Solo Exhibitions

Arthur Timothy: Othello’s Countrymen (The Krio Enigma) is still on view at Gallery 1957 in London, United Kingdom until August 30, 2025

Othello’s Countrymen (The Krio Enigma) explores the complex intersections of race, identity, and belonging through the lens of the Krio people of Sierra Leone and their historical parallels with the figure of Othello in Shakespeare’s The Tragedy of Othello, the Moor of Venice. In this exhibition, Arthur Timothy visualises these psychological and cultural legacies in large-scale oil paintings rendered in fresh washes of colour. Drawing from personal memory, archival family photographs, and historical research, Timothy works invite reflection on the lasting impact of colonialism and the fragile complexities of assimilation. At once intimate and expansive, this timely and poignant exhibition explores how identity is shaped – and often fractured – by the forces of history.

Theaster Gates: The Ever-Present Hand is still on view at the Albuquerque Foundation in Sintra, Portugal until August 31, 2025

In recent decades, Theaster Gates’ oeuvre has become increasingly diversified and porous to encompass social activism, music, urban development, sociology and cultural studies. The artist’s gaze seems to constantly glimpse something beyond the boundaries of the visible. His hands and his voice seem to touch, mould and speak of something that does not yet exist, but is nevertheless right there. In the last years, Gates has used the term Afro-Mingei to express the power that wells up from the combination of different creative traditions, such as politically and racially charged black aesthetics and the ceramic traditions of China, Korea and particularly Japan, where the concept of mingei highlights the silent, imperfect beauty of everyday and utilitarian objects.

Tabita Rezaire: Des/astres is still on view at Fondation Louis Vuitton in Paris, France until August 31, 2025

Tabita Rezaire presents the film Des/Astres (2024), the last part of a trilogy devoted to the ties that humanity forges with cosmos. Originating at various megalithic sites, this series of films explores their astronomical links to address the connections between Earth and Sky. While the first work (Mamelles ancestrales, 2019) explored Senegambian stone monuments to understand our relationships with the dead, the second work (Orbit Diapason, 2021) presented a reflection on the existence of extraterrestrial life from a South African megalithic site. The third work (Des/astres, 2024) examines humanity’s desire to go beyond the earth and commune with the invisible. This new film was shot on the Guiana Plateau in the Amazon rainforest and unfolds in four chapters (forest, water, stone, sky), each offering a unique way to connect with the cosmos. For the presentation of this film, the artist has designed a planetarium hut (a carbet), inspired by Amazonian vernacular architecture.

Group Exhibitions

some things just don’t wash off is still on view at dot.ateliers in Accra, Ghana until August 30, 2025

some things just don’t wash off is a group exhibition featuring works by Christopher Samuel Idowu, Chukwumereogo Okeke, and Nobel Koty, developed during their residencies at dot.ateliers | South Labadi. The exhibition explores material as memory, surface as story, and the body as a vessel for emotion, history, and transformation. Each artist brings a deeply embodied approach to their process—using materials, both primary and experimental, as tools for excavating what lingers. Across their practices, materials carry with them the textures of place, labour, and selfhood. Together, their works invite viewers to consider how materials move—across regions, bodies, and histories—and how, through artistic practice, they are reshaped into new geographies of meaning. These practices form connections between artists and materials, bodies and earth, memory and surface.

The Blue Between Us is still on view at Rele Gallery in London, United Kingdom until August 31, 2025

The Blue Between Us brings together a group of artists connected not by concept or theme, but by the presence of a single, unifying hue. Here, blue arrives softly, in powder tones that are weightless and pale, before deepening into richer, moodier expressions that linger on the eye and stir something just beneath the surface. This is not an exhibition bound by narrative. Instead, it is an invitation to experience the subtlety of blue in its emotional and aesthetic range. The artworks move like a memory half-returned: tender, charged, and impossible to hold.