1-54 New York Confessions : Yann KWETE ‘African contemporary art should not be confined to folklore.’
For its first participation to 1-54 New York, Yann KWETE and Kub’Art Gallery made a lasting impression with a striking duo show featuring Congolese photographers Rachel MALAIKA and Prisca MUNKENI.
This marked a historic first for a Congolese gallery at the international fair dedicated to contemporary African art, confirming Kub’Art’s rising presence on the global art scene. Two years after its debut at AKAA, Kub’Art Gallery continues its expansion. We sat down with Yann Kwete to reflect on this new milestone.
Yann KWETE, fondateur de KUB’ART Gallery à 1-54 New York 2025. Crédits : KUB’ART Gallery, 2025
In this exclusive interview conducted during 1-54 New York, Yann Kwete presents Mémoire Ancestrale, a duo exhibition by Kub’Art Gallery. Merging ancestral heritage with contemporary perspectives, the powerful show brings together the raw portraits of Prisca MUNKENI and the ritualized scenes of Rachel Malaika. The Congolese gallerist shares Kub’Art’s distinctive vision—positioned at the intersection of reimagined traditions and contemporary art.
Ngalula MAFWATA: Since our last conversation at AKAA two years ago, a lot has evolved at Kub’Art. Can you remind us how it all began?
Yann KWETE: Kub’Art Gallery is a name deeply rooted in my cultural identity. It draws inspiration from the Kuba Kingdom, renowned for the refinement of its artistic heritage — including textiles, geometric patterns, and masks — all of which bear witness to an ancestral richness still celebrated around the world. As founder and curator, my approach responds to the erosion of national identity in the face of globalization. Kub’Art Gallery positions itself as a space for artistic residency, dissemination, and reflection around this endangered heritage, while promoting vibrant contemporary creation. The gallery celebrates Afro-descendant artistic traditions, whether inspired by Kuba culture or other ethnic practices, with particular focus on Congolese culture.
Through exhibitions, publications, critical dialogue, and cultural mediation, Kub’Art aspires to build bridges between continents and eras. The goal is to safeguard a fragile heritage while inspiring critical reclamation and contemporary reinterpretation by a new generation of artists and thinkers. Supporting contemporary African — and particularly Congolese — art also means exploring, through publishing, strategies to strengthen the ecosystem. This ecosystem is nourished by the work of artists, curators, thinkers, writers, and critics like yourself, across Africa and beyond, all contributing to the richness of the global art scene.
Do Not Shoot, Wait Jesus is That You ? Prisca Munkeni MONNIER, 1-54 New York
“In my view, African contemporary art must not remain confined to a folkloric lens. It is a modern, living art form that fully participates in the global artistic movement. It should not be limited to the African continent alone. Of course, developing a strong local market and pan-African initiatives is essential. But it is just as important to look outward, to consider how we can amplify this creativity and this momentum beyond our borders.”
Ngalula MAFWATA: You mentioned the connection between ancestry, heritage, and contemporary creation. This is your first time presenting a project in New York, within the framework of 1-54, a key institution in the contemporary African art circuit. What motivated you to take part in this edition, and what strategic thinking led to this choice?
Yann KWETE: In my view, African contemporary art must not remain confined to a folkloric lens. It is a modern, living art form that fully participates in the global artistic movement. It should not be limited to the African continent alone. Of course, developing a strong local market and pan-African initiatives is essential. But it is just as important to look outward, to consider how we can amplify this creativity and this momentum beyond our borders.
That’s why it felt crucial to be present in America — and particularly in New York, which remains one of the major crossroads of contemporary art. Today, when we talk about the art market, we’re talking about New York, London, Hong Kong. These are the cities where the market thrives, evolves, and finds structure. It is therefore strategic for us, as Africans and as Congolese, to show what we have to offer in these arenas.
Within the context of 1-54, it was also an opportunity to spotlight the work of two artists: Rachel MALAIKA and Prisca MUNKENI MONNIER, both of whom explore the same medium. They are emerging artists, coming into their own, and starting to receive concrete recognition. I’m thinking in particular of Rachel MALAIKA, whose piece Observant Gazes was recently acquired by the Ackland Art Museum in North Carolina. Such acquisitions help to strengthen their critical legitimacy and expand their visibility on the international scene.
Events like 1-54 play a fundamental role in this process. For over a decade, thanks to the remarkable work of Touria El Glaoui and her team, this fair has helped put countless African artists on the global map — through its editions in New York, London, Marrakech, Paris, and now Shanghai.
Pieds de Bouc & CORPUS ABOMINATION, Prisca Munkeni MONNIER, 1-54 New York
Ngalula MAFWATA: What was has been Kub’Art’s curatorial vision for this edition of 1-54 New York?
Yann KWETE: Kub’Art’s curatorial vision at 1-54 New York is one of deep commitment. The goal was to offer a plural perspective on the realities of the African continent by fostering a dialogue between tradition and modernity, art and politics, memory and the future. The gallery seeks to shed new light on the pressing issues of our time through the artistic proposals of a new generation of creators.
At 1-54, we showcased the works of Rachel MALAIKA and Prisca MUNKENI, whose practices enrich our understanding of contemporary questions surrounding identity, memory, and socio-political dynamics. Taking part in this fair also represents a significant opportunity to get a jist of New York from an economic point of view. The approach of collectors and art enthusiasts here is quite different from what we experience in Europe — especially in Paris. 1-54 remains one of the most prestigious platforms dedicated to contemporary African art, offering exceptional visibility alongside leading galleries from around the world.
Our presence here is a real opportunity to meet and exchange directly with collectors, curators, critics, international galleries, museums, and institutions. It allows us to expand our global network, consider future collaborations, and solidify Kub’Art Gallery’s position as the first Congolese-born gallery — founded in the Congo — to participate in 1-54, with a mission to promote the country’s contemporary art.
The presence of both artists, Rachel MALAIKA and Prisca MUNKENI, was also a major asset. They were able to engage directly with the audience, spark conversations, and present their work in their own words.
“Kub’Art’s curatorial vision at 1-54 New York is one of deep commitment. The goal was to offer a plural perspective on the realities of the African continent by fostering a dialogue between tradition and modernity, art and politics, memory and the future. The gallery seeks to shed new light on the pressing issues of our time through the artistic proposals of a new generation of creators.”
Ngalula MAFWATA: Did you encounter any unexpected or surprising realities?
Yann KWETE: One cannot overlook the financial aspect : participating in an art fair involves significant costs and investments that must be offset. That’s why developing international partnerships and increasing our visibility are among our key objectives. Our presence reflects a clear ambition: to be recognized as one of the leading voices in the promotion of African art — art created by Africans, carried by African voices. This is what makes us unique: our ability to assert our own narrative and position ourselves as the storytellers of our own stories. In that regard, New York offers a particularly rich ground for observing trends in the international art market, while also providing creative inspiration for our future exhibitions.
The conversations we had with seasoned professionals, many of whom have been active for decades, offered valuable insights to refine our strategy. In terms of outcomes, our presence at 1-54 has strengthened the visibility of both the artists and the gallery — and it already positions us to plan our next move.
“Our presence reflects a clear ambition: to be recognized as one of the leading voices in the promotion of African art — art created by Africans, carried by African voices. This is what makes us unique: our ability to assert our own narrative and position ourselves as the storytellers of our own stories.”
Source et Resources, Rachel MALAIKA, 1-54 New York
Ngalula MAFWATA : Pourquoi était-il important pour vous que Kub’Art Gallery, en tant que galerie congolaise, soit présente à 1-54 New York ?
Yann KWETE : On ne peut pas comprendre un pays comme la République Démocratique du Congo — et Kinshasa, où la galerie est née — sans prendre en compte sa complexité : un véritable pays-continent, riche de plus de 400 ethnies, d’une diversité culturelle et créative incomparable. Et pourtant, il existe encore très peu de galeries congolaises présentes sur les foires internationales. Certes, plusieurs artistes congolais de renom évoluent brillamment à l’international, mais il nous semblait essentiel, aussi sur le plan symbolique, qu’une galerie fondée et dirigée par des Congolais soit représentée ici, à New York. C’est une manière forte de revendiquer notre place dans les dynamiques de l’art contemporain global, non pas en périphérie, mais comme acteur central et légitime de ce mouvement en pleine évolution.
Ngalula MAFWATA: Why was it important for you that Kub’Art Gallery, as a Congolese gallery, be present at 1-54 New York?
Yann KWETE: One cannot truly understand a country like the Democratic Republic of Congo — or Kinshasa, where the gallery was founded — without acknowledging its complexity: a true continental nation, home to over 400 ethnic groups and an incomparable wealth of cultural and creative diversity. And yet, there are still very few Congolese galleries represented at international art fairs. While many Congolese artists are making significant strides on the global stage, it felt essential — also symbolically — that a gallery founded and led by Congolese people be present here in New York. It’s a powerful way of asserting our rightful place within the dynamics of global contemporary art — not as a peripheral player, but as a central and legitimate actor in this evolving movement.
Ngalula MAFWATA: Any closing thoughts on the works presented by Rachel MALAIKA and Prisca MUNKENI Monnier?
Yann KWETE: Mémoire Ancestrale is a project centered on memory, identity, reclamation, and modernity. This duo exhibition brings together two artists, Prisca MUNKENI and Rachel MALAIKA, who explore the notion of ancestral heritage through photography — each with a distinctly unique artistic signature. One blends textiles and imagery in a tapestry-like approach, while the other uses montage techniques to create striking compositions. Together, their works engage in a dialogue and offer a contemporary reinterpretation of our roots.
“While many Congolese artists are making significant strides on the global stage, it felt essential — also symbolically — that a gallery founded and led by Congolese people be present here in New York. ”
Ngalula MAFWATA: What projects are coming up?
Yann KWETE: We are excited to announce the release of our very first art book, DRC Contempo, produced in collaboration with Mayì Arts. We are publishing it with the support of the Africell Impact Foundation. Additionally, we are preparing several upcoming exhibitions and fairs in Europe, including Noise in September in Istanbul with artists Mustache Muhanya and Dema, as well as our participation in 1-54 London.
For more information about KUB’ART Gallery, visit their website: http://kubart.gallery/
