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Gallery 1957

@gallery1957

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Accra | London Contemporary art gallery collaborating with creatives from the Global South and its diaspora.

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#gallery1957 #1957residency

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💫 As Na Chainkua Reindorf prepares for her upcoming exhibition with Gallery 1957 in Accra in January 2027, step inside her studio, where she is exploring masquerade, mythology and world-building through painting and sculptural raffia installations. Drawing on West African folklore, Greek mythology, Christianity, personal histories and the traditions of masquerade in Winneba, in Ghana’s Central Region, Na Chainkua conceives an imagined female masquerade society, Mawu Nyonu (meaning “God is a woman”), populated by seven fictional female avatars. Inspired in part by the mischief and imaginative play of children, her work reinterprets predominantly masculine masquerade traditions, imagining new possibilities for female agency, self-expression and transformation. During her residency, Na Chainkua is creating a new body of work centred on Tokpe, one of the seven alter egos within this fictional universe. A trickster figure associated with mischief, Tokpe is elusive and unpredictable, embodying the shifting nature of the character. She is characterised by her yellow skin, two opposing heads and raffia fringe, which becomes a portal between worlds. Spirals recur throughout Reindorf’s visual language, evoking both beauty and danger and reflecting Tokpe’s dual nature: a balance between chaos and order, the predictable and the unknown. — #Gallery1957 #1957Residency @ncreindorf 14 Nov 2026

Presented in "Where the Earth Remembers", curated by Marwan Zakhem, Tunji Adeniyi-Jones brings together an ensemble of paintings and wallpaper that reflects a new direction in his practice, building on his exploration of space and movement following "Celestial Gathering" (2024), his ceiling painting for the Nigerian Pavilion at the 60th Venice Biennale. Works including "Deep Blue Double Dive" (2026), "Deep Blue Vines" (2026) and the series of the "Rose Quartet" (2026) feature highly stylised, genderless figures that appear to writhe, dive and move through dense fields of botanical forms. Drawing on Yoruba traditions of body painting and scarification, Adeniyi-Jones uses fluid lines and abstraction to create figures that move across histories and identities, inhabiting a space between the human, the mythical and the symbolic. His visual language also recalls the work of Harlem Renaissance artist Aaron Douglas, particularly his use of silhouette to express multiplicity. The presentation also marks a new departure for Adeniyi-Jones with the introduction of wallpaper as an integral part of his practice. The deliberate contrast between the "Rose Quartet" paintings, positioned against the expansive wallpaper, reflects his evolving approach to the relationship between painting and space. Rather than functioning as a backdrop or container for the paintings, the wallpaper embodies the abstract visual language that runs throughout his work, becoming something that painting itself can generate. 📍 Unlimited, Gallery 1957, Accra 📆 On view until Saturday, 16 January, 2027 __ @tunjiaj @mg.zakhem 13 Nov 2026

✨ Now on view at the Fondation Cartier pour l’art contemporain in Paris, "The Harvest Season" brings together artists and collectives whose practices explore Ghana’s colonial and postcolonial histories, the transmission of knowledge, material heritage and the possibilities of imagining new futures. Conceived by Ghanaian artist Ibrahim Mahama with nine invited artists and collectives, and curated by Aby Gaye-Duparc and Jeanne Barral, with Chiara Agradi as associate curator for James Barnor, the exhibition features Dorothy Akpene Amenuke, James Barnor, Cercle d’Art des Travailleurs de Plantation Congolaise (CATPC), Courage Dzidula Kpodo, Gideon Appah, Zohra Opoku, Postbox Ghana, Tjaša Rener and Feda Wardak. At the heart of the exhibition, Ibrahim Mahama brings together a body of work reflecting on Ghana’s histories, industrial heritage and collective memory. Through installations including "Parliament of Ghosts" (2025) and "Dawal" (2026), alongside a series of photographs, Mahama examines the traces of labour, the circulation of materials and the histories embedded in everyday objects and spaces. His practice transforms these material and historical remnants into powerful reflections on the relationship between past and present. Gideon Appah is featured in this landmark exhibition through a presentation of approximately thirty works, including a new commission conceived specifically for the Fondation Cartier. Marking his first presentation of this scale in Europe, the exhibition showcases works drawing on Ghana’s visual archives, particularly advertisements and press imagery from the 1950s to the 1980s. Appah creates dreamlike compositions inhabited by fictional figures rooted in historical realities. The presentation also includes works presented by Gallery 1957, among them "Target Practice (Swimmers and Surfers Series)" (2024), "The Sleeping Lady" (2026) and "If We Had a Thousand Years" (2020), "Another Place" (2020), among others. 📅 On view until 28 February 2027 📍 Fondation Cartier pour l’art contemporain, Paris __ @fondationcartier @ibrahimmahama3 @appah_gideon @abygaye_ @jeannebarral @chiaraagradi  Photos: ©️ Thibaut Voisin, Benoît Fougeirol 12 Nov 2026

"Where the Earth Remembers", curated by Marwan Zakhem, is now open in our UNLIMITED space in Accra as part of the gallery’s 10th anniversary celebration and Accra Cultural Week programme. Bringing together artists from Ghana, across Africa and its diaspora, the exhibition considers the earth as a living repository of history, preserving the traces of human experience, labour and successive generations. Among the artists featured is Amoako Boafo, whose paintings explore portraiture as a space for visibility, dignity and self-definition. Through expressive brushwork, his distinctive finger-painting technique and vibrant colour, Boafo celebrates the individuality and presence of Black subjects. In collaboration with architect Glenn DeRoché, Boafo has conceived a site-specific scenography comprising a pavilion of paintings and a garden. Designed as an intimate, contemplative setting, the installation invites visitors to pause, reflect and meditate. Pictured here is "Bouquet of White Roses" (2025), depicting a bride holding a bouquet against a deep green background. Through Boafo’s expressive treatment of the figure, the portrait conveys a sense of dignity, quiet confidence and self-possession. 📍 UNLIMITED, Gallery 1957, Accra 📆 On view until Saturday, 16 January 2027 __ @amoakoboafo @mg.zakhem 11 Nov 2026

✨ Gallery 1957 is delighted to announce our inaugural participation at Frieze Abu Dhabi 2026, with a solo presentation of works by Ghanaian artist Godfried Donkor at Booth G05. Spanning painting, collage and embroidery, the presentation explores Donkor’s longstanding engagement with histories connecting Africa, Europe and the Caribbean. Moving between the boxing ring, the Asante kingdom and the pages of the Financial Times, his works examine how histories are recorded and represented, questioning whose achievements are celebrated and how systems of power shape what we value. Among the works on view is “Ashanti War Captain (1817)” (2026), which draws on Donkor’s research into the early nineteenth-century travels of Thomas Edward Bowdich and Sarah Bowdich in West Africa. Depicting an Asante military figure in elaborate ceremonial regalia, Donkor revisits the political and cultural histories of the Asante kingdom, challenging the colonial perspectives through which these histories were documented. Join us at Booth G05 from 19–22 November to experience this work alongside Donkor’s paintings, collages and embroideries in person! 📍Manarat Al Saadiyat, Sheikh Khalifa Bin Zayed Al Nahyan Hwy, Al Saadiyat Island – Cultural District, Abu Dhabi, UAE 📅 19–22 November 2026 VIP Preview: Thursday 19 November | 2–9pm Public Opening: Friday 20 November | 2–9pm Saturday 21 November | 2–9pm Sunday 22 November | 2–9pm – @friezeabudhabi @godfrieddonkor 11 Nov 2026

✨It’s Day 3 of Art X Lagos, and we’re excited to welcome you to Booth 5. Presented by Gallery 1957, the exhibition brings together recent and newly created works from the artist’s studio, including the premiere of "Bringer of Light", her largest work to date (223 × 472 cm), originally commissioned for "Where the Earth Remembers", Gallery 1957’s landmark group exhibition in Accra celebrating the gallery’s 10th anniversary. The presentation also builds on Fadugba’s recent participation in "Aether Commons: Refracted Cosmologies", curated by Azu Nwagbogu at Fundacja Stefana Gierowskiego in Warsaw, Poland. In "As Blue is to Bronze", colour becomes more than a visual language: it is a way of organising form, articulating cultural memory and examining how value and authority are constructed. Drawing on references ranging from Henri Matisse’s cut-outs and Yves Klein’s blue monochromes to Yoruba regalia and Benin bronzes, Fadugba explores the relationship between colour, material and collective memory. Blue and bronze emerge as two distinct yet interconnected visual languages. While blue evokes water, continuity and chromatic reduction, bronze speaks to endurance, lineage and the articulation of power. Framed by hand-sewn, colour-coordinated beads, the works invite us to consider how objects acquire meaning as they move between the intimate and the monumental. We look forward to welcoming you. 📍 Booth 5 Federal Palace, 6–8 Ahmadu Bello Way, Victoria Island, Lagos, Nigeria 📅 5–8 November 2026 Public Opening Days:  Saturday 7 November, 10am–8pm ART X Live!, 10:30pm–2am Sunday 8 November, 10am–8pm  – @artxlagos @modupeola.fadugba 07 Nov 2026

💫We are thrilled to announce that Rita Mawuena Benissan has won the 2026 Sovereign African Art Prize, receiving the Grand Prize of USD 25,000 for her work "We Follow the Lead of our Own". "We Follow the Lead of our Own" by Rita Mawuena Benissan draws from a screen grab of a 1950 chieftaincy ceremony in Accra, where chiefs from across Ghana processed to greet Sir Charles Nobles Arden-Clarke, the last Governor of the Gold Coast. The red canopy holds the weight of ceremony and power, while the figures blur into a single body in motion. The work will be presented at Magugu House, Belmond Mount Nelson Hotel, Cape Town, from 21 November 2026 to 12 February 2027. The Public Vote remains open until late January 2027. Visit @sovereignafricanartprize’s website and cast your vote for Rita Mawuena Benissan by clicking on their profile, also accessible via the link in our bio. The artist receiving the most public support will be awarded the Public Vote Prize. 📅 Exhibition: 21 November 2026 – 12 February 2027 Opening Hours: Tuesday–Saturday, 10am–6pm 📍Magugu House, Belmond Mount Nelson Hotel 76 Orange Street Gardens, Cape Town, South Africa __ @ritamawuena @sovereignafricanartprize 07 Nov 2026

Celebrating our 2026 Yaa Asantewaa Art Prize winners! ✨ Two artists. Two countries. One transformative journey. This year, we celebrate the remarkable talents of our Ghanaian and Senegalese winners, whose creativity, vision and artistic voices embody the spirit of the Yaa Asantewaa Art Prize. Congratulations to our Ghanaian winner Kwama Frigaux who was represented by her Uncle Mr. Pacx and Aunt and our Senegalese winner Fatoumata Sy. As we continue to champion and create opportunities for African women in contemporary art, we look forward to the journeys, stories and possibilities that lie ahead. Congratulations to our winners! 🥂 — Célébrons les lauréates du Prix d’art Yaa Asantewaa 2026 ! ✨ Deux artistes. Deux pays. Un parcours transformateur. Cette année, nous rendons hommage aux talents remarquables de nos lauréates ghanéennes et sénégalaises, dont la créativité, la vision et l’expression artistique incarnent l’esprit du Prix d’art Yaa Asantewaa. Félicitations à notre lauréate ghanéenne, Kwama Frigaux, représentée par son oncle, M. Pacx, et à notre lauréate sénégalaise, Fatoumata Sy. Alors que nous continuons à défendre et à créer des opportunités pour les femmes africaines dans l’art contemporain, nous nous réjouissons à l’avance des parcours, des histoires et des possibilités qui s’offrent à nous. Félicitations à nos lauréates ! 🥂 05 Nov 2026

Gallery 1957 is honoured to present a solo exhibition, "As Blue is to Bronze", by Nigerian artist Modupeola Fadugba for Art X Lagos 2026. This special presentation coincides with the Gallery’s 10-year anniversary and the premiere of Fadugba’s largest work to date, "Bringer of Light", scaling an ambitious 223 cm x 472 cm commissioned for the current group show in Accra, Where the Earth Remembers. It brings together recent and brand-new works from the artist’s studio and group exhibition, "Aether Commons: Refracted Cosmologies", curated by Azu Nwagbogu at Fundacja Stefana Gierowskiego in Poland, Warsaw (May 31 – October 18 2026). The works on display examine colour as a structural, conceptual, and cultural system within Nigerian aesthetics. Rather than treating colour – from indigenous indigo and Yves Klein blues to Yoruba wood and Benin bronzes – as a symbol or surface effect, each piece approaches pigments as a material logic, one that organises form. The project begins in dialogue with Henri Matisse’s cut-outs, extending beyond the human figure to objects of commemoration and exploring how a sculpture can be understood as a monument scaled to the level of collective memory. Blue monochrome works draw simultaneously from chromatic reduction found in French Masters, royal Yoruba regalia, and water as a recurring conceptual site within the artist’s practice. In contrast, works in bronze employ approximately five tonal variations within a restricted palette to articulate volume and mass, pomp and circumstance. Here bronze functions not as illusionistic metal, but as a chromatic language associated with endurance, lineage, and continuity. Framed in colour-coordinated hand-sewn beads, the works operate as meditations on scale and value, asking how authority, victory, and virtue are visually constructed, and how meaning shifts as objects move from the intimate to the monumental. 📍 Booth 5 Federal Palace, 6–8 Ahmadu Bello Way, Victoria Island, Lagos 📅 5–8 November 2026 Public Open Days Saturday / November, 10am-8pm ART X Live!, 10pm Sunday 8 November, 10am-8pm __ @artxlagos @modupeola.fadugba 05 Nov 2026

Still unpacking, Accra Cultural week in Tamale ! 04 Nov 2026

✨ As part of Accra Cultural Week, we are proud to present Serge Attukwei Clottey’s "Jamestown nshonaa (Jamestown Beach)" at Red Clay Studio in Tamale, Ghana, marking the installation’s first-ever journey beyond its original location. Established by internationally acclaimed Ghanaian artist Ibrahim Mahama, Red Clay Studio provides a new context for Serge’s immersive exploration of Jamestown, creating a dialogue between two distinct Ghanaian landscapes through art, memory, materiality, and identity. Through fishing nets, sand, a fishing boat, corrugated metal structures, and the sounds of the sea, Serge Attukwei Clottey transforms the sensory landscape of Jamestown into an immersive environment that reflects its histories, labour, resilience, and ingenuity. From the shores of Accra to the savanna landscape of Tamale, the installation invites us to reflect on the stories, materials, and experiences that connect us. Opening today at Red Clay Studio, as part of Accra Cultural Week. 📆 Accra Cultural Week: 29 October – 2 November 2026 📍 Red Clay Studio, Tamale __ @sergeclottey @afrogallonism @redclay_studio 📷 Ernest Sackitey 02 Nov 2026

✨ Coming up tomorrow as part of Accra Cultural Week 2026, Gallery 1957 is delighted to present a day of inspiring conversations, artistic exchange and celebration. The morning begins at 10am with Godfried Donkor and Modupeola Fadugba in conversation with curator Azu Nwagbogu, followed at 11:30am by Ibrahim Mahama in conversation with Gallery 1957 Founder Marwan Zakhem. At 2pm, join 2025 Yaa Asantewaa Art Prize winner Theresah Ankomah and exhibition curator Kezia Ouomoye Owusu-Ankomah in conversation with Director of the Yaa Asantewaa Art Prize, Leila Zakhem. This will be followed at 3pm by the Yaa Asantewaa Art Prize Panel Discussion, bringing together jury members Touria El Glaoui, Dominique Heyse-Moore and Alexa Waley-Cohen, moderated by Leila Zakhem. We are also delighted to share that the winners of the 2026 Yaa Asantewaa Art Prize will be announced following the discussion. To close the day’s programme, we move to the Si Hene Foundation (@si.hene) for an evening featuring Rita Mawuena Benissan in conversation with curator Habda Rashid at 6pm, a cocktail reception and an opportunity to explore the foundation’s archival practice. We look forward to welcoming you tomorrow! ☀️ 📆 Sunday 1 November 2026 📍 Capitol Meeting Room, Kempinski Hotel Gold Coast & Galleria Mall, Accra (10am–3pm) 📍 Si Hene Foundation, 128 Ring Road East, Accra (6pm) — @godfrieddonkor @modupeola.fadugba @ibrahimmahama3 @mg.zakhem @trezytherzy @kezia_ouomoye @yaaasantewaaartprize @telglaoui @dominique_h_m_ @alexaewc @leila_zakhem @ritamawuena @habda_ 31 Oct 2026

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DfuOwBDApYD	💫 As Na Chainkua Reindorf prepares for her upcom…
Dfr7_gBAKuT	Presented in "Where the Earth Remembers", curate…
DfpVZNZjDuv	✨ Now on view at the Fondation Cartier pour l’ar…

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DfuOwBDApYD	💫 As Na Chainkua Reindorf prepares for her upcom…
Dfr7_gBAKuT	Presented in "Where the Earth Remembers", curate…
DfpVZNZjDuv	✨ Now on view at the Fondation Cartier pour l’ar…

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