Ka ọ dị mgbe anyi g’afu ozo (Until We See Next Time)

CCA Lagos  |  Lagos  |  By Ada Kalu

In Ka ọ dị mgbe anyi g’afu ozo (Until We See Next Time), grief is an encounter with absence that never really leaves. The exhibition expands our understanding of grief beyond death, considering its effects on relationships and sense of self. Lovelyn Tijesunimi-Israel’s Drawn Apart: Grieving the Living is among the exhibition’s most compelling propositions, using fine lines to give shape to the messy afterlife of relationships, while also considering the physical consequences of emotional loss. Elsewhere, Oyewole Lawal’s A Face I Arrived Too Late For considers inheritance and memory, asking how much of the self belongs to those who came before. The exhibition is less convincing when it tries to contain grief in its questionnaire. Its strongest works allow absence to remain present, unresolved and felt.

Through 17 October 2026   ·   Review

Mémoire Matérielle

193 Gallery  |  Paris  |  By Nana Poulot

Mémoire Matérielle showcases a striking array of works that explore how memory is an active process built through accumulation, altered through time, and sustained through material form. Drawing inspiration from Paulette Nardal’s proposition that consciousness is not something we recall, but something that is physically constructed, the exhibition reflects on the many meanings memory can take on: as both abstract and narrative, personal and collective, while considering how craft traditions carry the traces of an anti-colonial past. The exhibition nimbly positions materiality as a site of preservation, where the hand becomes a tool for repair and transmission, and where the malleability of time and memory reconfigures our understanding of the self. Expect works spanning textile, ceramic, sculptural and mixed-media practices, including names such as Gaëlle Choisne, Joana Choumali, Andile Dyalvane and Carla Gueye.

5 September – 31 October 2026   ·   Preview. Curated by Azu Nwagbogu and Nkhensani Mkhari.

Emma Prempeh — The Domain of the Stranger

Perrotin Marais  |  Paris  |  By Nana Poulot

Few artists blur the line between memory, the spiritual and the intangible world quite like Emma Prempeh. For her first solo show in Paris, the London-born artist brings her Ghanaian and Vincentian heritage into dialogue with the British landscape in which she grew up. Rather than treating “home” as a single, fixed idea, Prempeh looks at how belonging is shaped by memory, place and inheritance, while honouring the figures who helped imagine how this history is remembered. Featuring a new body of work never exhibited in France before, this landmark exhibition is a chance to see ethereal, intimate and richly layered works from her recent residency in Ghana up close. Together, these paintings demonstrate the range of atmospheric and perceptual effects Prempeh achieves through darkness, layered surfaces and textures.

5–26 September 2026   ·   Preview

Ndidi Dike — Rare Earth Rare Justice

Färgfabriken  |  Stockholm  |  By Sabo Kpade

Rare earth is abundant. “Rare justice is almost non-existent,” Ndidi Dike said at the Vienna opening of Rare Earth Rare Justice in March. In Stockholm, The Hold suspends hundreds of black autopsy neck rests before a circular mirror in a formation recalling at once a bullet and the packed hold of a slave ship. Around it spread white, red and cobalt-blue artificial terrains; the sound of money-counting machines beats through the room. The show is never short on big ideas or big concerns. Cobalt out of the Democratic Republic of the Congo, what it is used for, and—if you allow that rare and needful things have always included people—human cargo alongside it. The commodification of Black bodies remains, for Dike, unresolved—still in limbo—and the suspended sculpture holds that condition rather than settling it. Extraction, extraction, extraction. Stockholm is the second of three chapters and Dike’s first presentation in Sweden. Built for Färgfabriken’s Main Hall, it adds Deciphering Value II, a cylindrical vitrine inscribed with images from Lagos markets, London’s financial district and Peckham. Dike has said each chapter takes its shape from the architecture. It will not be identical. That is the argument, not a caveat.

Through 22 November 2026   ·   Vienna chapter seen; Stockholm from official installation photographs.