22.2K
Followers
111
Following
240
Posts
N/A
Reels
5
Highlights
9/3
Photos/Videos in last 12
Bio
Upcoming Exhibition: Yaw Owusu | Where the Tide Flows, and the Dunes Gather | Opening 16th November 2026
-
Avg likes
-
Avg comments
-
Engagement
1.6/wk
Posting
Likes and comments are still being collected for this account. Check back shortly.
Recent posts
Efie Gallery is pleased to announce its participation in the inaugural edition of Frieze Abu Dhabi (@friezeofficial), taking place from 19–22 November 2026 at Manarat Al Saadiyat, where the gallery will present new work by Abdoulaye Konaté, El Anatsui (@elanatsui.art) and María Magdalena Campos-Pons (@maria_magdalena_campos_pons) at Booth A6.
Among the works featured in the presentation is Blanc sur blanc – No. 1 (2026), Abdoulaye Konaté’s first-ever white-on-white composition. Renowned for his masterful command of colour, Konaté turns towards restraint, allowing the quiet intricacies of texture, pattern and relief to assume a new expressive intensity.
At once intimate and contemplative, the work represents a profound departure from the vivid chromatic language that has long defined his practice. Through delicate variations in woven fabric, layered forms and intricate motifs, Konaté reveals the expressive possibilities of a single colour, where subtle shifts in light and shadow become a language of their own.
In this deliberate absence of colour, restraint becomes a powerful form of expression, revealing that even the quietest gestures can carry extraordinary depth.
———
Artwork in view:
Abdoulaye Konaté, Blanc sur Blanc - No.1, 2026
#EfieGallery #EfiɛGallery
04 Nov 2026
Last chance to view María Magdalena Campos-Pons (@maria_magdalena_campos_pons) at the 61st International Art Exhibition of La Biennale di Venezia (@labiennale), In Minor Keys.
Described by Grace Aneiza Ali (@grace_aneiza_ali) as a “monument in floral form,” Anatomy of the Magnolia Tree for Koyo Kouoh and Toni Morrison (2026) brings two extraordinary Black women into relation across generations and disciplines.
Eight towering panels bear portraits of Koyo Kouoh and Toni Morrison, while seven sculptural forms in resin and Murano glass draw upon the magnolia, a flower rooted in the American South and transformed here into a vessel for remembrance, resilience and renewal. Conceived in dialogue with a soundscape by Kamaal Malak (@kamaalmalak), the installation inhabits the exhibition’s “minor keys”: the quieter frequencies through which histories, voices and forms of knowledge endure.
The work holds particular resonance within a Biennale conceived by Koyo Kouoh and realised by her team in her honour, a tribute that is at once deeply personal and expansive, bringing Kouoh into conversation with Morrison and the generations of Black women whose work continues to remake the world.
Anatomy of the Magnolia Tree for Koyo Kouoh and Toni Morrison remains on view in the Central Pavilion, Giardini della Biennale, Venice, through 22 November 2026.
———
Video courtesy of La Biennale di Venezia (@labiennale)
#EfieGallery #EfiɛGallery
07 Oct 2026
Join us in marking the opening of ‘Where the Tide Flows, and the Dunes Gather’ with an intimate conversation between Ghanaian artist Yaw Owusu (@_yawowusu) and exhibition catalogue contributor, curator, and writer Ose Ekore (@oseekore), taking place on Monday, 16 November.
Marking Owusu’s second solo exhibition with Efie Gallery and the gallery’s fifth anniversary, the discussion will explore the development of a new body of work that signals a significant expansion of his artistic practice. Moving beyond his established investigations into currency, Owusu introduces textured canvases, mixed-media sculptures, and works on paper presented for the first time, extending his inquiry into material transformation, the construction of value, and the histories embedded within objects.
Set in dialogue with the exhibition, the conversation also marks the release of the accompanying exhibition catalogue, bringing together reflections on the evolution of Owusu’s practice by contributing writers Ibrahim Mahama (@ibrahimmahama3), Gameli Hamelo (@gahmeli), and Ose Ekore (@oseekore).
“Owusu has extended this investigation beyond currency itself, incorporating additional industrial materials and turning his attention towards the residues generated through their transformation. These remnants, which have increasingly found expression in his works on paper, shift the focus from the finished object to the material traces of its making and life-cycle. This process bears an affinity with analog photography, where the image is inseparable from the material conditions of its production, and where the preservation, handling and stewardship of negatives and other photographic artefacts are integral to the life of the image.”
— Extract from Ose Ekore’s contributing essay, ‘A Measure of Things: Yaw Owusu’s Expanding Currency of Value’, for the ‘Where the Tide Flows, and the Dunes Gather’ exhibition catalogue.
Date: Monday, 16 November 2026
Time: 4:00pm – 5:30pm
Location: Efie Gallery, Dubai
Kindly RSVP via link in bio.
———
Photos courtesy of Efie Gallery
#EfiɛGallery #EfieGallery
11 Nov 2026
“Kenyan artist Maggie Otieno (@themaggieotieno) transforms reclaimed materials into vessels of memory in Sojourner: The Difference is the Same, her first solo exhibition with Efie Gallery.
Otieno’s practice has centred on distressed and discarded materials for almost three decades. The exhibition includes works made from 150-year-old railway sleepers, whose histories are tied to East Africa’s colonial railway network, alongside sculptures incorporating fragments of wooden canoes produced during a residency at El Anatsui Studio in Ghana.
By cutting, assembling and reconfiguring these materials, Otieno shifts objects once associated with movement and infrastructure into forms concerned with stillness, memory and passage.”
— Faisal Al Zaabi and William Mullally for The National (@thenationalarts)
Last Chance to View:
Maggie Otieno “Sojourner: The Difference is the Same”
23 September - 8 November 2026
———
Photos courtesy of Moz Photography and Efie Gallery
#EfiɛGallery #EfieGallery
08 Nov 2026
The Ballad of Suzanne Césaire (2024), written and directed by filmmaker Madeleine Hunt-Ehrlich (@madeleine_hunt_ehrlich).
For this month’s film programme, Efie Gallery and Bootleg Griot are delighted to present a screening of The Ballad of Suzanne Césaire, taking place on Friday, 30th October at 7 PM.
A meditation on memory, motherhood and the silences of history, the film traces the elusive legacy of Suzanne Césaire, the Martinican writer, Surrealist thinker and anti-colonial intellectual whose radical imagination helped shape Caribbean thought, yet whose voice was so often obscured by the histories written around her.
Shot on 16mm, The Ballad of Suzanne Césaire moves between lush tropical landscapes, fragments of archival memory and the intimate gestures of a film being made. Blurring the boundaries between past and present, biography and fiction, Hunt-Ehrlich constructs a cinematic language in which history is neither fixed nor complete, but continually reimagined. What emerges is not simply an attempt to recover a forgotten life, but a poetic reflection on the impossibility of fully knowing another, and the histories that remain suspended between what is remembered and what has been lost.
As Hunt-Ehrlich reflects, “I’m not trying to erase what is incomplete.” Rather than offering a definitive portrait, the film embraces the fragments and absences of Césaire’s legacy, allowing her words and ideas to find new meaning in the present.
The screening is free to attend, but spaces are limited. RSVP is strictly required via the form linked in our bio.
———
Screening courtesy of Madame Negritude
#EfieGallery #BootlegGriot
26 Oct 2026
The work of Samuel Fosso (@sam.fosso) is currently on view at Tate Modern (@tate), London, as part of Performer and Participant, through 20 December 2026.
Bringing together works from his seminal series 70s Lifestyle and African Spirits (2008), the presentation traces Fosso’s enduring exploration of identity, self-representation, and the performative possibilities of photography.
Through the transformation of his own image, Fosso inhabits multiple identities, moving between personal expression and collective memory. His practice interrogates the histories, cultural narratives, and structures of representation through which identities are constructed, positioning the photographic self-portrait as both an act of personal expression and a means of historical reflection.
Presented within a dedicated gallery at Tate Modern, Fosso’s work enters into a broader dialogue with the history of performance art, affirming his singular contribution to contemporary photography.
———
Photos courtesy of JM Patras and artist
#EfieGallery #EfiɛGallery
22 Oct 2026
Efie Gallery is delighted to announce ‘Where the Tide Flows, and the Dunes Gather’, a solo exhibition by acclaimed Ghanaian artist Yaw Owusu (@_yawowusu), opening 16 November. Marking Owusu’s second solo exhibition with the gallery, the presentation coincides with Efie Gallery’s fifth anniversary.
Bringing together textured canvases, mixed-media sculptures, and, for the first time in his practice, works on paper, the exhibition extends Owusu’s longstanding exploration of value, currency, and the social structures through which worth is assigned and perceived.
Central to the exhibition is this significant development in Owusu’s practice. The works on paper created from the remnants of the alchemical processes used to produce his sculptures, introduce an inverse material language. While his sculptures transform coins of the lowest denominations into shimmering, almost golden surfaces, these works preserve the residue of that transformation through weathered, oxidised abstractions. What might otherwise be discarded becomes both material and record, questioning the distinction between what societies deem precious and what they overlook.
Drawing upon the movement of tides and the gradual accumulation of dunes, the exhibition considers how seemingly insignificant elements, gathered over time, come to shape larger histories, economies, and societies.
———
Photos courtesy of Efie Gallery and artist
#EfieGallery #EfiɛGallery
19 Oct 2026
Cette Maison (This House) (2022), written and directed by Haitian-Canadian filmmaker Miryam Charles (@miryam_charles)
For this month’s film programme, Efie Gallery and Bootleg Griot are delighted to present a screening of Cette Maison, taking place on Friday, 2nd October.
Moving between Haiti, Canada and the United States, Cette maison occupies a space between memory, imagination and lived experience. Drawing from personal and familial histories, Charles constructs a film in which time is fluid and the boundaries between documentary and fiction, presence and absence, become increasingly porous.
Describing the film through ideas of “memory reconstruction and fragmented memory,” Charles allows recollection to shape its very form. Shot on 16mm, Cette Maison unfolds through carefully composed landscapes, domestic spaces and fragments of sound, reflecting on migration, grief, exile and the meaning of home. As Charles observes, “Sound allows us more freedom in telling stories,” opening a space in which memory is not simply revisited, but reimagined.
The screening is free to attend, but spaces are limited. RSVP is strictly required via the form linked in our bio.
——
Screening courtesy of Oyster Films
#EfieGallery #BootlegGriot
29 Sep 2026
To mark the opening of Maggie Otieno’s (@themaggieotieno) debut solo exhibition, Sojourner: The Difference is the Same, the artist was joined in conversation by independent curator and art historian Shamma Al Mheiri (@shamma.z).
The conversation continued a dialogue between Otieno and Al Mheiri that began with Solace in Soil (2023), Otieno’s duo exhibition with Dr Mohamed Yousif (@dr.mohamed_yousif), curated by Al Mheiri at Efie Gallery.
Set in dialogue with the exhibition, their conversation considered Otieno’s enduring engagement with reclaimed and distressed materials, and the ways in which material can carry, retain, and transmit histories across time. Through the new body of work, they explored questions of memory, passage and transformation, alongside the intersections between personal experience and collective histories.
Sojourner: The Difference is the Same presents a new body of mixed-media sculptural works that extends Otieno’s longstanding practice of transforming reclaimed materials into forms that hold and reconfigure histories. Working across wood, metal and found materials, each marked by prior lives of movement, labour and infrastructure, Otieno draws these histories into new configurations, considering what persists through change and what can emerge through acts of transformation.
To watch the full discussion, kindly visit Efie Gallery’s YouTube channel linked in bio.
———
Photos and Videos courtesy of Efie Gallery and Moz photography
27 Sep 2026
Now on view, Sojourner: The Difference is the Same, a solo exhibition by Kenyan artist Maggie Otieno (@themaggieotieno).
In Because Walls Have Ears, Otieno’s solitary figure presses its head against the architecture, appearing to quietly eavesdrop on Chachu Tamu (Bittersweet) beyond. On one side, a figure stands alone; on the other, two lean towards one another in intimate exchange. Their positions are different, yet the impulse is the same: to listen, to draw closer, to connect.
This tension between difference and familiarity runs throughout the exhibition. Constructed from reclaimed materials bearing the traces of previous lives, Otieno’s figures retain their individual histories while finding new meaning through their proximity to one another. Here, the wall simultaneously separates and connects, becoming a threshold across which presence, conversation and memory seem to travel.
The Difference is the Same emerges through these subtle relationships, difference is not presented as distance, but as a point of convergence. Across distinct bodies, materials and experiences, Otieno reveals the gestures and conditions that remain shared.
Now on view:
Maggie Otieno
‘Sojourner: The Difference is the Same’
23 September - 10 November 2026
———
Photo courtesy of Moz Photography and Efie Gallery
#EfiɛGallery #EfieGallery
24 Sep 2026
Congratulations to Abdoulaye Konaté on the opening of L’âme des signes (The Soul of Signs), his landmark solo exhibition at the Musée National du Mali in Bamako.
Bringing together 37 works, including monumental textile compositions and recent creations, the exhibition marks Konaté’s return to the Musée National du Mali thirty-five years after his last exhibition at the institution. Across the presentation, colour, textile and symbolism form a visual language through which the artist reflects on memory, spirituality, identity, humanism, and the social and political transformations of our time.
Presented as part of the revitalisation programme of the Musée National du Mali, L’âme des signes brings Konaté’s internationally celebrated practice into renewed dialogue with the cultural and artistic landscape that has shaped a significant part of his journey.
L’âme des signes
Musée National du Mali, Bamako
1–30 September 2026
———
Photos courtesy of Musée National du Mali and the artist
#EfieGallery #EfiɛGallery
20 Sep 2026
Congratulations to El Anatsui (@elanatsui.art) on his inclusion in the inaugural TIME100 Art list (@time), recognising the artists, thinkers and cultural figures shaping the global art landscape today.
Recognised in the Icons category, Anatsui is celebrated by TIME as a “material alchemist” whose practice transcends continental and cultural boundaries. For more than five decades, his radical approach to material and form has transformed discarded and everyday materials into works of extraordinary scale and complexity, continually expanding the possibilities of contemporary art.
As Belinda Luscombe writes for TIME, “El Anatsui is that very rare artist whose work transcends continental cultural boundaries.” Through his transformations, materials carrying complex histories are reimagined into forms that remain fluid, mutable and open to new interpretations.
We extend our warmest congratulations to El Anatsui on this significant recognition and celebrate a practice whose enduring influence continues to reshape how material, history and place can be understood through art.
———
Photo courtesy of Ofoe Amegavie and Efie Gallery
#EfieGallery #EfiɛGallery
18 Sep 2026
Follower tracking
We have started recording @efiegallery, but only 1 observation so far — not enough to show a trend yet. Track it daily →
Download @efiegallery's data
Everything below is derived from this account, priced on the counts shown. Delivered as CSV by emailed link.
You only pay for rows we deliver. Counts are the maximum available today; if an export comes back smaller, the difference is refunded automatically. Counts as last collected 17 hours, 2 minutes ago.
Tracking
A monthly plan, not a download: we keep reading @efiegallery and email you what changed.
Other reports
Not downloads of this account: they take their own inputs.
Similar accounts
Accounts we track that share hashtags, mentions or bio topics with @efiegallery.
@elanatsui.art
33.3K followers
Also uses #efiegallery
@habda_
3,506 followers
Also mentions @elanatsui.art
@iambayn
5,066 followers
Also uses #efiegallery
@pippyhouldsworthgallery
50.3K followers
Also mentions @friezeofficial
@luma_arles
174.2K followers
Also mentions @kamaalmalak
@elkebuhr
15.5K followers
Also mentions @ibrahimmahama3
@nicolettafioruccifoundation
21.9K followers
Also mentions @friezeofficial
@epricco
4,384 followers
Also mentions @ibrahimmahama3