Kouoh mentioned that she determined to take the job after many conversations with Black colleagues. “There was a feeling that we cannot let this fail,” she mentioned. “The scale and ambition of Zeitz MOCAA is unique on the continent and someone had to take responsibility and make this museum live up to its rightful ambitions.”

When she arrived in May 2019, her first precedence was to reorganize the galleries, which have been scattered over greater than 100 small areas. She took benefit of an already deliberate William Kentridge exhibition to interrupt down partitions, and create extra respiration area, then set about defining “a curatorial articulation in terms of what we want to stand for.” Her objective, she mentioned, was to create a way of the museum “as a format of public engagement, civic engagement.”

During the strict pandemic lockdowns after March 2020, the museum closed for seven months, and Kouoh used the time to restructure its governance and develop the board of trustees, including influential African collectors and philanthropists, and creating a worldwide council of advisers, which incorporates the artists Carsten Holler, Wangechi Mutu and Yinka Shonibare. Kouoh has modified “how the local community see Zeitz,” mentioned the Cape Town-based artist Igshaan Adams, who lately spent eight months in residence there. “My artist friends and I hadn’t felt any interest from the museum, but Koyo made me feel they cared about us, and about new audiences.” Although he was initially immune to the proposition, the residency, he mentioned, “was a brilliant idea,” permitting guests to the museum to significantly interact with an artist’s course of. “Sometimes over 1,000 people a day would be there,” he mentioned, including that it was the primary time he had skilled that engagement “with people who look like me and speak like me.”

Since her arrival, Kouoh has emphasised solo retrospectives — Tracey Rose, Johannes Phokela, Mary Evans — which she describes as a pillar of her curatorial imaginative and prescient. “My generation of curators were informed and motivated by a strong desire to unearth as many stories as we could, and make them visible, and we all did those group shows,” she mentioned. “But I believe there is a great lack of studying individual voices and how they speak to each other within and across generations. What influences come from an artist like Issa Samb or Gerard Sekoto to younger artists today? I think we African curators haven’t done this enough.”

This doesn’t imply the museum received’t placed on group reveals, Kouoh added, citing “When We See Us,” as an exhibition which “places figuration in a temporality that is longer and more far-reaching than the last 10 years of market frenzy. It premises Black joy as a serious, contentious, political, joyful subject matter, and at the Black experience across geographies, the continent, the diaspora.”

Asked whether or not she noticed herself as a bearer of the flame of the influential Nigerian curator Okwui Enwezor, Kouoh regarded disapproving. “I don’t like the idea of there being one person doing this or that,” she mentioned. “There is a lot of mutual support, of generosity and care across the continent. I am part of that generation of African art professionals who have pride and knowledge about the beauty of African culture, which has often been defined by others in so many wrong ways. I don’t believe we need to spend time correcting those narratives. We need to inscribe other perspectives.”