{"id":237871,"date":"2025-05-12T10:32:31","date_gmt":"2025-05-12T10:32:31","guid":{"rendered":"https:\/\/peraltafinancing.com\/entertainment\/art\/2026-venice-biennale-curator-dies-of-cancer-at-57\/"},"modified":"2025-05-12T10:32:31","modified_gmt":"2025-05-12T10:32:31","slug":"2026-venice-biennale-curator-dies-of-cancer-at-57","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=237871","title":{"rendered":"2026 Venice Biennale Curator Dies of Cancer at 57"},"content":{"rendered":"


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\n\tKoyo Kouoh<\/a>, the celebrated Cameroonian-born curator behind some of the most significant exhibitions of African contemporary art in recent decades, has died unexpectedly at the age of 57. <\/p>\n

\n\tThe New York Times<\/em> reported<\/a> on Sunday that she died the day before in a hospital in Basel, Switzerland, and that the cause was cancer. Her husband, Philippe Mall, told the Times<\/em> that she had only just recently received her diagnosis.<\/p>\n

\n\tKouoh\u2019s death comes just months after being appointed curator of the 2026 Venice Biennale<\/a>\u2014making her the second African-born curator to lead the storied exhibition, following Okwui Enwezor\u2019s groundbreaking edition in 2015.<\/p>\n

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\t\tRelated Articles<\/p>\n<\/h2>\n

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\t\t\t\t\t\t\"People<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/section>\n

\n\tThe Venice Biennale announced her passing on Saturday, describing her as a figure of \u201cpassion, intellectual rigor, and vision.\u201d The theme and title of her exhibition, which she had been developing since her appointment in December 2024, were set to be unveiled in Venice in less than two weeks.<\/p>\n

\n\tKouoh was widely admired for her commitment to expanding the global narrative of contemporary art beyond the the US and Europe, and in particular for her focus on African art. Since 2019, she had been executive director and chief curator of the Zeitz Museum of Contemporary African Art (Zeitz MOCAA) in Cape Town, South Africa\u2014an institution that she helped shape into a critical platform for artists from across the continent and its diaspora. <\/p>\n

\n\tShe helped the institution gain international attention with shows such as 2022\u2019s \u201cWhen We See Us: A Century of Black Figuration in Painting,\u201d which has been widely regarded as the defining show on its subject. Three years on, the show is still traveling. Having journeyed far beyond South Africa, it can currently be seen at the Bozar arts center in Brussels.<\/p>\n

\n\tKouoh was also committed to fostering art scenes within Africa, most notably within Senegal. In 2008, she founded RAW Material Company in Dakar, an independent art center that is now considered one of the top art spaces within West Africa. <\/p>\n

\n\t\u201cI wanted to really reflect on art, on artistic practice, and to contribute to the understanding of artistic practice as its own system of thought and as a mechanism for participating in visual culture, society, politics,\u201d she told Artforum<\/em> in 2016<\/a>, describing her choice to open RAW Material Company. \u201cI wanted to think of it as a means for proposing, speculating, investigating, exploring, experimenting. As a curator, I\u2019m interested in critical artistic practices and how they play out in society, particularly societies like ours. I believe that context defines pretty much everything that we do.\u201d<\/p>\n

\n\tShe was acutely attentive to the ways that prevailing narratives for African art have been defined\u2014and of who has defined them. In her Artforum<\/em> interview, Kouoh described herself as part of a \u201csecond generation\u201d of African curators that rebelled against what she described as \u201cadvocacy curating\u201d seen in the West. Though she praised the work done by Okwui Enwezor, Olu Oguibe, and others in the US and Europe, she wanted to create shows of African art for African people. <\/p>\n

\n\t\u201cFor me,\u201d she said, \u201cworking in Dakar, it is important to engage with the ideas and issues that concern our region here first\u2014to reflect on them and research them, write about them, show them\u2014and to share them with the world only secondarily.\u201d<\/p>\n

\n\tAnd yet, she did just that, working on the curatorial teams of two editions of Documenta (in 2007 and 2012), organizing Ireland\u2019s EVA International biennial, and doing a show-within-a-show for the 2018 edition of the Carnegie International, an esteemed recurring show that takes place at the Carnegie Museum of Art in Pittsburgh, Pennsylvania.<\/p>\n

\n\tAll of this work, whether taking place within Africa or beyond it, was a form of institution-building. \u201cIt is very important to build institutions as opposed to careers,\u201d she told ARTnews<\/em> in 2019<\/a>, \u201cbecause those institutions will leave a legacy that promotes knowledge.\u201d <\/p>\n

\n\tKoyo Kouoh was born in Douala, Cameroon, in 1967. Though she moved to Zurich when she was 13 and would go on to spend more than decade in Switzerland, studying banking and business administration there, she she never forgot her roots in Cameroon. She spoke in interviews of the women in her family who had preceded her: her grandmother, a seamstress whose work gave her \u201caccess to creativity\u201d; her great-grandmother, who was forced into a polygamous marriage when she was still a teenager.<\/p>\n

\n\t\u201cMy great-grandmother only had her hands and her intellect to raise her four children,\u201d Kouoh told ARTnews<\/em>. \u201cThis is the family I come from. That is the essence of my feminism.\u201d<\/p>\n

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\t\t\t\t\t\t\"Koyo<\/p><\/div>\n<\/p><\/div>

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\t\t\t\t\tKoyo Kouoh<\/span><\/p>\n

\t\t\t\t\t\t\t\t\tDave Southwood for ARTnews<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

\n\tDuring the \u201990s, following a divorce and the birth of her son Djibril, she began to shift her attention to a new field of work. (She raised Djibril as a single mother and would go on to adopt three more children.) Inspired by Margaret Busby\u2019s Daughters of Africa<\/em>, a 1992 anthology of writings by women of African descent, she started\u2014\u201cin a very shy way,\u201d she once said\u2014to undertake editorial work. She edited T\u00f6chter Afrikas<\/em>, a German-language anthology of her own, and she initiated longstanding connections with African artists of all kinds. One even took her to Dakar, the city with which she launched a longstanding commitment: the Senegalese filmmaker Ousmane Semb\u00e8ne, whom she was assigned to profile. She relocated to Dakar for good in 1996.<\/p>\n

\n\tIn Dakar, she met artist Issa Samb, who cofounded the art collective Laboratoire Agit\u2019Art with filmmaker Djibril Diop Mamb\u00e9ty, painter El Hadji Sy, and playwright Youssoupha Dione. \u201cBut apart from the work Samb did, and the discourse he supported at his studio,\u201d Kouoh told Artforum<\/em>, \u201cthere was really nowhere to discuss art the way I think it should be discussed\u2014which is to say, in an analytic and social way.\u201d She wanted to change that, though she never forgot the work undertaken by Samb, whose art she surveyed for the Office for Contemporary Art Norway in Oslo in 2013.<\/p>\n

\n\tKouoh became known internationally in part thanks to the two editions of Bamako Encounters, the Malian photography biennial, that she organized with Simon Njami. Njami told ARTnews<\/em> in 2019, \u201cShe had a will, a driving force to change things, and all the choices she made were right\u2014without compromising. She\u2019s not a complainer type. When something is wrong, she tries to find the way to fix it.\u201d<\/p>\n

\n\tRAW Material Company was established in 2008 as a riposte to the state-run art spaces in Senegal. It was independent, and most of its staff was women. Progress came slowly: RAW Material Company did not inaugurate a brick-and-mortar location open to the public until 2011. Today, it has galleries, a library, studios, a residency program, and countless other resources for the local art scene. It has been a crucial space within Senegal and a model for art spaces that have cropped up elsewhere.<\/p>\n

\n\tKouoh was \u201ca real force, a source of warmth, generosity and intelligence,\u201d RAW Material Company said in a statement today. \u201cShe always affirmed that people were more important than things and today we feel her absence deeply.\u201d<\/p>\n

\n\tShe arrived at Zeitz MOCAA, the Cape Town museum founded by collector Jochen Zeitz and David Green, in 2019 as the institution faced controversy. Its previous director, Mark Coetzee, had been ousted amid allegations of racist remarks and sexual harassment. Kouoh was determined to turn around the museum\u2019s reputation, and she did just that.<\/p>\n

\n\t\u201cThere was a feeling that we cannot let this fail,\u201d she told the New York Times<\/em><\/a>. \u201cThe 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.\u201d<\/p>\n

\n\tShe reorganized the entire collection and rethought the museum\u2019s programming, with a new emphasis on retrospectives. Accordingly, she organized shows such as a 2022 retrospective for Tracey Rose, her longtime friend, and \u201cWhen We See Us,\u201d her survey of Black figurative painting staged that same year. Both of those shows have gained widespread praise, in particular \u201cWhen We See Us,\u201d which established an ambitious lineage of painters that was intergenerational and cross-national. That lineage included Mok\u00e9, a Conoglese self-taught artist known for painting the hustle and bustle of Kinshasa; Amy Sherald, an American widely known as Michelle Obama\u2019s portraitist; and Thebe Phetogo, a young Botswanan artist who has critically taken up the very notion of the Black figure in paintings made with shoe polish.<\/p>\n

\n\tKouoh\u2019s death comes as she was to take on the Venice Biennale, in what would\u2019ve been her greatest project to date. She was the second-ever African-born curator to organize the world\u2019s biggest art exhibition, after Enwezor, and one of just a few women ever to curate it. The future of her Biennale was unclear as of Saturday; a theme has not yet been detailed for her show.<\/p>\n

\n\tShe had spoken in recent interviews of wanting to continue bringing African art to the rest of the world. In 2020, she reflected on having helped launch the 1-54 Contemporary African Art Fair in 2014. \u201c1-54 was a great and necessary political interlude in my professional trajectory in terms of being involved with an art fair,\u201d she told Art Basel, \u201cand I believe the post-COVID-19 future will bring new forms of relations through which the interdependence of the art industry will come more to the fore.\u201d<\/p>\n

\n\tBut she remained carefully attuned to the needs of the African continent. In her Artforum<\/em> interview, she described \u201cfirst-and-only syndrome,\u201d which she described as: \u201cwhenever an African person achieves something, we always hear that he is the only African or she is the only African, or she is the first African or he is the first African. It is always extraordinary.\u201d The syndrome had officially been \u201cchallenged,\u201d she said, adding, \u201cIt means we are talking to ourselves now, which is where the real discussions begin.\u201d<\/p>\n

\n\tUpdate, 5\/11\/25, 11:55 a.m.: <\/strong>This article has been updated to include Kouoh\u2019s reported cause of death.<\/em><\/p>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"

Koyo Kouoh, the celebrated Cameroonian-born curator behind some of the most significant exhibitions of African contemporary art in recent decades, has died unexpectedly at the age of 57. The New York Times reported on Sunday that she died the day before in a hospital in Basel, Switzerland, and that the cause was cancer. Her husband, […]<\/p>\n","protected":false},"author":1,"featured_media":237872,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[100],"tags":[48471,14367,16985,1552,87779,7435,86336],"dealstore":[],"offerexpiration":[],"class_list":["post-237871","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","tag-biennale","tag-cancer","tag-curator","tag-dies","tag-koyo-kouoh","tag-venice","tag-venice-biennale"],"yoast_head":"\n2026 Venice Biennale Curator Dies of Cancer at 57 - Som2ny Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=237871\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"2026 Venice Biennale Curator Dies of Cancer at 57 - Som2ny Network\" \/>\n<meta property=\"og:description\" content=\"Koyo Kouoh, the celebrated Cameroonian-born curator behind some of the most significant exhibitions of African contemporary art in recent decades, has died unexpectedly at the age of 57. 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The New York Times reported on Sunday that she died the day before in a hospital in Basel, Switzerland, and that the cause was cancer. 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