The Zeitz Museum of Contemporary Art Africa (MOCAA) is poised for a new era, and at the helm is the internationally renowned curator, Elvira Dyangani Ose. Her appointment as the museum's artistic director marks a significant shift, bringing a unique blend of global experience, a pan-African vision, and an approachable demeanor that leaves a lasting impression.
I recall the museum's grand opening almost a decade ago, an event that generated immense anticipation. The museum, housed within the iconic V&A Waterfront's grain silos, promised to showcase contemporary art from Africa and its diaspora. However, for the average visitor, the artistic presentation often felt intense, dark, and challenging to engage with, despite its undeniable academic merit.
The years that followed were marked by turbulence. The inaugural executive director and chief curator, Mark Coetzee, resigned in 2018 following an inquiry into his conduct. Koyo Kouoh took over in 2019, ushering in a transformative period and becoming the first African woman to curate the Venice Biennale. Tragically, her untimely death in 2025, just before the 2026 edition, sent shockwaves through the art world.
As Zeitz MOCAA embarks on its second decade, a fresh chapter unfolds with Dyangani Ose's appointment. Her impressive resume includes leadership roles at prestigious institutions like the Museu d'Art Contemporani de Barcelona and The Showroom in London, as well as curatorial positions at Tate Modern and Creative Time in New York. Currently, she serves as the artistic director of the Public Art Abu Dhabi Biennial.
What sets Dyangani Ose apart is her approachable nature, a quality that transcends professional accolades. I witnessed a heartfelt moment between her and the acclaimed artist Sue Williamson, a display of mutual admiration and joy. This warmth extends to her candid reflections on balancing the demands of her role with her commitment to being a present mother to her young daughter.
Dyangani Ose's openness to artistic possibilities is evident in her conversation about the exhibition "Nossa Vida Bantu" at the Museu de Arte do Rio in Brazil. This exhibition explores the profound influence of Bantu cultures on Brazilian identity and the arts, a topic that resonated deeply with her. Her connection with Pablo Lafuente, the artistic director of Rio's Museum of Modern Art, further highlights her instinctive awareness of the links between African and diasporic cultures and the potential for meaningful engagement.
Building on Koyo Kouoh's legacy is a delicate task, and Dyangani Ose approaches it with sensitivity. She reflects on the emotional significance of Kouoh's passing and the lessons she learned from her mentorship. Similarly, she draws inspiration from her own personal loss, the death of her father on the day she opened an exhibition of South African artists. Kouoh's legacy will continue through initiatives like the Koyo Kouoh Atelier and MOCAA On The Move, but Dyangani Ose also plans to introduce her own curatorial vision.
Zeitz MOCAA has always been a dynamic and complex institution, generating excitement, debate, and occasional controversy. Dyangani Ose's appointment suggests a promising future, combining artistic rigor, international experience, and a human touch. Her ability to connect with artists, audiences, and the broader community hints at a decade of intriguing developments. I, for one, am eager to see how she will shape this creative beacon and further showcase African art, culture, and heritage on the global stage.
