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Taking up space and amplifying stories 🌍 Independent art curator Art dealer (@bwoartgallery) #BlackJoy
Links
www.artnews.com/art-news/news/brice-arsene-yonkeu-amoako-boafos-dot-ateliers-gagosian-1234746417 www.frieze.com/article/abstracto-concreto-2026-review www.thenationalnews.com/arts-culture/art-design/2026/07/28/efie-gallery-dubai-in-abstracto-concreto-art-exhibition open.spotify.com/episode/3jUvZCeVjy2pDkM8juFBAo podcasts.apple.com/us/podcast/brice-ars%25C3%25A8ne-yonkeu-in-conversation-with-folasade/id1500171405?i=1000720889170-
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#contemporaryart#africanart#emmaprempeh#perrotin#paris#artnews#newsmakers#gagosian#dotateliers#eversopresent
Recent posts
Last week I sat down with @ARTnews for a Newsmakers profile by Daniel Cassady (@cassadyphotos) —part of the magazine’s new series spotlighting the voices reshaping today’s art world.
The feature traces my curatorial process and the thinking behind “Ever So Present II: Between Home and Elsewhere,” now on view at @Gagosian Park & 75 through August 8, while reflecting on the journey that began at @dot.ateliers in Accra and the exceptional contributions of the artists showing in the New York iteration.
I am immensely grateful for the platform—and for the artists, collaborators, and mentors who continue to shape this path. Swipe for key excerpts (and link 🔗 in bio for full article).
#ARTnews #Newsmakers #Gagosian #dotateliers #EverSoPresent #Curating #ContemporaryArt
02 Jul 2025
ARTNET NEWS
Bwo is featured in a profile article on @artnet covering the gallery’s inaugural exhibition with a solo of Sesse Elangwe, and discussing the founders’ motives for settling in the bustling city of Douala.
Many thanks to ✍️ @rebeccaanneproctor for being part of this milestone and telling Bwo’s story.
Full article 🗞️ on Artnet News.
[Portrait of Brice Yonkeu and Noelle Mukete-Elhalaby taken by Wilfried Koté Amoyi]
@sesseelangwe
#Bwo #Artnet #ArtnetNews #SesseElangwe #Cameroon #Douala #ContemporaryArt #AfricanArt #ArtCollectors
20 Sep 2023
This 61st edition of the Venice Biennale Arte was undoubtedly special. Immense congratulations to Koyo Kouoh’s closest collaborators, who did an incredible job honoring her vision, and to all the participating artists, who gave so much of themselves with their rich and ambitious contributions. Words can’t capture the magic and wonder of watching artists explore the full reach of their creativity. Koyo’s vision was executed with so much care, and grace, and love, and ambition.
I left Venice this week with so much to marvel at and a renewed spirit, having experienced the Biennale at the pace its curators and artists invited us to take. #InMinorKeys
La Biennale de Koyo, forever in our hearts.
#Biennale #Venice #BiennaleDiVenezia #KoyoKouoh
—
Khaled Sabsabi • Maria Magdalena Campos-Pons + Kamaal Malak • Wangechi Mutu • Nick Cave • Kaloki Nyamai • Alexa Kumiko Hatanaka • Edouard Duval-Carrié • Akinbode Akinbiyi • Léonard Pongo • Kennedy Yanko • Nina Katchadourian • Thania Peterson • Marcia Kure • Seyni Awa Camara, Werewere Liking, Big Chief Desmond • Senzeni Marasela • Joana Hadjithomas + Khalil Joreige • Kambui Olujimi
17 Sep 2026
Last Saturday, The Domain of the Stranger opened @Perrotin (Paris), Emma Prempeh’s debut solo exhibition in Paris, and one I had the privilege of curating.
An excerpt from the curatorial essay:
“Across this exhibition, invention becomes @reclus__e ‘s way of admitting she is never fully at home in either of her worlds. Rather than resolve that condition, she inserts what she carries of one place into the other, so that the reconnection her practice reaches for is made by her own hand rather than by the accident of two places sharing a name. It is a particular trick, one only a magical realist can manage: making the transplanted feel native, the imagined feel remembered.”
The week held three distinct moments, a preview, an Artist Talk between Emma and I within the gallery, and the opening itself. I’m deeply grateful to Emma for her trust throughout this process, and to the whole Perrotin team for their care in bringing the show to life. And to everyone, family and friends near and far, who became part of these moments, thank you for being there.
Photo credit: @izystudio.co / @boltizy
Last Saturday, The Domain of the Stranger opened @Perrotin (Paris), Emma Prempeh’s debut solo exhibition in Paris, and one I had the privilege of curating.
An excerpt from the curatorial essay:
“Across this exhibition, invention becomes @reclus__e ‘s way of admitting she is never fully at home in either of her worlds. Rather than resolve that condition, she inserts what she carries of one place into the other, so that the reconnection her practice reaches for is made by her own hand rather than by the accident of two places sharing a name. It is a particular trick, one only a magical realist can manage: making the transplanted feel native, the imagined feel remembered.”
The week held three distinct moments, a preview, an Artist Talk between Emma and I within the gallery, and the opening itself. I’m deeply grateful to Emma for her trust throughout this process, and to the whole Perrotin team for their care in bringing the show to life. And to everyone, family and friends near and far, who became part of these moments, thank you for being there.
Photo credit: Claire Dorn, cou
09 Sep 2026
Dear friends in Paris, please join me next Saturday for a conversation with Emma Prempeh (@reclus__e) @Perrotin, as part of the opening of her solo exhibition ‘The Domain of the Stranger.’
During our conversation, Emma and I will discuss her artistic practice, how this collaboration came about, and the works on view in the exhibition.
Perrotin
📍76 rue de Turenne, 75003
🗓️Saturday, September 5th, 2026
🕟 4:30 PM- 5:30 PM
‘The Domain of the Stranger,’ curated by yours truly, will be on view through September 26 at Perrotin.
Looking forward to reconnecting and making new friends!
—
Slide 1: Portrait of Emma Prempeh by Nana Ampofo, and portrait of Brice Yonkeu by Daniel Che.
Slide 2: Emma Prempeh, Is this legacy? (2026), courtesy of the artist and Perrotin
Slide 3: Perrotin at 76 rue de Turenne in Paris, ©️DR
#EmmaPrempeh #Perrotin #ContemporaryArt #Paris
29 Aug 2026
🗞️ 📰 Since opening in May, ‘In Abstracto, In Concreto: On Memory and Presence’ @efiegallery has received an overwhelming response from visitors, collectors and the press.
Sharing here a few words and clips from @friezeofficial , @thenationalnews.com, and @gqmiddleeast, publications that have been generous with their attention to this exhibition, and to the artists’ work.
This exhibition started with a routine conversation with my dear friend and artist @bouenguidi last year. Watching it become a fully realized show thanks to Efie Gallery’s trust in my curatorial vision, has been one of the great joys of this year.
Baldwin wrote, ‘I am what time, circumstance, history, have made of me, certainly, but I am, also, much more than that.’ Working on this exhibition, studying each artist’s practice, I kept returning to these lines from ‘Autobiographical Notes’ (1955). The artists featured in the show (@tunjiaj @lukechidiagada @lnkoth @bouenguidi) continue to build visual languages capacious enough to hold historical memory and the excess that exceeds it.
On view at Efie Gallery Dubai through 21 September 2026.
🔗 Links to the articles in bio.
#ContemporaryArt #ArtDubai #AfricanArt #abstractpainting #figurativepainting
03 Aug 2026
I am thrilled to share that I’ll be curating Emma Prempeh’s debut solo exhibition in Paris titled ‘The Domain of the Stranger’, opening at @Perrotin on 5 September 2026.
Across new paintings made between Accra and London, Emma (@reclus__e) traces what it means to belong to more than one place, and fully to none. The exhibition doesn’t try to settle that tension. It simply holds the door open.
Emma and I have exchanged ideas and reflected on her work together since 2021, long before we ever worked on a show. Since then, we’ve collaborated formally through group exhibitions I’ve curated, but this will be the first time I curate a solo show of hers, one that happens to land in Paris, my second home after Douala.
Over the past few months, we’ve been working closely towards this exhibition, and I am grateful for her trust, as well as for the collaborative spirit of Perrotin’s team throughout this process.
If you’re in Paris on 5 September, please mark your calendars and join us at Perrotin, 76 rue de Turenne in le Marais.
Artwork details: Emma Prempeh, “One world for another” (2026), courtesy of the artist and Perrotin. Photo credits: Nii Odzenma
#EmmaPrempeh #Perrotin #ContemporaryArt #Paris
I am thrilled to share that I’ll be curating Emma Prempeh’s debut solo exhibition in Paris titled ‘The Domain of the Stranger’, opening at @Perrotin on 5 September 2026.
Across new paintings made between Accra and London, Emma (@reclus__e) traces what it means to belong to more than one place, and fully to none. The exhibition doesn’t try to settle that tension. It simply holds the door open.
Emma and I have exchanged ideas and reflected on her work together since 2021, long before we ever worked on a show. Since then, we’ve collaborated formally through group exhibitions I’ve curated, but this will be the first time I curate a solo show of hers, one that happens to land in Paris, my second home after Douala.
Over the past few months, we’ve been working closely towards this exhibition, and I am grateful for her trust, as well as for the collaborative spirit of Perrotin’s team throughout this process.
If you’re in Paris on 5 September, please mark your calendars and
23 Jul 2026
Il tape les gens pour vivre @francisngannou, je raconte des histoires pour vivre 💫
Had the most amazing time last week at the inauguration gala of Francis Ngannou’s events center Venice Hall in Yaoundé, hosted by my spectacular sister @sophyaiida ❣️
📸: @my_picture_fotografia
09 Jul 2026
‘In Abstracto, In Concreto: On Memory and Presence’ curated by Brice Arséne Yonkeu (@iambayn)
Opening this evening, this group exhibition brings together an encounter with works on paper and paintings by leading contemporary artists: Luke Agada (@lukechidiagada), Tunji Adeniyi-Jones (@tunjiaj), Ludovic Nkoth (@lnkoth) and Naïla Opiangah (@bouenguidi).
“Three interwoven threads run through the exhibition without dividing it into fixed zones. The first follows the surfaces where memory and inheritance accumulate, where what has been endured leaves its mark on form itself. The second traces the generative transformation that occurs when inherited material passes through mythological or surrealist registers, producing new lineages and hybrid worlds. The third attends to the body as a site of tenderness and care, insisted upon in its fullness, protected in its vulnerability. These threads interpenetrate across works and across practices, carried by materials that share a quality of immediacy and vulnerability.”
- Brice Arséne Yonkeu
———
Photos courtesy of Efie Gallery and artists
#EfiɛGallery #EfieGallery
16 May 2026
For May’s edition of the GIDA Library, Brice Arsène Yonkeu (@iambayn) brings together a selection of works across photography, film, painting, literature, and exhibition-making!
The French-Cameroonian independent curator and art dealer’s practice explores the intersections of memory, identity, and spatial politics across contemporary Africa and diasporic contexts. Through storytelling, research, and an attention to underexamined histories, his work considers how personal and collective narratives continue to shape cultural memory.
For this month’s selection, Yonkeu highlights works that reflect on freedom, spirituality, political consciousness, and identity. Moving between Malick Sidibé’s images of post-independence liberation, Lynette Yiadom-Boakye’s emotionally charged paintings, and Achille Mbembe’s reflections on postcolonial Africa, the selection offers an intimate insight into the references, encounters, and ideas that continue to inform his curatorial perspective.
Subscribe to our newsletter via the link in our bio to read the full selection of recommendations.
13 May 2026
I was recently invited to Harvard to speak at a conference, and extended my stay to visit Noah Davis’ retrospective at the Philadelphia Museum of Art before its closing.
It was a rare and genuinely moving experience to be in such close proximity to the full weight of his oeuvre. At its core, Davis’ practice begins with something deceptively simple: the desire to portray Black life. But to understand why that gesture carries such force, you have to hold it against centuries of willful invisibilization in art history. What he does with that weight is remarkable. The banal becomes elevated, reimagined through the filter of his inner world, and the familiar, a gesture, a room, a moment, a neighborhood, gets suspended somewhere between memory and dream.
He was 32 when he died in 2015. And yet the breadth of what he left behind is staggering. Canvas after canvas, I kept thinking of how clearly I could trace his influence running through the work of many artists painting today. His vocabulary has become part of a shared inheritance.
The work is introspective, but also ambitious, futuristic, altruistic, comforting, and quietly interrogative all at once. Making art was his primary language for engaging with the world, and it remained so until his very last day. This was heartfelt throughout the entire exhibition.
#NoahDavis #ContemporaryArt #BlackArt #UndergroundMuseum #philadephia
04 May 2026
By His grace. Life in minor keys #2025
31 Dec 2025
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