Memory in Motion explores the fluid and evolving nature of memory—how it is shaped, distorted, preserved, and reimagined over time. This exhibition brings together a collection of works that interrogate the relationship between past and present, inviting viewers to consider how personal and collective histories are carried within us and expressed through visual language.
Through a range of mediums and perspectives, the artists engage with memory not as something fixed, but as something alive—constantly shifting, fading, and reforming. Moments are revisited, fragments are reconstructed, and emotions are translated into form, texture, and movement. The result is a body of work that captures both the intimacy and complexity of remembrance.
This viewing room offers a curated digital extension of the exhibition, allowing audiences to engage with each piece at their own pace. As you move through the works, you are invited to reflect on your own memories—what you hold onto, what you let go of, and how these experiences continue to shape your present.
Memory in motion
In this sense, memory becomes both material and method: a site of inquiry through which artists negotiate belonging, displacement, and transformation. Materiality plays a central role in these explorations. The artists assembled here treat materials not as neutral supports, but as charged carriers of meaning. Reclaimed wood, found objects, layered pigments, and hybrid techniques function as repositories of lived experience—bearing traces of time, labor, and prior use. These materials evoke the fragile yet resilient nature of memory itself: something that can be eroded, reconstructed, and recontextualized across generations.
Artists such as Gerald Chukwuma and Mederic Turay embed memory directly into surface and form, transforming discarded or everyday materials into intricate visual languages that speak to histories of use, value, and transformation. In parallel, Mwass Githinji and Ayanda Mabulu engage the political dimensions of memory, interrogating systems of power, representation, and the enduring legacies of colonial and postcolonial conditions. Their works foreground memory as a contested terrain—one shaped by both visibility and erasure. Other practitioners, including Opa Bathily, Kebe Ibrahim Bemba, and Kenof Franck Kemkeng Noah, draw from spiritual and symbolic traditions, activating ancestral knowledge within contemporary contexts. Through ritualistic forms, coded iconographies, and vernacular references, their works suggest that memory is not only historical, but also metaphysical— circulating through belief systems, oral traditions, and embodied practices. The exhibition further expands into the poetic and introspective registers of memory. In the works of Ange Arthur Koua, Ndabuko Ntuli, Alexis Daniel Onguene Tassi, and Dieudonne Djiela Kamgang, memory unfolds as an intimate and affective experience.
Through abstraction, gesture, and figuration, these artists articulate identities that resist fixity—shaped instead by migration, urbanization, and the complexities of global exchange. As curator Gilles Yoro (Felin Light) notes, the materials and forms present in the exhibition operate as metaphors for memory itself—fragile yet enduring, constantly built and rebuilt across time. The symbolic languages that emerge from these works offer points of access into layered cultural narratives, inviting viewers to engage with the multiplicity of African identities beyond singular or static definitions.
Ultimately, Memory in Motion is not concerned with resolving memory into a coherent narrative. Rather, it embraces its contradictions, discontinuities, and resonances. It asks: what do we choose to carry forward, and what is left behind? How do objects, surfaces, and gestures hold and transmit memory? And in what ways can contemporary art reframe our understanding of identity as something perpetually in motion? In this space, memory is not a destination, but an ongoing process—one that reverberates across bodies, materials, and time.
Ayanda Mabulu (South African, b. 1981) is a contemporary artist whose practice spans painting, performance, and mixed media. Born in King William’s Town, Eastern Cape, and based in Johannesburg, his work confronts the enduring legacies of colonialism, apartheid, and political power through bold, provocative imagery. Drawing on historical references, popular culture, and political iconography, Mabulu creates works that challenge systems of inequality, censorship, and social injustice. Known for his uncompromising visual language, his practice positions art as a space for critical dialogue, confronting viewers with urgent questions around freedom, representation, and the complexities of contemporary South African society.
Alexis Daniel Onguene Tassi (Cameroonian, b. 1995) is a contemporary visual artist based in Douala whose work explores identity, resilience, labour, cultural memory, and the socio-economic realities of contemporary Africa. Holding a Master’s degree in Visual Arts and Art History from the University of Douala, he combines technical precision with a strong narrative approach. Through painting and mixed-media practices, he examines the dignity of labour, community, and the perseverance of individuals navigating challenging environments. His work has been presented internationally, including at the 1-54 Contemporary African Art Fair and ART X Lagos.
Amadou Opa Bathily (Malian, b. 1987) is a multidisciplinary artist working across painting, sculpture, and installation. Educated at the National Institute of Arts and the Conservatory of Arts and Multimedia Trades Balla Fasséké Kouyaté in Bamako, Bathily developed an early interest in recycled materials through his experience at Atelier Miria. His practice investigates the relationship between material and maker, transforming metal, fabric, leather, and found objects into dynamic works that balance resilience and flexibility. Through an experimental approach to materiality, he continually redefines the expressive potential of everyday materials. Bathily has participated in exhibitions and residencies across Mali and internationally, including the light-art exhibition Interference in Tunisia.
Ange Arthur Koua (Ivorian, b. 1989) is an artist known for transforming denim into large-scale tapestries, installations, sculptures, and mixed-media works. Trained at the Abidjan School of Fine Arts, he abandoned traditional painting in favour of textile-based practices that allow him to investigate the human condition and the effects of globalization. Drawing on Akan beliefs regarding memory, spirit, and material culture, Koua uses collected garments as repositories of personal histories and lived experiences. His work addresses migration, identity, consumerism, social inequality, and resilience, creating poetic narratives that reflect the complexities of contemporary life.
Dieudonné Djiela Kamgang (Cameroonian, b. 1997) is a contemporary painter based in Douala, Cameroon. His work examines cultural memory, youth, and the importance of historical consciousness in shaping future generations. Influenced by the philosophy of Sankofa, Kamgang explores themes of restitution, identity, and heritage, encouraging a reconnection with cultural roots as a foundation for progress. Central to his practice is the figure of the child, portrayed as a bearer of legacy and collective knowledge. Through expressive portraits and richly patterned surfaces inspired by Ndop textiles, he creates powerful images that celebrate continuity, resilience, and belonging. He holds a Master’s degree from the University of Fine Arts in Douala and has exhibited internationally, including at Art X Lagos and ARCO Lisboa.
Franck Kemkeng Noah (KeNof) (Cameroonian, b. 1992) is an artist living and working in France. A prince of the Fontsa-Touala Chiefdom, his work draws deeply from Bamileke traditions, symbolism, and spiritual heritage. Working across painting and sculpture, he explores themes of identity, memory, transmission, and cultural hybridity, creating works that bridge ancestral knowledge and contemporary experience. KeNof studied in Cameroon before earning a Master’s degree in Fine Arts from the University of Picardy Jules Verne in France. His work has been exhibited internationally, including at the Musée du Quai Branly – Jacques Chirac in Paris and the Texas Southern University Museum, and is held in significant collections such as the Smithsonian National Museum of African American History and Culture.
Gerald Chukwuma (Nigerian, b. 1973) is one of Nigeria’s leading contemporary artists, celebrated for his intricately crafted wood-slate sculptures, paintings, and mixed-media works. Combining burning, carving, painting, and collage, he transforms everyday materials into richly layered compositions that engage with personal and political histories. Drawing on Uli and Nsibidi symbols associated with the Nsukka art tradition, Chukwuma explores migration, globalization, environmental change, and the resilience of communities. His works bridge local histories and global experiences through innovative material experimentation.
Ibrahim Bemba Kébé (Malian, b. 1996) is a multidisciplinary artist whose practice explores identity, memory, and the enduring influence of West African traditions in contemporary life. Trained at the Balla Fasséké Kouyaté Multimedia Arts Conservatory in Bamako, he works across painting, sculpture, and recycled materials, drawing on oral histories, ritual practices, and spiritual imaginaries. Through layered compositions, Kébé reflects on cultural inheritance and the transmission of ancestral knowledge across generations. His work has been exhibited internationally at AKAA Paris, 1-54 London, ARCO Lisboa, and the Investec Cape Town Art Fair. In 2025, he presented his first international solo exhibition, When The Sky Split Open, in Lisbon.
Mederic Turay (Ivorian, b. 1979) is a multidisciplinary artist whose practice spans painting, sculpture, music, and storytelling. Drawing on his West African heritage and cosmopolitan upbringing, he creates works that navigate themes of identity, duality, memory, and social awareness. Born into a royal Akan family from Côte d’Ivoire and raised in the United States, Turay's personal history informs a visual language shaped by cultural intersections and a continual search for balance. Through figurative and abstract works, he uses diverse materials and techniques to construct compelling visual narratives that explore both personal and collective experiences.
Mwass Githinji (Kenyan, b. 1995) is a contemporary artist whose practice is rooted in storytelling, memory, and the emotional complexity of the human experience. Raised near Nakuru, Kenya, he developed an early fascination with drawing on classroom chalkboards, an influence that continues in his signature use of black canvas. Working with oil pastels, coffee, oils, and mixed media, Githinji creates expressive figurative works that explore vulnerability, the inner child, and shared human emotions. Based at Studio 1.6 near Nairobi, he draws inspiration from African storytelling traditions, global philosophies, and personal mythology. His work has been exhibited across Africa, Europe, Asia, Australia, and the United States.
Ndabuko Ntuli (South African, b. 1975) is a multidisciplinary artist, musician, sangoma, and spiritual practitioner whose work is deeply rooted in Zulu culture and storytelling. Born in KwaZulu-Natal and later based in Johannesburg, he creates paintings, sculptures, drawings, and mixed-media works that bridge tradition and contemporary experience. Working with reclaimed and found materials, Ntuli transforms everyday objects into powerful visual narratives that explore spirituality, ancestry, memory, and cultural continuity. His work celebrates the enduring relevance of Zulu traditions while reflecting the complexities of contemporary South African life.
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Participating Artists
