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Gala Porras-Kim asks one of the most urgent questions of our time: who determines what an object means? Her work investigates museums, archives and heritage institutions as places where objects are preserved, classified and protected, but also redefined. A fragment, label, inventory number, mark or damaged trace can reveal how meaning is shaped by systems of ownership, care, power and interpretation. In the context of Post-Colonial Gold, her value can be described as Marked Evidence: the idea that objects are never neutral. They carry traces of use, displacement, classification and memory. What appears small, broken or incomplete may still expose a larger cultural, historical or political system. For a new generation, Porras-Kim’s work offers a necessary way of looking: slower,...

Koyo Kouoh: Not a Footnote, but a Shift in Power The art world loves grand gestures. Grand halls, grand names, grand egos, grand budgets — and, when convenient, a thin layer of progressiveness on top. And then came Koyo Kouoh. Not as a decorative “diverse choice.” Not as a polite correction to a white, male canon. But as someone who entered the centre of power with knowledge, precision, international authority and an entirely different compass. Koyo Kouoh was born in Douala, Cameroon, in 1967. She grew up between Cameroon and Switzerland and later worked from several worlds at once: African, European, international, but never neatly reducible to one identity. That also shaped her way of seeing. She did not think...