Gallery 1957 Artist Residency – Accra, Ghana

Location: Accra, Ghana (Three gallery spaces: Kempinski Hotel Gold Coast City + two in Galleria Mall) + London outpost
Founded: March 6, 2016 (Gallery) | 2018 (Residency Program)
Founder/Director: Marwan Zakhem
Website: http://www.gallery1957.com
Email: info@gallery1957.com
Phone: +233 303967575
Instagram: @gallery1957

Overview

Gallery 1957’s artist residency program represents one of West Africa’s most significant platforms for artistic development, offering emerging and established artists the rare opportunity to create new work within a fully-supported, professionally-managed environment in Ghana’s rapidly evolving contemporary art capital. Since launching in 2018 with Haitian-American painter M. Florine Démosthène, the residency has become a coveted opportunity for artists working across the African continent and diaspora, providing not just studio space and materials, but comprehensive career support that has transformed participants’ artistic trajectories.

What distinguishes Gallery 1957’s residency from other artist support programs is its integration within a thriving commercial gallery with international reach. Residents benefit from immediate connection to Gallery 1957’s extensive network of collectors, curators, museum directors, and art professionals who visit Accra regularly—particularly during the annual Cultural Week each October, which attracts 200+ international guests including representatives from Tate, V&A, Sotheby’s, and major institutions worldwide.

Every residency concludes with a guaranteed solo exhibition at one of Gallery 1957’s three Accra spaces, providing artists with professional presentation platform and market exposure that would otherwise require years to develop independently. For many participants—particularly those from underserved backgrounds or regions with limited art infrastructure—this support has proven genuinely life-changing, as Ghanaian painter Afia Prempeh attested: “It has made a whole lot of difference in my career. The moment [Marwan] recognizes your talent and then he picks you, he changes your life as an artist and your career.”

The residency exemplifies Gallery 1957’s broader mission: creating sustainable infrastructure that allows West African artists to build international careers without leaving the continent. As founder Marwan Zakhem explains, the program provides artists with “a platform where they can experiment with artistic languages whilst also experiencing the vulnerability of being in a new environment”—fostering both creative risk-taking and professional development in ways that strengthen Ghana’s position as emerging hub for contemporary African art.

The Gallery: Gallery 1957 – Context & Mission

Founding Vision

Gallery 1957 launched on March 6, 2016—Ghana Independence Day, commemorating the year Ghana won freedom from British colonial rule—by Marwan Zakhem, a Lebanese-British construction magnate and art collector who had been acquiring contemporary African art during two decades living across the continent.

Zakhem initially envisioned creating an institution to house his personal collection and make it publicly accessible. However, conversations with artists revealed more urgent need: Ghana possessed extraordinary artistic talent, but lacked commercial gallery infrastructure to support professional careers. Artists either worked in isolation without market access or relocated abroad—usually to Europe or United States—to secure gallery representation and sustainable income.

“The feedback I kept getting from artists is that there needed to be more of a market infrastructure,” Zakhem recalled. “If art collecting locally could grow, then artists could live and flourish in their careers here, rather than being represented elsewhere.”

The visit that cemented Gallery 1957’s commercial direction was to artist Serge Attukwei Clottey’s studio in Labadi in 2015. Encountering Clottey’s boundary-pushing practice using stitched yellow water cans (“Afrogallonism”) and other innovative Ghanaian artists like Ibrahim Mahama and Yaw Owusu convinced Zakhem of Accra’s potential as location for successful commercial gallery—not merely exhibition space for his collection, but robust platform for artists to build international careers while remaining rooted in Ghana.

Gallery Expansion & Infrastructure

Accra Spaces:

1. Kempinski Hotel Gold Coast City (Gallery I): The original gallery space, integrated within the luxury five-star hotel Zakhem’s construction company built. Opening the gallery in a hotel rather than traditional white cube was deliberate accessibility strategy—welcoming broader audiences beyond art insiders while showcasing contemporary African art in prestigious, high-traffic environment.
2. Galleria Mall (Gallery II & III + 1,400m² Project Space): Two additional galleries plus large-format project space within Galleria Mall complex. The Project Space has hosted ambitious exhibitions like “UNLIMITED” (2022) featuring 24 artists’ large-scale site-specific works. Critically, the Galleria Mall also houses the artist residency studios where participants work.

London Outpost (October 2020):
Hyde Park Gate space opened to provide further platform for exhibiting Gallery 1957 artists working across Africa and diaspora, strengthening international connections and market access.

Gallery Roster & Program

Gallery 1957 represents over 30 artists from across West Africa and the diaspora, including:

Ghanaian Artists:

• Amoako Boafo (international sensation, Roberts Projects/Mariane Ibrahim representation)
• Kwesi Botchway (Vielmetter Los Angeles/Gallery1957)
• Gideon Appah (Pace Gallery)
• Serge Attukwei Clottey (GoLokal, “Afrogallonism” pioneer)
• Godfried Donkor (British-Ghanaian, established career)
• Yaw Owusu (long-time collaborator)
• Cornelius Annor
• Lord Ohene Okyere-Bour
• Afia Prempeh
• Rita Mawuena Benissan
• Adjei Tawiah
• Joshua Oheneba-Takyi

International Artists (Africa & Diaspora):

• M. Florine Démosthène (Haitian-American, Mariane Ibrahim Gallery)
• Tiffanie Delune (French Belgo-Congolese)
• Abdoulaye Konaté (Mali)
• Collin Sekajugo (Uganda, Venice Biennale representative)
• Johannes Phokela (South Africa)
• Isshaq Ismail (Ghana/International)
• Modupeola Fadugba (Nigeria-UK)
• Gerald Chukwuma
• Jonathan Okoronkwo

The gallery’s programming includes ambitious exhibitions, international art fair participation (Art Basel, 1-54 Contemporary African Art Fair, Art Dubai, Untitled Miami Beach, Photo London), artist talks, public programs, and the landmark Accra Cultural Week each October—bringing 200+ international collectors, curators, and museum professionals to Ghana for studio visits, exhibitions, and cultural immersion.

Yaa Asantewaa Art Prize (2021)

In 2021, Gallery 1957 launched the Yaa Asantewaa Art Prize—the first dedicated art prize for female artists living and working in Africa, named after the Ghanaian warrior queen. The prize supports emerging and established women artists from Ghana and diaspora through cash award and exhibition opportunities. First recipient was Ghanaian artist Araba Opoku.

The Founder: Marwan Zakhem – From Construction to Cultural Infrastructure

Understanding Gallery 1957’s residency requires understanding its founder’s unconventional path from civil engineering to cultural catalyst—and his deep commitment to supporting artists through commercial sustainability rather than philanthropic dependency.

Background:
Born 1972 in Beirut, Lebanon, Marwan Zakhem grew up surrounded by art (his family home had paintings on walls) but without museum-going culture or artistic inclination. He trained as civil engineer, joining the family’s Zakhem International Construction Group in 1993—the company founded by his father George and uncle Abdallah in 1964, with operations across Africa, Middle East, and beyond.

Move to West Africa:
Zakhem first moved to Dakar, Senegal twenty years ago, establishing Zakhem Construction Senegal SA in 2001, then to Ghana in 2003, founding Zakhem Construction Ghana Ltd in 2004. His construction work included large-scale oil and gas storage facilities, tanks, pipelines, hotels, and infrastructure projects.

Art Collecting Journey:
During business travels throughout the continent, Zakhem began purchasing art “as any tourist probably did,” he recalls—acquiring works for $20-30 from “largely obscure painters.” These purchases hung in his offices, houses, and restaurants in Senegal; many were given as gifts to visitors.

Over 15+ years, casual buying evolved into serious collecting as Zakhem developed deeper appreciation for contemporary African art’s vitality and political engagement. His collection grew to include works by Senegalese painters Amadou M’Baye and Soly Cissé alongside numerous emerging artists.

The Pivot to Gallery:
Friends assumed Zakhem would establish a foundation if he wanted art space in Ghana, or better yet, open a gallery in London rather than Accra. But neither appealed: “I didn’t think my collection was worthy of a foundation,” and establishing gallery abroad would undermine his core objective—supporting local artists to build careers in Ghana rather than requiring relocation.

The 2015 visit to Serge Attukwei Clottey’s Labadi studio proved decisive. Clottey’s “Afrogallonism” practice (stitching yellow plastic water containers into installations and paintings) and the vibrant work of other Ghanaian artists demonstrated that extraordinary talent existed locally—it simply lacked commercial infrastructure.

“I want to prove that you can make this talent visibly successful, and make the figures work, because that’s how you build a sustainable art community,” Zakhem explained. “If I’m able to create a commercial gallery to international standards, then other galleries can follow, which is what artists here need.”

Professional Approach:
Zakhem brings construction industry precision to gallery management—attention to detail, project completion, financial sustainability, international standards. He maintains his “day job” running Zakhem Construction while overseeing Gallery 1957, demonstrating commitment born from passion rather than financial necessity.

He serves on Tate Africa Acquisitions Committee, connecting Ghana’s artists to major international institutions. Press describes his rise in the art world as unconventional—he previously managed British-Ghanaian WBO Junior Featherweight champion boxer Isaac Dogboe—but this diverse background informs his practical, results-oriented approach to artist support.

Gallery Support Philosophy:
Gallery 1957 provides comprehensive artist support extending far beyond traditional representation:

• Covering international travel (tickets, visas)
• Medical expenses when needed
• Accommodation for non-Ghanaian artists
• Materials and production costs
• Exhibition organization and promotion
• Introduction to international collectors, curators, institutions
• Fair participation and international exposure
• Long-term career development and mentorship

“My passion is about what I do with the gallery. I am passionate about the artists that I represent. I am extremely passionate about Ghana’s cultural ecosystem and the part that it is playing in this revival of contemporary African arts,” Zakhem emphasizes.

1-54 Contemporary African Art Fair founder Touria El Glaoui credits Zakhem with being “very generous in building up his network and his community”—not just commercially successful but committed to ecosystem development benefiting entire Ghanaian art scene.

The Residency Program – Structure & Support

Program Overview

The Gallery 1957 artist residency provides fully-supported studio time lasting three months to one year, with duration customized based on artist’s proposal and project scope. The program is intergenerational and multidisciplinary, encouraging cross-pollination between artists at different career stages working across media—from painting and sculpture to installation, photography, and mixed media.

According to Marwan Zakhem, the residency provides “a platform where they can experiment with artistic languages whilst also experiencing the vulnerability of being in a new environment.” This combination of support and productive discomfort has proven remarkably effective for artistic development.

Duration & Flexibility

Typical Duration: 3 months
Extended Residencies: Up to 12 months for major projects

Past Durations:

• M. Florine Démosthène: 4 months (November 2017-March 2018)
• Tiffanie Delune: 3 months (January-April 2023)
• Afia Prempeh: 7 months (2021)
• Yaw Owusu: 5 months (2023)
• Daniel Arnan Quarshie: Approx. 12 months (2022-2023)

The flexibility allows artists to propose ambitious projects requiring extended development time while accommodating shorter, focused residencies for specific bodies of work.

Studio Facilities

Each resident receives dedicated private studio space within the Galleria Mall complex, where Gallery 1957 maintains its Gallery II, Gallery III, Project Space, and residency studios. The Galleria Mall location provides:

• Professional studio environment with controlled access
• Proximity to gallery spaces (residents can observe exhibition installations, attend openings, engage with visiting curators and collectors)
• Integration into Accra’s arts community
• Access to materials suppliers and art services in Accra
• Security and reliable utilities (critical considerations in developing economy)

Studios are equipped with basic amenities; artists secure specialized equipment and materials for their specific practices, with gallery support for major purchases or technical needs.

Housing & Living Support

For International & Non-Accra Residents:
Gallery 1957 provides fully furnished two-bedroom apartment with:

• Complete furnishings and housewares
• Utilities covered
• Service of caretakers for cleaning and maintenance
• Located in safe, accessible Accra neighborhood
• Proximity to gallery spaces and cultural sites

For Kumasi-based or Regional Ghanaian Artists:
Accommodation provided even for Ghanaian artists not based in Accra (like Afia Prempeh from Kumasi), recognizing that daily commuting would be impractical and that immersion benefits artistic focus.

Financial Support

Monthly Stipend:
Residents receive regular stipend covering:

• Food and daily living expenses
• Local transportation
• Personal needs during residency

The stipend amount is not publicly disclosed but described by recipients as adequate for comfortable living in Accra without financial stress.

Materials & Production:
Gallery provides or reimburses costs for:

• Art materials and supplies
• Specialized equipment rental or purchase
• Production costs for large-scale or technically complex works
• Framing and presentation materials

For International Artists:
Gallery covers:

• Round-trip international airfare to Ghana
• Visa processing and fees
• Medical expenses if health issues arise during residency
• Insurance arrangements

This comprehensive support means artists can focus entirely on creative production without financial distraction—transformative for many participants who previously worked “hand to mouth” juggling art practice with survival economics.

Mentorship & Professional Development

Gallery Director Mentorship:
Marwan Zakhem personally mentors residents, sharing two decades of experience in art collecting, gallery management, and international art market navigation. His construction background brings business acumen and project management skills that benefit artists developing career sustainability.

Curatorial Dialogue:
Residents engage with curators who organize Gallery 1957 exhibitions and public programs, gaining insight into exhibition development, thematic coherence, and artwork contextualization. Recent curators have included Ekow Eshun (former ICA London director), Azu Nwagbogu, and various international specialists.

Visiting Artists & Professionals:
During residency, particularly during October’s Accra Cultural Week, residents meet:

• International collectors visiting Ghana
• Museum curators and directors (Tate, V&A, LACMA, etc.)
• Gallery representatives from global markets
• Established artists (both Ghanaian and international)
• Art critics and journalists
• Fair directors and arts administrators

Studio Visits:
Organized studio visits allow residents to present work-in-progress to collectors, curators, and fellow artists—invaluable practice for articulating artistic concepts and receiving professional feedback.

Critique & Dialogue:
Regular formal and informal critique sessions with:

• Other resident artists (when multiple residents overlap)
• Gallery represented artists based in Accra
• Visiting artists and curators
• Gallery staff and advisors

Guaranteed Solo Exhibition

Every residency concludes with solo exhibition at one of Gallery 1957’s three Accra gallery spaces. This is non-negotiable program component providing:

Professional Presentation:

• Dedicated gallery space (Gallery I, II, or III depending on scope)
• Professional installation by gallery team
• Lighting, wall treatments, and display optimization
• Printed exhibition materials (wall text, price lists)
• Opening reception with Accra’s art community + international visitors
• Press coverage and documentation
• Online presence on gallery website and social media

Market Exposure:

• Work presented to Gallery 1957’s collector base (local and international)
• Sales handled by gallery (with standard artist-gallery commission split)
• Potential for museum acquisitions and institutional interest
• Introduction to galleries in other markets for future representation

Career Milestone:

• First solo exhibition for many emerging artists
• Professional documentation for portfolio
• Exhibition history strengthening CV
• Catalogue or publication documentation (for major exhibitions)
• Critical writing and reviews

Past Exhibition Examples:

• Tiffanie Delune: “There’s Gold on the Palms of My Hands” (2023)
• Afia Prempeh: “We Could Be…” (2021)
• Daniel Arnan Quarshie: “Sympathetic Magic” (2023)
• Yaw Owusu: “Everything You Touch is Gold” (2023)
• M. Florine Démosthène: “The Stories I Tell Myself” (2018)

Exhibition typically runs 6-8 weeks, with opening timed to coincide with high-traffic periods when possible (Cultural Week, international fair season, etc.).

Cross-Pollination & Community

The program’s intergenerational and multidisciplinary design fosters exchange between:

Emerging artists (like Daniel Arnan Quarshie, whose residency 2022-2023 led to debut solo exhibition) learning from:

Established artists (like 59-year-old British-Ghanaian painter Godfried Donkor, who participated in 2023) sharing decades of experience.

Diverse media practices:

• Painting (majority of residents)
• Mixed media and collage (Florine Démosthène, Tiffanie Delune)
• Drawing and charcoal work (Daniel Arnan Quarshie)
• Installation and sculpture (various)
• Photography and mixed media

Cultural backgrounds:

• Ghanaian artists (Afia Prempeh, Kwesi Botchway, Cornelius Annor)
• West African diaspora (Amoako Boafo US-trained, Godfried Donkor UK-based)
• Pan-African (Johannes Phokela South Africa, Collin Sekajugo Uganda)
• International diaspora (Tiffanie Delune French Belgo-Congolese, Florine Démosthène Haitian-American)

This diversity prevents insular perspectives and exposes all participants to broader conversations about contemporary African art, diaspora identity, and global art world dynamics.

Past Residents – Notable Alumni

The residency has hosted remarkable array of talent, many of whom have gone on to major international success:

M. Florine Démosthène (November 2017-March 2018)

Inaugural Resident – Haitian-American mixed-media artist whose 4-month residency (technically beginning November 2017 before official 2018 program launch) established the residency model.

Background: Born in United States, raised between Port-au-Prince, Haiti and New York. BFA Parsons School for Design, MFA Hunter College-CUNY.

Practice: Creates mixed-media collages exploring Black female body as vessel of collective experience, using marbled mylar, glitter, suspended figures in blank space addressing bodily transformation and regeneration.

Residency Exhibition: “The Stories I Tell Myself” (Gallery 1957 Accra, 2018)

Post-Residency Success:

• Gallery representation: Mariane Ibrahim Gallery (Chicago/Paris/Mexico City)
• Major solo exhibitions: “In the Realm of Love” (Mariane Ibrahim Paris, 2022), “Mastering the Dream” (SCAD Museum of Art, 2023), “What The Body Carries” (Frist Art Museum Nashville)
• Collections: National Museum For African American History and Culture, University of South Africa (UNISA), Lowe Art Museum, various private collections
• Awards: Wachtmeister Award (2021), Tulsa Artist Fellowship, Arts Moves Africa Grant, Joan Mitchell Foundation Grant, Black Star Award

Significance: Démosthène’s successful residency demonstrated program viability and international artist interest, establishing precedent for comprehensive support model.

Amoako Boafo (2020)

Ghana’s Current International Art Star – Though already gaining recognition by 2020, Boafo’s Gallery 1957 residency came during crucial career development phase.

Background: Born 1984 Osu, Accra. Ghanatta College of Art and Design, Academy of Fine Arts Vienna MFA.

Practice: Finger-painted portraits of Black diaspora figures using bold colors and patterns, textural skin contrasts, fashion-forward subjects. Developed distinctive technique abandoning brushes for direct touch.

Residency Timing: 2020—coinciding with his market explosion (February 2020 Phillips auction $880,971 sale, Dior Men’s Summer 2021 collaboration)

Gallery 1957 Exhibitions:

• “Dark Purple is Everything Black” (Gallery 1957 Accra, 2020) – First solo show
• “Becoming As Well As Being” (Gallery 1957 London, 2020) – First exhibition at London outpost

Post-Residency (or Concurrent) Success:

• Founded dot.ateliers (2022) – His own residency space designed by David Adjaye
• Gallery representation: Roberts Projects LA, Mariane Ibrahim Gallery
• Museum collections: Guggenheim, Whitney Museum, LACMA, Brooklyn Museum, Rubell Museum, Albertina Vienna
• Major institutional exhibitions across US and Europe
• Dior partnership funding Accra studio complex

Significance: Boafo’s trajectory demonstrates how Gallery 1957 supports artists at breakthrough moments, providing platform during critical career acceleration.

Kwesi Botchway (2020)

Rising Ghanaian Portrait Painter – Ghanatta College classmate of Amoako Boafo and Otis Kwame Kye Quaicoe, founder of Worldfaze artist residency.

Background: Born 1994 Nima, Accra. Ghanatta College of Art and Design, Academy of Visual Arts Frankfurt.

Practice: “Afro-Impressionism” blending French Impressionism with African Realism, signature purple-toned Black skin representation connecting Blackness to royalty and luxury.

Gallery 1957 Exhibitions:

• “Dark Purple is Everything Black” co-exhibition or related programming (2020)
• Featured in multiple group exhibitions

Post-Residency Success:

• Gallery representation: Vielmetter Los Angeles (first US solo “There’s More Than What the Eye Witnesses” 2023), Gallery 1957
• Founded Worldfaze Art Studio and Residency (2011 informal, 2023 official launch)
• Collections: Institute of Contemporary Art Miami, Vanhaerents Foundation Belgium, High Fashion Foundation NY, Israel Museum Tel Aviv, National Gallery of Victoria Melbourne
• Press: NY Times, Financial Times, Flash Art, The Art Newspaper, ArtNews, Frieze, Vogue
• GUBA Awards USA nomination as Influential Artist (2019)

Significance: Botchway’s residency supported his transition from emerging to established, enabling him to subsequently create his own artist support infrastructure (Worldfaze).

Afia Prempeh (2021 – 7 months)

Ghanaian Genre-Bending Portraitist – Kumasi-based artist whose residency proved transformative for career previously conducted “hand to mouth” from her bedroom.

Background: Born 1986 Kumasi. BFA Painting Kwame Nkrumah University of Science and Technology (K.N.U.S.T.) 2009.

Practice: Interdisciplinary portraiture informed by still-life and landscape training, layered compositions merging classical painting aesthetics with Ghanaian cultural vernacular, exploring contemporary women’s lives.

Residency Experience: 7-month residency (2021) with fully furnished apartment, monthly stipend, materials, caretakers. “The moment [Marwan] recognizes your talent and then he picks you, he changes your life as an artist and your career,” Prempeh stated.

Residency Exhibition: “We Could Be…” (Gallery 1957 Gallery III Accra, November-December 2021) – Debut solo exhibition

Post-Residency Success:

• Gallery representation: Gallery 1957 (Accra/London), subsequently Daniela Mercuri Gallery (New York)
• Relocated to New York to expand practice
• Exhibitions in Ghana, London, New York, Dubai
• 1-54 Contemporary African Art Fair London participation (2021)
• Collectors including Reverends, Presidents, corporate entities
• Recognized in Artnet’s “Next Emerging Names You Need to Know in Accra” (2021)

Significance: Prempeh exemplifies residency’s transformative impact on underserved Ghanaian artists, providing first professional infrastructure and launching international career.

Tiffanie Delune (January-April 2023 – 3 months)

French Belgo-Congolese Abstract Painter – Lisbon-based artist whose residency catalyzed major aesthetic breakthrough.

Background: Born 1988 Paris. Lives/works Lisbon, Portugal (subsequently moved to Montpellier, France).

Practice: Mixed-media abstract spiritual paintings using acrylic, oil pastels, spray paint, threads, paper, glitter—weaving dreams and fantasies into utopian worlds inspired by spirituality, geometry, anatomy, animism, astrology.

Residency Breakthrough: Delune arrived hesitant about using darker colors in her uplifting, joyful work. “I wasn’t sure how to convey that feeling with dark colours.” Accra’s environment—”blend of pastels and bolder tones, both across the landscape and on people’s clothes”—inspired her to balance browns and blacks with softer colors. “Here, I’ve been more in tune with my intuition and found myself slowly removing the bodily representations… Abstraction requires confidence.”

Residency Exhibition: “There’s Gold on the Palms of My Hands” (Gallery 1957 Accra, March-May 2023) – 15 new works created during residency, gallery walls painted gold per artist’s request

Post-Residency Success:

• Joined Gallery 1957 roster
• “The Geography of Feelings” (Gallery 1957 London, October-November 2024)
• Art Basel Miami Beach 2023 solo presentation
• 2023 Norval Sovereign African Art Prize nomination (2022)
• Reiffers Art Initiative Prize Paris nomination (2021)
• Collections: Fondation Gandur pour l’Art Geneva, Alexandra Cohen Presbyterian Hospital NY, Women’s Art Collection Murray Edwards College Cambridge UK
• Press: Forbes, BBC Radio London, Financial Times, Cultured Magazine

Significance: Delune’s residency demonstrates how geographic and cultural immersion catalyzes aesthetic evolution, with Accra environment directly influencing expanded palette and increased abstraction.

Daniel Arnan Quarshie (2022-2023 – approx. 12 months)

Young Ghanaian Charcoal Artist – Emerging talent whose residency concluded in debut solo exhibition.

Background: Member of blaxTARLINES Kumasi collective, participated in documenta fifteen.

Practice: Figurative charcoal drawings exploring memory, intimacy, family histories—transforming old family album photographs into “sympathetic magic” that immortalizes memories and creates suspended space holding yesterday, today, tomorrow.

Residency Duration: Extended residency approximately 12 months (2022-2023), allowing deep development of cohesive body of work.

Residency Exhibition: “Sympathetic Magic” (Gallery 1957 Gallery III Accra, April-May 2023) – First solo exhibition

Post-Residency Recognition:

• First participant in “Frankfurt Moves!” exchange program: KfW Stiftung residency at Städelschule Frankfurt in cooperation with K.N.U.S.T. Kumasi (2023-2024)
• Group exhibitions: “Unlimited” and “Unlimited II” Gallery 1957, “Silent Invasions: The Art of Material Hacking” Amasaka Gallery Masaka, “The Dialogue” ART X Lagos 2023
• “Home” solo exhibition Compound House Gallery Kumasi (2023)

Significance: Quarshie represents Gallery 1957’s commitment to young Ghanaian artists at career beginning, providing extended time for major project development.

Godfried Donkor (2023)

Established British-Ghanaian Artist – Demonstrates residency’s intergenerational approach, welcoming 59-year-old with decades of international experience.

Background: Born 1964 Kumasi. Raised UK from age 4. Central Saint Martins BA, Goldsmith’s College MA.

Practice: Large-scale paintings, collages, photography exploring African identity in diaspora, boxing culture, colonial histories—often layering images onto vintage newspapers commenting on Africa-Europe socio-historical relationships.

Residency Participation: 2023 residency as established artist bringing decades of experience to cross-pollination with younger residents like Quarshie.

Career Context:

• Extensive international exhibition history since 1990s
• Collections: British Museum, Victoria and Albert Museum, National Portrait Gallery London, Smithsonian, Newark Museum
• Joined Gallery 1957 roster 2023
• “Keeping Time” curated by Ekow Eshun (Gallery 1957, 2024)

Significance: Donkor’s participation demonstrates residency isn’t exclusively for emerging artists—established practitioners benefit from dedicated production time in new environment.

Additional Past Residents:

Rita Mawuena Benissan – Ghanaian photographer/visual artist Isshaq Ismail – Ghanaian painter exploring abstraction and geometric forms Johannes Phokela – South African artist Cornelius Annor – Ghanaian painter Yaw Owusu – Ghanaian installation artist (5-month residency 2023, “Everything You Touch is Gold” exhibition—compelling series of coins on wooden panels and canvas) Araba Opoku – First Yaa Asantewaa Art Prize recipient (participated in residency programming) Zohra Opoku – Textile-based artist (Gallery 1957 representation)

Selection Process & Application

Gallery 1957 operates invitational residency model rather than open call. Artists are selected through:

Gallery Discovery & Recruitment:

• Marwan Zakhem’s ongoing scouting throughout West Africa and diaspora
• Artist recommendations from gallery roster and art community
• Social media discovery (Zakhem reached out to Afia Prempeh after seeing in-progress painting on Instagram)
• Studio visits and exhibition attendance
• Art fair encounters
• Curator recommendations

Existing Gallery Relationships:

• Many residents are already Gallery 1957 represented artists
• Residency often precedes or accompanies gallery representation
• Some residents join roster following successful residency

Curatorial Vision:

• Program balances emerging and established artists
• Seeks intergenerational and cross-cultural dialogue
• Prioritizes artists whose work aligns with Gallery 1957’s focus on contemporary West African art and diaspora
• Considers both artistic merit and potential benefit from residency support

Interested Artists Should: While there’s no formal application process, artists can:

• Follow Gallery 1957 on social media (@gallery1957) engaging thoughtfully with programming
• Attend Gallery 1957 exhibitions and events when possible
• Participate in Accra Cultural Week if visiting Ghana
• Connect through existing gallery artists or curators
• Submit portfolio/inquiry to info@gallery1957.com (though unsolicited approaches are less common pathway)
• Develop work and exhibition history that demonstrates readiness for professional platform
• Establish presence within West African contemporary art networks

Selection Criteria (Inferred):

• Demonstrated artistic merit and clear vision
• Readiness to benefit from residency (developed enough practice to create cohesive exhibition body of work)
• Alignment with Gallery 1957’s mission and aesthetic
• Potential for career development through residency
• Ability to engage productively with international visitors and art community
• Willingness to experiment and take risks in new environment

Accra Cultural Week – Residency Context

Understanding Gallery 1957’s residency requires understanding Accra Cultural Week—the annual October initiative that brings 200+ international collectors, curators, museum directors, fair directors, and art professionals to Ghana for multi-day immersion in contemporary art scene.

Format (Typical Week):

• Studio visits: Guided tours to Gallery 1957 artists’ studios (both residency participants and Ghana-based roster artists)
• Gallery exhibitions: Multiple solo and group show openings across Gallery 1957’s three spaces
• Cultural Week programming: Curator talks, artist discussions, panel conversations
• Institutional visits: Tours to Nubuke Foundation, Noldor, dot.ateliers, Dikan Center, Worldfaze, other Accra galleries and artist spaces
• Regional excursions: Day trips to Cape Coast (Cape Coast Castle slave fort historical site), Tamale (Ibrahim Mahama’s Red Clay, Savannah Centre)
• Social events: Opening receptions, private dinners, informal gatherings

International Attendees (Past Years):

• Tate (Acquisitions Committee members)
• Victoria and Albert Museum
• Sotheby’s
• 1-54 Contemporary African Art Fair (founder Touria El Glaoui)
• Major international galleries
• Museum curators and directors
• Private collectors from US, Europe, Middle East
• Art journalists and critics

Impact on Residency Experience: Residents whose residency coincides with Cultural Week benefit enormously from:

• Studio visits by influential collectors and curators
• Direct engagement with potential buyers and institutional supporters
• Networking with international art professionals
• Observing how established Gallery 1957 artists present work
• Participating in larger conversation about Ghana’s art ecosystem

Zakhem notes Cultural Week generates “an extraordinary amount of attention on the country, leading to the work of artists being documented, exposed and collected”—creating “sustainable platform for the country’s arts ecosystem.”

For residents completing residency earlier in year, they still benefit from Gallery 1957’s year-round international connections and the network built through Cultural Week relationships.

The Accra Art Ecosystem – Residency Network

Gallery 1957’s residency operates within—and actively contributes to—Accra’s rapidly evolving position as West Africa contemporary art hub alongside Lagos and Dakar.

Major Institutions & Artist Spaces:

dot.ateliers (2022, Amoako Boafo)
David Adjaye-designed residency in South Labadi. Amoako Boafo, Gallery 1957 alumnus, created this space supporting 6-8 visual artists annually with 6-week to 3-month residencies, travel covered, materials stipend. Second location dot.ateliers | Ogbojo (2024) for writers/curators designed by DeRoché Strohmayer.

Worldfaze Art Studio and Residency (2011/2023, Kwesi Botchway)
Gallery 1957 alumnus Kwesi Botchway founded this grassroots residency in Ogbojo offering 3-month programs with housing and mentorship. Official studio launched August 2023 with distinctive purple building.

Nubuke Foundation (2006)
East Legon institution with 2019 concrete structure by Juergen Strohmayer. Exhibitions, workshops, performances, community programming. Monthly Talk Party and Artists’ Concert.

Noldor Artist Residency (2020, Joseph Awuah-Darko)
Annual 4-week program in former pharmaceutical factory. One emerging African artist receives studio space, private equestrian retreat, clinical psychologist support, holistic approach combining artistic and emotional well-being.

Dikan Center (Paul Ninson)
30,000+ book library (largest in Ghana), photo studio, classrooms, workshops for African documentarians.

ADA Contemporary (2020, Adora Mba)
Avant-garde African art focus.

Artists Alliance Gallery (1993)
Labadi beach, three-story traditional/contemporary exhibitions.

ANO Institute (Nana Oforiatta Ayim)
Art, storytelling, research—mobile museums project reimagining presentation models.

Regional Spaces:

• Red Clay, Savannah Centre for Contemporary Art (Tamale, Ibrahim Mahama)
• Nkyinkyim Museum (Ada Foah, Kwame Akoto-Bamfo)

Collaborative Spirit:

Rather than competitive, Accra’s artist-led spaces and galleries operate collaboratively—cross-referencing artists, sharing resources, participating in each other’s programming. Gallery 1957’s Cultural Week includes visits to other institutions; dot.ateliers and Worldfaze founders are Gallery 1957 alumni who maintain strong relationships.

This ecosystem approach means Gallery 1957 residents benefit from:

• Broader Accra arts community beyond single institution
• Connections to multiple galleries and potential representation
• Diverse programming and perspectives
• Collaborative projects and exhibitions
• Sense of belonging to larger movement

Why Gallery 1957’s Residency Matters

1. Commercial + Artistic Integration

Unlike many residencies operating as non-profits with limited market connection, Gallery 1957 integrates residency within thriving commercial gallery. This means:

Immediate Market Access:
Residents’ work is presented to active collector base—both Ghanaian collectors (still minority but growing) and international buyers who trust Gallery 1957’s curatorial judgment.

Professional Standards:
Gallery applies commercial gallery standards to residency—professional installation, marketing, documentation, sales infrastructure—preparing artists for career realities.

Sustainable Careers:
Focus on building artist careers through sales rather than dependency on grants/prizes. As Zakhem notes: “The commercial gallery model here has offered our artists an opportunity to build robust international careers from their work, without needing to leave Ghana.”

2. Comprehensive Support Transforming Lives

For artists from underserved backgrounds or regions with limited infrastructure, Gallery 1957’s support proves genuinely transformative:

Afia Prempeh’s Testimony:
Previously working “hand to mouth” making art in her bedroom, Prempeh received fully furnished apartment, monthly stipend, caretakers, materials: “It has made a whole lot of difference in my career. The moment [Marwan] recognizes your talent and then he picks you, he changes your life as an artist and your career.”

Freedom to Focus:
By covering all financial needs—housing, food, materials, medical, travel—residency allows artists to focus entirely on creative production for first time in many cases.

Professional Development:
Beyond studio time, residents gain skills in:

• Articulating practice to collectors/curators
• Studio visit etiquette and self-presentation
• Exhibition planning and installation
• Pricing work and sales negotiations
• Building international networks
• Navigating art world professional contexts

3. Retention of African Talent

Historically, African artists required European or American relocation for career success—extractive model draining continent of cultural producers while enriching Western markets.

Gallery 1957’s residency challenges this by:

• Demonstrating Ghana-based artists can achieve museum acquisitions, major gallery representation, critical acclaim
• Providing professional infrastructure previously only available abroad
• Connecting artists to international market from Ghana rather than requiring relocation
• Inspiring next generation to remain continent-based (evidenced by Boafo and Botchway creating their own Accra residencies)

Afia Prempeh’s Realization:
“I was probably looking to have my exhibition outside because people kept telling me, ‘If you sell these works outside, the money you’d make.’ But then Gallery 1957 came in and made me realize that I can make it right here.”

4. Intergenerational Knowledge Transfer

Bringing together 59-year-old Godfried Donkor (decades of international experience) with young emerging artists like Daniel Arnan Quarshie (debut exhibition) creates mentorship unavailable in commercial contexts where age segregation often prevails.

Younger artists learn:

• Career navigation strategies
• Avoiding common pitfalls
• Building sustainable practices
• Negotiating with institutions
• Maintaining artistic integrity while commercially successful

Established artists benefit from:

• Young artists’ fresh perspectives
• New media and techniques
• Contemporary discourse
• Renewed energy and experimentation

5. Geographic and Cultural Immersion as Catalyst

Multiple residents credit Accra environment with catalyzing breakthroughs:

Tiffanie Delune:
Overcame fear of darker colors through exposure to Accra’s “blend of pastels and bolder tones, both across the landscape and on people’s clothes.” Developed increased abstraction and confidence.

Creative Isolation Benefits:
“Living in a kind of creative isolation during the residency enabled her to work in sync with her own natural rhythm. ‘I was able to check in with myself and have the proper time to sit with the work,'” Delune explained.

Vulnerability as Productive:
Zakhem notes residency provides “the vulnerability of being in a new environment”—productive discomfort pushing artists beyond established patterns.

6. Exhibition as Non-Negotiable Outcome

Unlike residencies where exhibition is uncertain or dependent on curators’ decisions, Gallery 1957 guarantees solo exhibition for every resident. This certainty allows:

Goal-Oriented Production:
Artists work toward specific endpoint rather than open-ended exploration, focusing creative energy.

Career Milestone:
Solo exhibition at professional gallery represents significant CV addition, particularly for emerging artists.

Public Accountability:
Knowing work will be publicly presented raises standards and encourages resolution rather than endless revision.

Documentation:
Professional photography, press coverage, catalogue materials (where applicable) provide portfolio documentation for future opportunities.

7. Network Effects & Alumni Success

Gallery 1957 alumni network includes some of contemporary African art’s biggest names:

• Amoako Boafo: International sensation with Guggenheim/Whitney acquisitions, Dior collaboration
• Kwesi Botchway: Vielmetter Los Angeles, major press coverage
• M. Florine Démosthène: Mariane Ibrahim, museum exhibitions, major awards
• Gideon Appah: Pace Gallery representation
• Tiffanie Delune: Art Basel presentations, growing international profile

This alumni success:

• Validates residency model
• Attracts top talent
• Creates mentorship opportunities (alumni recommend/mentor new residents)
• Raises Ghana’s profile internationally
• Demonstrates commercial viability of West African contemporary art

Challenges & Considerations

Limited Capacity

With studio space accommodating limited residents simultaneously and program operating by invitation only, Gallery 1957 residency serves relatively small number of artists annually. This exclusivity maintains quality but limits access.

Invitational Model Accessibility

Lack of open application process means:

• Artists without existing connections face barriers
• Discovery depends on Zakhem’s scouting/social media/recommendations
• Potential talent in remote regions may be overlooked
• Less democratic than open call residencies

However, invitational approach also ensures:

• Highly curated selection aligning with gallery mission
• Residents genuinely benefit from specific support offered
• Strong likelihood of post-residency representation and career development
• Manageable participant numbers allowing personalized attention

Commercial Gallery Context

Integration with commercial gallery means:

• Residents expected to create sellable work (though experimentation encouraged)
• Market considerations may influence creative choices
• Pressure to produce exhibition-ready work within residency timeframe
• Gallery takes commission on sales from residency exhibition

Benefits outweigh concerns for most artists, particularly those previously lacking any market access, but artists seeking purely experimental/unmarketable practice might find other residencies more suitable.

Ghana Infrastructure Realities

While Gallery 1957 provides excellent facilities, Accra’s broader infrastructure presents challenges:

• Inconsistent electricity (though gallery has backup power)
• Limited specialized art materials suppliers (requiring imports or substitution)
• Transportation infrastructure varies
• Healthcare quality varies (though gallery covers medical expenses)
• Visa/bureaucracy can be complex for international artists

Gallery’s comprehensive support mitigates most issues, but artists should prepare for developing economy realities.

Post-Residency Representation Expectations

While residency doesn’t guarantee gallery representation, there’s implicit expectation that successful residencies may lead to roster inclusion. Artists should clarify:

• Representation terms and exclusivity
• Commission structures
• Contract duration
• Geographic/media scope
• Exit procedures

Practical Information

Location & Facilities

Gallery Addresses:

Gallery I – Kempinski Hotel Gold Coast City
Gamel Abdul Nasser Avenue
Ridge, Accra, Ghana

Gallery II & III + Residency Studios – Galleria Mall
PMB 66 — Ministries
Accra, Ghana

Contact Information:
Website: http://www.gallery1957.com
Email: info@gallery1957.com
Phone: +233 303967575
Instagram: @gallery1957
Facebook: Gallery 1957
LinkedIn: Gallery 1957
Artsy: Gallery 1957

Getting to Ghana

Kotoka International Airport (ACC), Accra
Major connections throughout Africa, Europe, Middle East:

• Direct flights from London, Amsterdam, Paris, Brussels, Frankfurt, New York (JFK), Dubai, Johannesburg, Lagos, Nairobi, and many African capitals
• Visa requirements vary by nationality—check Ghana Immigration Service
• Gallery arranges visa support letters for accepted residents
• Gallery covers international airfare for accepted international residents

Climate & Timing

Climate:
Tropical savanna climate:

• Warm year-round 24-30°C (75-86°F)
• Two rainy seasons: April-June (major), September-November (minor)
• Dry season November-March with harmattan winds from Sahara (dusty, drier)
• Humidity high during rainy seasons

Residency Timing:
Residencies scheduled year-round. Considerations:

• October: Accra Cultural Week brings 200+ international visitors—excellent networking but intense
• Rainy seasons: Some prefer avoiding heavy rains, though temperatures remain moderate
• Harmattan (Dec-Feb): Drier, dustier, but pleasant temperatures
• Coordinate with gallery for optimal timing based on exhibition schedule and artist’s needs

Language

English is Ghana’s official language, widely spoken in Accra. Additional languages include Ga (local to Accra region), Twi, Ewe, and others. Artists can work comfortably in English throughout residency.

Currency & Cost of Living

Currency: Ghanaian Cedi (GHS)
Exchange Rate: Approximately 12-15 GHS = 1 USD (fluctuates)

Cost of Living (covered by stipend):

• Meals: $5-15 USD per meal at restaurants
• Local transportation: Tro-tro (shared minibus) very cheap; taxis/Uber affordable
• SIM card/mobile data: Inexpensive
• Entertainment/cultural activities: Moderate

Gallery’s monthly stipend covers comfortable living standard in Accra.

Health & Safety

Health:

• Yellow fever vaccination required for entry
• Malaria prophylaxis recommended (consult travel medicine doctor)
• Gallery covers medical expenses during residency
• Quality healthcare available at private hospitals in Accra (Korle-Bu Teaching Hospital, others)

Safety:

• Accra generally safe for visitors using common sense
• Petty theft can occur—keep valuables secure
• Gallery provides safe accommodation in good neighborhoods
• Gallery staff assist with navigating city safely

Cultural Considerations

Dress:

• Modest dress appreciated, particularly outside Accra’s cosmopolitan areas
• Traditional Ghanaian fashion vibrant and celebrated
• Art scene dress code casual-professional

Social Customs:

• Ghanaians generally warm, welcoming to visitors
• Handshakes common; greetings important
• Photography etiquette: ask permission before photographing people
• Tipping: Not mandatory but appreciated (10-15% at restaurants)

Art Community:

• Thriving, supportive creative community
• Regular openings, talks, events
• WhatsApp groups and social media connect artists
• Collaborative rather than competitive spirit

How to Express Interest

While Gallery 1957 operates primarily through invitational selection, artists interested in future residency consideration can:

1. Build Your Practice & Profile

• Develop cohesive body of work demonstrating clear artistic vision
• Create strong online presence (professional website, Instagram, portfolio)
• Participate in exhibitions building exhibition history
• Engage with West African contemporary art discourse
• Develop work addressing themes relevant to African art/diaspora conversations

2. Engage with Gallery 1957

• Follow Gallery 1957 on social media (@gallery1957)
• Engage thoughtfully with their programming (meaningful comments, sharing)
• Visit gallery exhibitions if in Accra
• Attend Accra Cultural Week if visiting Ghana
• Participate in broader Accra art scene (Nubuke, dot.ateliers, other galleries)

3. Network Strategically

• Connect with Gallery 1957 represented artists
• Build relationships with curators working with Gallery 1957
• Participate in international fairs where Gallery 1957 exhibits
• Engage with broader West African contemporary art community
• Attend talks, panels, events with Marwan Zakhem or gallery representatives

4. Direct Inquiry

• Prepare professional materials: artist statement, CV, portfolio (PDF or website)
• Send concise, professional email to info@gallery1957.com expressing interest
• Explain why Gallery 1957 residency specifically aligns with your practice
• Highlight relevant background (West African connections, thematic alignment, career stage)
• Don’t expect immediate response—gallery receives many inquiries
• Follow up professionally if no response after reasonable period (2-3 months)

5. Be Patient & Persistent

• Selection is highly competitive given limited capacity
• Building genuine relationship with gallery takes time
• Continue developing practice while pursuing opportunities
• Consider other West African residencies building experience (Noldor, dot.ateliers, Worldfaze, etc.)

Gallery 1957’s artist residency represents one of contemporary African art’s most significant platforms—not simply for prestige or facilities it offers, but for comprehensive, transformative support that fundamentally alters participants’ career trajectories. In eight years since program launch with M. Florine Démosthène in 2018, the residency has supported artists who’ve gone on to museum collections worldwide, major gallery representation, critical acclaim, and substantial commercial success—all while many have remained based in Ghana or elsewhere in Africa, challenging historical necessity of Western relocation.

The residency’s integration within thriving commercial gallery distinguishes it from many artist support programs. Rather than separating artistic production from market realities, Gallery 1957 provides professional platform where artists develop work with guaranteed exhibition outcome, direct collector access, and career sustainability focus. For artists like Afia Prempeh—previously working “hand to mouth” from her bedroom—this support proves genuinely life-changing: “The moment [Marwan] recognizes your talent and then he picks you, he changes your life as an artist and your career.”

Marwan Zakhem’s vision—”If I’m able to create a commercial gallery to international standards, then other galleries can follow, which is what artists here need”—has proven remarkably prescient. Gallery 1957 alumni Amoako Boafo and Kwesi Botchway have since founded their own Accra residencies (dot.ateliers and Worldfaze respectively), multiplying infrastructure and demonstrating sustainable model for artist-led ecosystem development.

The residency’s impact extends beyond individual participants to Ghana’s positioning as West African contemporary art hub alongside Lagos and Dakar. Through annual Accra Cultural Week bringing 200+ international collectors, curators, and museum professionals to Ghana, Gallery 1957 creates platform for entire ecosystem—demonstrating that world-class contemporary art thrives in Accra and deserves international attention on par with established art capitals.

For artists working across West Africa and diaspora—particularly those addressing themes of African identity, Black experience, diaspora, contemporary African life, or exploring innovative approaches to portraiture and figuration—Gallery 1957’s residency offers unparalleled opportunity. The combination of comprehensive financial support (housing, stipend, materials, travel), professional studio facilities, curatorial mentorship, international network access, and guaranteed solo exhibition creates conditions for focused creative production and career acceleration difficult to find elsewhere.

As Zakhem reflects on the residency’s role in Ghana’s cultural ecosystem: “If you consider all portraiture created across time, the minuscule percentage of Black figurative painting, even given this recent surge, is not even a drop in the ocean of what is yet to come.” Gallery 1957’s residency actively shapes that future—supporting artists creating work that will define contemporary African art’s next decades while building infrastructure ensuring this work reaches audiences worldwide without requiring artists to abandon the continent that inspires it.