26 February, 2016

Okayafrica interviews Nana Oforiatta Ayim

Okayafrica spoke to Gallery 1957’s Creative Director, Nana Oforiatta Ayim, about her vision for the gallery and how she plans to use it to engage audiences and profile the work of local artists. Read the article here

26 February, 2016

The New York Times reports on What’s on This Week Around the World

A solo exhibition by Serge Attukwei Clottey of Ghana will inaugurate this new gallery, which is dedicated to displaying the country’s artists. The show’s title refers to a Ghanaian custom of locking up a relative’s clothing for a year after he or she dies, and the works on view — brightly hued textiles — were made after the death of the artist’s mother. Read the article here

25 February, 2016

Gallery 1957 is proud to be sponsoring Asa Baako music festival

Part of the creative direction of Gallery 1957 is to open up the notion of what art is, how it is experienced, and what can be animated by it. To that end, collaborations like the one with Asa Baako open it up beyond the limited confines of the white cube space. Asa Baako was founded in 2011 by Kofi Debrah, and lays great importance on social inclusion and equalisation, on bringing urban and local residents together; as well as on conservation and the natural environment.

22 February, 2016

Ghana’s GoLokal performance collective at Gallery 1957, Sunday 6 March, 5pm

Gallery 1957 will open with a performance by Ghanaian artist Serge Attukwei Clottey and his performance collective GoLokal. Clottey is the creator of Afrogallonism, an artistic concept commenting on consumption within modern Africa through the utilisation of yellow gallon containers. To attend, RSVP here.

19 February, 2016

Ibrahim Mahama to talk at Gallery 1957, Sunday 6 March, 11.15am

Artist Ibrahim Mahama discusses his own work and provides insight into contemporary art practice in Ghana today, as well as looking at the role an older generation of Ghanaian artists have played in art history through their search for new modes of artistic expression. To attend, RSVP here.

25 January, 2016

Monocle on the collective effort to establish West Africa’s art scene

It’s a cut above the city’s art galleries, pledging a real commitment to promotion, archiving and storage. “There are a handful of real collectors here,” says the gallery’s founder Marwan Zakhem, himself a collector with regional clout. “But they haven’t really been given the opportunity to collect [the work of] many Ghanaian artists before they’ve attained success internationally.” Read the article here.

21 January, 2016

Artnet News speaks to Marwan Zakhem

Ghana is more than just the birthplace of El-Anatsui. Accra-based collector and construction business owner Marwan Zakhem is doing what he can to change international, and local, perceptions of his country by opening Gallery 1957, which will specialize in cutting-edge contemporary African art. Read the article here.

15 January, 2016

Happening on Gallery 1957 opening in Ghana’s capital Accra

The gallery’s name, 1957, refers to the year in which Ghana gained independence. Zakhem hopes to bring to international attention the “wealth of talent in Ghana” and the “intense, politically driven works” being produced by the nation’s young artists. Read the article here.

14 January, 2016

The Art Newspaper announces the launch of Gallery 1957

Marwan Zakhem hopes to create a buzz around the burgeoning scene in the West African country with Gallery 1957. From El Anatsui to Ibrahim Mahama, Ghana has produced some of the hottest artists in recent years. Now, a new gallery is launching in the capital city of Accra in March in a bid to bolster the nascent market there. Read the article here.

13 January, 2016

Nataal Gallery Talks: Zohra Opoku talks to the African Artists' Foundation

As part of Nataal magazine’s ‘Gallery Talks’, Zohra Opoku meets with Azu Nwagbogu and Maria Pia Bernardoni of the African Artist’s foundation to survey her career so far. Accessing parts of her African heritage and history through the use of textiles, whilst making it clear that to her notions of identity are not fixed, Opoku’s work documents a process of performance and discovery. Nataal outlines a number of pivotal points in Opoku’s artistic career, where she has held international conversations about the relationship between fashion and identity.

Read the article here.

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