curated by Paige Silveria, is now on view at Dover Street Market in Paris through September 21
The showcase brings together an international roster of over a dozen names, spanning painting, sculpture, design, sound and performance
In its latest move, Daisies, the traveling exhibition series, returns to France – this time, landing at Dover Street Market Paris.
Launched in 2018 by Paige Silveria, a mainstay in New York's downtown scene, the project has kept busy cultivating a devoted following, planting exhibitions, book fairs, clothing collaborations and print publications around the globe.
For its ongoing Paris presentation, Daisies transforms the building's lower level into a celestial art cave. The showcase carves out a home in the off-kilter and unafraid with honesty, dynamism and nostalgia threading its cross-medium offerings together.
Works on view hail from an international lineup of names to watch, including Camille Soulat, Charlotte-Maëva Perret, Christie Macdonald, Jack Warne, Lisa Boalt, Lucas Dupuy, Mathis Altmann, Melchior Tersen, Nicolas Zanoni, Pierre Touré Cuq and Sarah Yukiko, alongside a performance piece by Gabrielle Schwann on opening night.
Presented in partnership with Salomon Sportstyle, Daisies Paris cements the series' unmissable vision as both a fixture of the cultural mainstream, while also operating as a barometer for the art world’s emerging edge.
/> The exhibition is now on view through September 21. Head to Daisies'page for more information.
Dover Street Market Paris 35-37 Rue des Francs Bourgeois, 75004 Paris, France
SummaryDuddell’s in Hong Kong reopens with a solo exhibition by artist Danh Võ, titled “Let’s Star Over"The exhibition explores themes of identity and memory through the artist’s subtle use of everyday objectsRunning from September 17, 2025, to April 6, 2026, the show is a perfect blend of culinary and creative cultureHong Kong’s renowned cultural and culinary hub, Duddell’s, is marking a new beginning. To celebrate its reopening after a major redesign by Andre Fu Studio, the restaurant is prese
Duddell’s in Hong Kong reopens with a solo exhibition by artist Danh Võ, titled “Let’s Star Over"
The exhibition explores themes of identity and memory through the artist’s subtle use of everyday objects
Running from September 17, 2025, to April 6, 2026, the show is a perfect blend of culinary and creative culture
Hong Kong’s renowned cultural and culinary hub, Duddell’s, is marking a new beginning. To celebrate its reopening after a major redesign by Andre Fu Studio, the restaurant is presenting "Let's Start Over,” a new solo exhibition by internationally acclaimed Vietnamese-Danish artist Danh Võ. Curated by William Zhao, the exhibition's title is taken from a classic line in the film Happy Together, perfectly mirroring Duddell’s own fresh start. The presentation will be on view from September 17, 2025, to April 6, 2026.
This new exhibition is a profound and quiet exploration of identity, memory, and heritage, and serves as a retrospective of Võ’s artistic practice since his first show at Duddell's a decade ago. Known for his breakthrough at the 2015 Venice Biennale, Võ masterfully reconfigures everyday objects, religious relics, and family archives into subtle, yet powerful, arrangements. The works do not make grand gestures, but instead invite viewers to find personal and collective meaning in transformed materials.
A signature element of Võ’s work, a series of gold-leaf cardboard pieces, exemplifies his approach of turning the ordinary into the sacred. By doing so, he challenges conventional ideas of value and materiality. The exhibition is a forward-looking dialogue that encourages visitors to engage with the quiet power of objects and the resonant histories they carry, offering a perfect blend of culinary art and creative dialogue for which Duddell's is known.
Greg Girard's Hong Kong archive comes home in HK:PM, a new moving image commission, now on view on the facade of the M+ Museum. The Canadian photographer is the latest name to take over the 7,000-square-meter screen, lighting up the waters of Victoria Harbour with a tender tribute to the city's past.HK:PM animates analogue photographs from the artist's personal collection, shot in during his time in Hong Kong between the 1970s and the 1990s. The collection captures life in motion across the cro
Greg Girard's Hong Kong archive comes home in HK:PM, a new moving image commission, now on view on the facade of the M+ Museum. The Canadian photographer is the latest name to take over the 7,000-square-meter screen, lighting up the waters of Victoria Harbour with a tender tribute to the city's past.
HK:PM animates analogue photographs from the artist's personal collection, shot in during his time in Hong Kong between the 1970s and the 1990s. The collection captures life in motion across the crowded streets of Central, the now-demolished Kowloon Walled City and neon-soaked nightclub scenes.
“This commission offers me the unique opportunity to revisit these photographs, transforming fragments of Hong Kong’s recent past into a cinematic sequence,†the artist said in a recent statement.
At last, Girard's works return to the context of their creation. The commission unpacks old Hong Kong to make anew, paying homage to the then, now and the endless in-between. HK:PM is now on view at the M+ facade every night through September 28.
In the 1980s, arguably the largest theft of ancestral artifacts occurred in Kenya. Hundreds of Vigango statues, wooden totem poles sacred to the Mijikenda people, were stolen from hallowed forests to be sold to western art collectors and museums. These statues, carved from trees within the very forests where they held spiritual significance, bore intricate markings that embodied the identities and preserved the memories of revered elders and healers that have passed away.While some of the loote
In the 1980s, arguably the largest theft of ancestral artifacts occurred in Kenya. Hundreds of Vigango statues, wooden totem poles sacred to the Mijikenda people, were stolen from hallowed forests to be sold to western art collectors and museums. These statues, carved from trees within the very forests where they held spiritual significance, bore intricate markings that embodied the identities and preserved the memories of revered elders and healers that have passed away.
While some of the looted statues have been returned, many of them are still hundreds of miles away from their culturally significant homestead. In Relooted, the upcoming game created by South Africa-based Nyamakop Studios, players will have the chance to retake stolen Vigango statues and dozens of other ancestral artifacts forcibly taken from Africa over the centuries.
Relooted is coming at a time when the discussions for repatriation of stolen artifacts are increasingly loud and absolute, not just by Africans but also by concerned people all over the world. The game itself is a radical jump for Nyamakop following its first published game, Semblance, a puzzle-platform game where players squish, push, deform, and reshape a playdough world. Semblance was positively received for its innovative art style and satisfying puzzles.
For its second game, Nyamakop had to up the level of execution to match its much higher ambitions. “I think it’s just that the concept itself felt so important,†Ben Myres, CEO and Creative Director at Nyamakop, tells OkayAfrica. “Obviously, with African artifacts, repatriation is a huge deal, so it felt really important to make the game as high production value and high quality as possible.â€
To ensure that Relooted hit the high marks the studio set for itself, the number of people who worked on the game was just over ten times more than the three full-time staff it took to put together Nyamakop’s debut game. This time around, a high level of coherence and coordination was needed to balance narrative depth with strong gameplay, in its attempt to create an Africanfuturist heist game.
Mohale Mashigo, a writer referred to by Myres as “the queen of Africanfuturism,†was approached to helm the game’s storyline, situating the relooting of artifacts within the context of an engaging game. “It’s a heist game, right? So I spent a long time watching heist films and also understanding what heisting is, like hacking buildings basically, and I realized that this has got to be a team [effort],†Mashigo says. “Heists are always great because everybody’s got a role to play in the heist. The best part of the heist is when you see the mastermind go and recruit different people and their different personalities and how they work together.â€
Led by the character Nomali, the motley crew in Relooted includes a delinquent brother obsessed with cracking safes, an ex-MMA champion, a sports scientist, and a grandma. “This may be the first family heist that includes a grandmother,†Mashigo says with ample cheer in her voice. All characters in the game are from different parts of Africa, operating from a hideout in a futuristic version of Johannesburg.
Myres, Mashigo, and their colleagues had to iterate and build their own playbook for Relooted, spending years experimenting to arrive at a game that’s unique within the canon of heist games, which are usually based on a single character and often violent.
“There are not a lot of heist games that are more like Ocean’s Eleven than anything else, and it just made sense for us to make a sort of nonviolent game because of the themes,†Myres says. “Trying to find a reference for nonviolent heist games was tricky, so it was a lot of back-and-forth between all departments – art, narrative, gameplay – just trying to make it all work. There are compromises in some places that we had to figure out. It meant there were often things the narrative and the art departments had to change, or there were certain things we knew we couldn’t change narratively, so we just had to figure it out gameplay-wise.â€
Myres is conservative about sharing an exact timeline for the release of Relooted, with behind-the-scenes developments underway to bring the game to the Xbox console and to PCs, platforms where representation for African-inspired games remains very low. Last year, Cameroonian studio Kiro’o Games debuted the first African role-playing game on Xbox with Aurion: Legacy of the Kori-Odan, which had been previously released for Microsoft Windows several years earlier.
While Africa is projected to have a gaming audience of over 400 million, the growing numbers haven’t really translated into a strong base of Africans playing games by African studios, which will be a key factor in improving the visibility of African-inspired games. Myres makes the point that the artforms that have seen crossover success, from afrobeats and amapiano to fringe film successes, started with a high level of acceptance at home.
Several factors currently hinder the continental success of games by African studios, primarily due to the fragmentation of African countries. In addition to the challenges of purchasing power, the difficulty in paying for games across countries due to differences in regulations and mobile money services is a significant challenge. Consoles are luxury items in many parts of the continent, which means that a significant amount of gaming in Africa is done on mobile devices, limiting the scope of what studios can deploy for Africans, and monetization will continue to be a challenge.
“Someone’s going to have to make a lot of money from one game,†Myres says as a possible solution to the low adoption of African games among Africans, as well as the global visibility of African-inspired games. “If that happens, it fundamentally changes who can make games about what and for whom, not just in Africa but across the gaming industry worldwide. I think once you have a reasonably-sized hit, people are like, ‘Oh my God, we can make games like that and there is an audience for it.’â€
Nyamakop hopes Relooted will become very successful upon release within the next year, which would amplify the cultural significance of the game, particularly in relation to artifacts stolen from Africa. Myres mentions the Maqdala Crown as one of his favorite artifacts curated in the game, citing its significance in “how deliberate the European attempts were to make African civilization look uncivilized,†even though Africans had been creating beautiful and deeply intricate metalwork pieces centuries ago.
For Mashigo, the recency of the Vigango statues being stolen is striking. “We think about colonial times for artifacts, but this happened in the 1980s. They just went into the forest and took many of these Vigango statues, and then they were being sold in the West, and it was like a fashionable thing to have.â€
Relooted turns the dynamic on its head, with the hope that it resonates with many people worldwide, including Africans and the diaspora community. “It is very much a power of fantasy because I don’t think Africans very often get to see themselves set in the future and joyfully,†Mashigo says. “So, dreaming of this beautiful utopian future continent, hopefully it inspires people and makes them feel proud, both of their heritage in the past and the possibility of the future. The game is very much about the artifacts, but it is so many different things at the same time.â€
In November 2021, thousands of artifacts were destroyed in a fire at the National Museum of Gungu in the Democratic Republic of the Congo. Four years later, the Sudan National Museum met a similar fate, as tens of thousands of artifacts were either destroyed or shipped off to be sold when the Rapid Support Forces (RSF) seized the country's capital. In other parts of the continent, like Ghana and Nigeria, archival documents and records are being improperly stored or are already deteriorating. Wh
In November 2021, thousands of artifacts were destroyed in a fire at the National Museum of Gungu in the Democratic Republic of the Congo. Four years later, the Sudan National Museum met a similar fate, as tens of thousands of artifacts were either destroyed or shipped off to be sold when the Rapid Support Forces (RSF) seized the country's capital. In other parts of the continent, like Ghana and Nigeria, archival documents and records are being improperly stored or are already deteriorating.
While the knee-jerk answer to these setbacks has mostly been a surge of creators digitally preserving African history and culture — fromFu'ad Lawal's Archivi.ng to Juliana Oduro's Vintage African Women to Rwanda Archives to Decolonising the Archive — creators like Kofi Iddrisu are now playing vital roles in archiving both digitally and physically.
Founded in 2020 solely as an Instagram page, Iddrisu's project ArchiveAfrica has attained a global audience of over 200,000 followers, a growing digital store of over 1,800 photos, videos, and documents, as well as partnerships with institutions like the Harvard Graduate School of Design, the University of Oxford Afro Caribbean Society, 154 Art Fair, amongst others. What started as a personal project for Kofi to post images, whether submitted by followers or sourced across the continent, gradually evolved into an audio-visual archive curated to enable university students, historians, art enthusiasts, and cultural workers to utilize it without worrying about payment or subscription.
"Before now, it was very difficult to find a giant archive of African history and art that isn't behind a paywall or hidden in some Western university's library," Kofi tells OkayAfrica. Now, students and academics can access this freely.
Kofi, born Kofi Nana Oduro Iddrisu in North West London, has always been fascinated by his African roots. His parents ensured that he spent his formative years in Accra, prioritizing African history and culture at home while he was schooling in the UK. "It was easy to lose connection when you are in the diaspora," he explains.
It was when he moved back to Ghana in 2020 to further his medical studies that the brainwave for ArchiveAfrica started. His siblings, Kanchelli Iman and Charney Iddrisu supported the project and played a crucial role in curating the page. They later went on to establish respective projects focusing on Black-owned businesses and the cinema industry.
Now in its fifth year, ArchiveAfrica is expanding to create a physical archival space in Accra, enhancing preservation and accessibility. Kofi says that one of the reasons for this is the unreliability of social media pages. Instagram, a common platform used by photographers, archivists, cultural workers, and models to share ideas, has been deactivating accounts without warning or explanation.
"If the goal of our work is preservation, we need a medium that is permanent," Kofi states. "How can we transfer this massive social media following and condense it into actual physical space?"
The plan for the museum's construction is underway. The museum will be dedicated to the royal history of Ghana's Upper West region and will also house a library and writer's retreat in Accra. This will create a space for archival research, literature, and creative work that fosters deeper engagement with African history and storytelling.
While there are existing physical archives in Ghana, such as the Public Records and Archives Administration Department (PRAAD) created in 1997, Kofi laments that these archives are at risk of deterioration. For the museum project, he has made a GoFundMe page for donors to support construction and maintenance. But there are challenges.
"Nowadays, funding is so precarious, so while we don't have long-standing paid staff on our list yet, we have received numerous offers to volunteer from different countries," Kofi says. He envisions the museum to house a mix of audio-visual, textual, and tactile materials.
The fundraiser has raised only £865 ($1,177) of its £60,000 ($81,693) target, but this initial success has prompted the architects to begin planning the site. While the crowdfunding goal may appear ambitious, Kofi stresses that this is an early-stage project where raising awareness is essential for attracting both institutional and individual support. He is actively pursuing partnerships and exploring alternative funding approaches with diverse organizations, including Mubi UK, 154 Art Fair, and the British High Commission.
Once the museum is established in Accra, Kofi plans to expand to other countries on the continent and beyond: "We are hoping for a permanent space in different African countries and multiple spaces in the diaspora to support the next batch of cultural workers in terms of giving access to spaces and encouraging networking."
"The overarching goal is to have a physical location where the average African person can walk through the doors, borrow a book or photography collection, go home, do research, and return it," he says.
Osoranna Mojekwu was 10 when he first moved back to Nigeria from the United States to continue his secondary school education. Like most Africans straddling multiple identities, Mojekwu found himself in the age-long struggle of not being Nigerian enough in Nigeria after leaving an all white catholic school in the States, where he had stood out for being Black. Still, Mojekwu says the five years he spent in Lagos sharpened his self-perception, and to this day, the 26-year-old visual artist contin
Osoranna Mojekwu was 10 when he first moved back to Nigeria from the United States to continue his secondary school education. Like most Africans straddling multiple identities, Mojekwu found himself in the age-long struggle of not being Nigerian enough in Nigeria after leaving an all white catholic school in the States, where he had stood out for being Black. Still, Mojekwu says the five years he spent in Lagos sharpened his self-perception, and to this day, the 26-year-old visual artist continues to draw from that experience for his work.
"Those five years are ingrained in my head, [they] created the person I am today in terms of how I navigate the world and how I'm able also to navigate complications and obstacles," Mojekwu tells OkayAfrica. "It's almost like a military school where you're embedded with this strength to navigate the world, and so the pieces that I create, it's almost a pledge of thanks to the people within that community."
Last year, Adidas commissioned Mojekwu to create two large-scale art pieces for their flagship store in Lagos, Nigeria. Set to be on display in July, these artworks are Mojekwu's biggest and most ambitious projects yet, and he knew they had to represent the spirit of community and resilience from that period of his life.
"The assignment itself was titled community," Mojekwu says. "They're [Adidas] aiming to localize themselves within Nigeria. So when I was assigned the task to create a painting, that is the community I was able to reference."
Mojekwu's artworks are what he describes as journal entries. They are a constant work in collecting the experiences and insight that have shaped him as a person and as an artist. His works are also contemporary repositories that capture the dynamics of being young and Nigerian in today's world. For material, much of Mojekwu's works are layered. First comes the outline, which is painted, and then other recycled materials, from beads to threads, are used to highlight the outlines, causing a 3D, slightly hallucinogenic effect.
For the commissioned works, which took over 600 hours to complete, Mojekwu showcases the diversity within the Nigerian demographic and how that reflects contemporary Nigerian culture. In one of the artworks, multiple elongated heads stand next to each other. Their appearances differ, and so does their demeanor. One wears a hijab, and another has braids. A closer look at the painting reveals that the iconic Adidas stripes are incorporated into the background. In its messaging, these pieces are acutely aware of the intersections between sports, faith, culture, and self-expression that define many young people in Nigeria today.
"It's painting on canvas," Mojekwu says, "But it's not just two-dimensional. This piece is three-dimensional, and it's supposed to showcase the dimensions of African youth." He means this on both a metaphorical and technical level.
Starting out
Even before hosting solo shows in Lagos or creating for Adidas, Mojekwu had always known he wanted to be an artist. His first inclination about the power of art occurred when he was just six. He had shown his parents a drawing of a horse, which elicited an excitement in them that moved him.
"The truth of the matter is that at the time I was not necessarily the best at drawing figurative objects, but I just loved the experience of putting pencil to paper as your starting point and being able to go through a journey of creating whatever object that was," Mojekwu says.
"Being able to show this drawing of a horse to my dad, and him calling my mom at the office and being like, 'Come and see what Oso drew." It's those moments that I remember 20-plus years down the road. To see the light on my father's face after I showed him just this pencil drawing of a horse, that was complete nonsense. To see the reaction was something that was just so out of this world."
In many ways, Mojekwu remains electrified by the strong reaction his work receives, even after a decade of working as a visual artist.
"If what I'm creating resonates with you in a certain kind of way and unlocks a certain kind of feeling for you within your own context and your own experience, that in itself is the biggest reward of being an artist."
Full circles
For Mojekwu, the journey to creating these large-scale paintings began with a solo exhibition in 2021. The exhibition, titled "Look Beneath The Surface," was filled with mixed-media art installations that address self-perception and the deception of a one-dimensional way of seeing people. A patron connected to the Adidas project purchased his work, and that is where things took off.
As someone who also grew up loving streetwear, particularly Adidas sneakers, Mojekwu considers this moment a full circle. "What's so exciting about this commission is that it's authentic and it's rooted in truth," Mojekwu says. "To be able to create a piece that explores those three pillars of brand, sport, and culture, I think those are the elements that I was able to ground myself in to create the pieces."
Ultimately, Mojekwu wants the work he has created to convey a simple but incredibly urgent message. Togetherness. "It's supposed to reflect the entire Nigerian diaspora, whether it be across cultural borders, norms, traditions, or just across our palette of diversity within the country of Nigeria. That's what this piece is supposed to reflect."
The goal is also to emphasize the rising power of community amongst young Nigerians, and the ways these collectives and support systems are powering culture.
"The whole point is to kind of show this beautiful variety of Nigerian youth and how they are sharing community within themselves," he says. "I want them to be able to see themselves in the piece, but also see others that maybe differ from themselves and have a greater appreciation for difference, and the fact that although you are one of these people within this painting, there's a world of people that you also need to have greater curiosity about.
SummaryAllRightsReserved and Netflix celebrate the return of Squid Game Season 3This release focuses on the new Chul-Su characterArriving in two colors, the figures release on June 16As the final, chilling trailer for Squid Game 3 ignites global anticipation for its June 27, 2025 premiere, speculation is rife not just about the games themselves, but about the cultural artifacts that will inevitably emerge from this climactic season. Following the successful KAWS collaboration for Season 2, whic
AllRightsReserved and Netflix celebrate the return of Squid Game Season 3
This release focuses on the new Chul-Su character
Arriving in two colors, the figures release on June 16
As the final, chilling trailer for Squid Game 3 ignites global anticipation for its June 27, 2025 premiere, speculation is rife not just about the games themselves, but about the cultural artifacts that will inevitably emerge from this climactic season. Following the successful KAWS collaboration for Season 2, which reimagined the iconic Young-hee doll, all eyes are now turning to her male counterpart, Chul-su, and the exciting prospect of a KAWS "Chul-su" collectible.
Chul-su, introduced in the post-credits scene of Season 2, is set to be a pivotal figure in the new deadly trials, potentially alongside Young-hee in a terrifying "Red Light, Green Light" evolution. His robotic, imposing presence immediately marks him as an antagonist with a chilling visual identity ripe for artistic reinterpretation. Partnering with Netflix and AllRightsReserved, the figurines sees the character wear a striped t-shirt and hat and comes in colored and a monotone version. Both have a height of 15 inches and feature a certificate chip of authenticity.
The KAWS CHUL-SU figures are launching online starting on June 19 10 a.m. ET.
BANDE ANNONCE du film: Ironheart Artistes: Dominique Thorne, Anthony Ramos, Alden Ehrenreich, Manny Montana, Zoe Terakes, Lyric Ross Lyric Ross, Matthew Elam
Synopsis:
Riri Williams, une jeune inventrice de génie, est déterminée à laisser sa marque sur le monde. Mais son approche unique de la construction d’armures métalliques est à la fois brillante et… perfectible ! “Ironheart” explore la dynamique de la technologie par rapport à la magie.
SummaryElizabeth Peyton's Liam + Noel (Gallagher) (1996) is heading to Sotheby's contemporary art sale in London on June 24Created in the apex of the band's fame, the "prescient" portrait highlights the quiet tension that shaped the duo's public relationship and their break-up in 2009.After a reunion last year, the piece draws art world excitement for the upcoming Live '25 tour, set to start in Cardiff on July 4.With the Live '25 tour kicking off next month, it's safe to say: Oasis Fever is back
Elizabeth Peyton's Liam + Noel (Gallagher) (1996) is heading to Sotheby's contemporary art sale in London on June 24
Created in the apex of the band's fame, the "prescient" portrait highlights the quiet tension that shaped the duo's public relationship and their break-up in 2009.
After a reunion last year, the piece draws art world excitement for the upcoming Live '25 tour, set to start in Cardiff on July 4.
With the Live '25 tour kicking off next month, it's safe to say: Oasis Fever is back in full swing. Britpop nostalgia is back in the air and the Elizabeth Peyton double-portrait of the Gallagher brothers couldn't have arrived at Sotheby's in better timing. The 1996 painting is among the headlining works at the house's contemporary art auction in London on June 24, expecting to fetch £1.5 – £2 million GBP ($2.03 – $2.71 million USD).
Created in the aftermath of their Knebworth Park shows, which made history as the UK's largest live concert, Liam + Noel (Gallagher) was based on a photographer of the brothers taken by Stefan De Batselier just a year before. The painting belongs to a pivotal series within Peyton's oeuvre surrounding the brothers, one of which sold for $4.1 million USD last year.
Here we see the two tracksuit-clad brothers in an tight embrace, yet beneath the matching mod cuts, full brows and rosy cheeks is the quiet tension of their professional-private sibling dynamic. “It is a press image,” Sotheby’s specialist Antonia Garnder told The Guardian. “They’ve got their arms around each other, but you can feel that sort of slight tension within it. It feels so prescient, knowing now how it all ended up”
Just as the indie duo soar into pop stardom, so too did Peyton whose soft and moody paintings solidified her title as one of the most defining American portraitists of the era. Known for her portraits of pop icons, Liam + Noel (Gallagher) embodies her ability to rescue pop faces from the oppressive pressure of the spotlight and instead, present them with a tender, raw radiance.
The painting will be on view ahead of the auction at Sotheby's London galleries from June 18 through 24. For more information on the upcoming sale, head to the house's website.
New York is getting another addition to its esteemed roll of arts institutions. Slated to open in 2026, CANYON marks a first for the city, transforming a long-vacant 40,000-square-foot commercial space into a hub for video, sound performances and durational art.Equal parts museum, performance venue and social space, CANYON promises to bring depth to new forms of art. The venue will feature evening-focused hours and cutting-edge technology tailored to immersive, screen-based storytelling — works
New York is getting another addition to its esteemed roll of arts institutions. Slated to open in 2026, CANYON marks a first for the city, transforming a long-vacant 40,000-square-foot commercial space into a hub for video, sound performances and durational art.
Equal parts museum, performance venue and social space, CANYON promises to bring depth to new forms of art. The venue will feature evening-focused hours and cutting-edge technology tailored to immersive, screen-based storytelling — works “resists the quick glance,” co-founder Joe Thompson described.
Created by philanthropist Robert Rosenkranz and Thompson, who also serves as the founding director of MASS MoCA, the institution, at its core, is a commitment to artists specializing in time-based mediums, wrestling with ideas of surveillance, artificial intelligence and climate anxiety. “In a world where most people engage with information, memory and identity through screens, video has become the natural language of rising generations, and artists are using that language in profoundly inventive ways,” added Rosenkranz.
The upcoming institution will call Lower East Side's Essex Crossing home. New Affiliates Architecture has been tapped to lead the building's transformation, which will feature 18,000 sq. feet of gallery space, a 60-foot-tall gathering space and a 300-seat performance hall for concerts, lectures and screenings.” The goal, according to Thompson, is a welcoming environment that “feels more like a living room than a white cube,” with a focus on hospitality and atmosphere. Key cultural partners, such as Electronic Arts Intermix, Rhizome and the ARChive of Contemporary Music, will also maintain a permanent presence within CANYON.
While programming development is still underway, tentative plans include a retrospective of Japanese sound and media artist Ryoji Ikeda, and Worldbuilding, the acclaimed video game-focused group show curated by Hans Ulrich Obrist. As New York continues to push the boundaries of contemporary culture, CANYON positions itself as a future-facing space for the evolving language of contemporary art.
SummaryKAWS debuts THERAPY solo exhibition at Galerie Max HetzlerHighlights include "SPACE (2023)," which reimagines COMPANION as a melancholic astronaut, alongside new paintings featuring CHUM in existential momentsThe exhibition will be on view until August 9, 2025KAWS has unveiled THERAPY, a solo exhibition at Galerie Max Hetzler, marking his first collaboration with the Berlin-based gallery. Known for blending popular culture with fine art, KAWS brings his bold gestures, playful compositions
KAWS debuts THERAPY solo exhibition at Galerie Max Hetzler
Highlights include "SPACE (2023)," which reimagines COMPANION as a melancholic astronaut, alongside new paintings featuring CHUM in existential moments
The exhibition will be on view until August 9, 2025
KAWS has unveiled THERAPY, a solo exhibition at Galerie Max Hetzler, marking his first collaboration with the Berlin-based gallery. Known for blending popular culture with fine art, KAWS brings his bold gestures, playful compositions and emotionally charged characters to the forefront. The exhibition features a series of paintings and a monumental sculpture, exploring themes of human vulnerability and connection through his iconic hybrid cartoon figures.
In his new series of paintings, KAWS continues his exploration of seriality, featuring variations of "CHUM", a character he developed in the late '90s. Set against paint-stippled backgrounds, the works juxtapose sharp outlines with spontaneous textures, reminiscent of spray-painted street art. Shadows give the figures a sculptural depth, blurring the line between graphic illustration and fine art. Several compositions depict "CHUM" holding up a canvas, creating an image-within-an-image, while others place the character in existential moments.
The exhibition’s focal sculpture, "SPACE (2023)", presents an iteration of KAWS’ "COMPANION", a character first introduced as a vinyl toy in 1999. Standing at street level in the Bleibtreustraße 15/16 gallery, the stainless steel figure reimagines "COMPANION" as a melancholic space explorer, dressed in an astronaut suit with an oxygen tank. Instead of holding a flag, it covers its eyes with gloved hands, reflecting themes of resignation and existential contemplation. KAWS’ signature XX motifs, typically used for his characters’ eyes, now adorn the gloves, adding to the sculpture’s introspective tone.
KAWS’ THERAPY exhibition will remain at Galerie Max Hetzler until August 9, 2025.
Galerie Max Hetzler Bleibtreustraße 45, 10623 Berlin, Germany
“We need to take the time to do the things that are urgent, that are essential, that are necessary,” renowned curator Koyo Kouoh said in a 2023 podcast. “And for me, building out institutions on the continent is a matter of urgency.”
Today, those words carry even more weight following her death on Saturday, May 10, in Basel, Switzerland, after a short battle with cancer.
With her passing, the art world mourns one of its most fearless visionaries. But for African artists and practitioners, this i
“We need to take the time to do the things that are urgent, that are essential, that are necessary,” renowned curator Koyo Kouoh said in a2023 podcast. “And for me, building out institutions on the continent is a matter of urgency.”
Today, those words carry even more weight following her death on Saturday, May 10, in Basel, Switzerland, after a short battle with cancer.
With her passing, the art world mourns one ofits most fearless visionaries. But for African artists and practitioners, this is the loss of a giant—and I say that without exaggeration. Kouoh believed deeply that Africa’s creativity must be shaped and shared by those who live it.
Even more tragic is the timing: she died just ten days before she was to unveil her concept for the 2026 Venice Biennale.As the first African woman appointed to curate one of the world’s most prestigious art exhibitions, it was a dream interrupted. Yet her legacy continues. We can honor her legacy by moving with the same urgency she lived by in building our own spaces and telling our own stories.
Kouoh spent her life working to build platforms where African creativity could be seen, respected, and celebrated. She was the executive director and chief curator at the Zeitz Museum of Contemporary Art Africa in Cape Town.She once called the museum “an unapologetically and decisively Pan-African, pan-diasporic museum… we are building our own voice, our own language.” And she meant it. Under her leadership, the museum became a space that showcased African talent in powerful and lasting ways.
Born in Cameroon, raised in Switzerland, and building a career in Senegal, Kouoh knew how to move between worlds. She built bridges between artists, countries, and ideas. In 2008, she opened RAW Material Company in Dakar, an artist residency and space where she mentored young talent, published writing, and curated exhibitions that asked difficult questions about identity, migration, and history.
When she joined Zeitz MOCAA in 2019, she transformed a struggling institution. She changed how it was operated, brought in new people, and even redesigned the space to serve the art better. Under her leadership, the museum focused on giving artists the space to tell their full stories. She led major solo exhibitions for artists like Otobong Nkanga, Tracey Rose, and Senzeni Marasela.
In 2022, she curated When We See Us: A Century of Black Figuration in Painting, a powerful show about how Black people have represented themselves in art across Africa and the diaspora. It was part of her larger mission to reclaim African stories in contemporary art.
“Art is in the cracks, not in the polish,”she once said,reminding us that beauty and meaning often come from broken places. She also believed museums should stay close to their communities, not just the art world.
Kuouh was repeatedly named one of ArtReview’s 100 most influential figures in contemporary art. But what made her special wasn’t the rooms she was in or the titles she held. It was how she always put Africa at the center. Through her warmth, generosity, and belief in others, she created spaces where African artists and curators were seen and valued. She rooted everything she built on the continent and helped others believe they could lead too.
Her life is a reminder that we can’t wait. We must continue to build institutions and platforms. But more importantly, we must build each other, just as Kouoh did. If we want African creativity to be seen, we must make the space ourselves. That’s what she did, and that’s how we honor her.
Connexion
