In a quiet street of war-damaged Kyiv, where monuments are wrapped in sandbags and shrapnel shields, an unusual exhibition has opened its doors. Titled Africa Direct, it is the brainchild of Yulia Fil and Daria Sukhostavets, with Hanna Rudyk as its deputy director, and marks a bold attempt to redefine how Ukraine engages with African art and culture.
The Khanenko Museum, which was badly damaged by a Russian missile in 2022, has managed to bounce back from adversity. Despite the destruction of its glass ceiling, the museum's collections remain intact, thanks to their secure evacuation to partner institutions in Paris, Vilnius, Warsaw, and The Hague. The exhibition takes up residence in the same building, where artworks from 18 African countries are on display.
The collection is a treasure trove of historical artefacts and contemporary art, showcasing the diversity of Africa's cultures and histories. Among the exhibits are magnificent ceramic vessels, terracotta pieces, and paintings that transport visitors to the past. The selection privileges a sensuous engagement with African material culture, inviting viewers to touch, carry, and embrace the objects on display.
A standout piece is a large terracotta vessel from north-western Nigeria, adorned with notched forms that radiate from its face like arms or horns. It was made by women of the Dakakari people for funerary purposes, carrying memories of care, mourning, and continuity.
The exhibition also reflects Ukraine's growing recognition that decolonisation is not only a geopolitical struggle but an epistemic one. Anika Johnson, a representative of the African community in Ukraine, drew a parallel between Africa's fight against colonialism and Ukraine's own struggles for independence, saying "We are both freedom fighters."
This gesture of solidarity resonates beyond diplomatic circles, speaking to a shared vocabulary of independence that connects two histories often seen as separate. The exhibition is an experiment in intellectual realignment, redefining how museums can engage with resistance and redefine their role.
However, the process unfolds against a complicated backdrop. Relations between Ukraine and several African states have become fragile, especially where Russian influence is strong. In August 2024, Mali's military government cut diplomatic ties with Ukraine over allegations of covert involvement in fighting in the north of the country.
Despite this complexity, Africa Direct stands out as an autonomous gesture by art historians, scholars, and curators seeking a different language of exchange. The exhibition is conceived as a critical engagement with inherited narratives, addressing questions of racism and rethinking how knowledge itself is produced and shared.
Most of the museum's staff are young adults who have returned from abroad to continue their work. In their hands and eyes, culture is not a luxury of peace but a form of civic resilience and critical reflection. Even in the face of bombardment, they insist on continuity, intelligence, and a principle that neither reduces to tragedy nor heroism but necessity – the need for cultural life to persist between darkness and daylight, war and work.
As the night after the exhibition gives way to morning, with half of Kyiv still without electricity and water, the city's rhythm resumes. Coffee flows once more, children play, emails are exchanged, plans unfold, and reconstruction begins. Between light and darkness, between conflict and cultural endeavour, Africa Direct reminds us that continuity is possible – even in the midst of chaos – if we engage with our narratives with critical engagement, intelligence, and resilience.
The Khanenko Museum, which was badly damaged by a Russian missile in 2022, has managed to bounce back from adversity. Despite the destruction of its glass ceiling, the museum's collections remain intact, thanks to their secure evacuation to partner institutions in Paris, Vilnius, Warsaw, and The Hague. The exhibition takes up residence in the same building, where artworks from 18 African countries are on display.
The collection is a treasure trove of historical artefacts and contemporary art, showcasing the diversity of Africa's cultures and histories. Among the exhibits are magnificent ceramic vessels, terracotta pieces, and paintings that transport visitors to the past. The selection privileges a sensuous engagement with African material culture, inviting viewers to touch, carry, and embrace the objects on display.
A standout piece is a large terracotta vessel from north-western Nigeria, adorned with notched forms that radiate from its face like arms or horns. It was made by women of the Dakakari people for funerary purposes, carrying memories of care, mourning, and continuity.
The exhibition also reflects Ukraine's growing recognition that decolonisation is not only a geopolitical struggle but an epistemic one. Anika Johnson, a representative of the African community in Ukraine, drew a parallel between Africa's fight against colonialism and Ukraine's own struggles for independence, saying "We are both freedom fighters."
This gesture of solidarity resonates beyond diplomatic circles, speaking to a shared vocabulary of independence that connects two histories often seen as separate. The exhibition is an experiment in intellectual realignment, redefining how museums can engage with resistance and redefine their role.
However, the process unfolds against a complicated backdrop. Relations between Ukraine and several African states have become fragile, especially where Russian influence is strong. In August 2024, Mali's military government cut diplomatic ties with Ukraine over allegations of covert involvement in fighting in the north of the country.
Despite this complexity, Africa Direct stands out as an autonomous gesture by art historians, scholars, and curators seeking a different language of exchange. The exhibition is conceived as a critical engagement with inherited narratives, addressing questions of racism and rethinking how knowledge itself is produced and shared.
Most of the museum's staff are young adults who have returned from abroad to continue their work. In their hands and eyes, culture is not a luxury of peace but a form of civic resilience and critical reflection. Even in the face of bombardment, they insist on continuity, intelligence, and a principle that neither reduces to tragedy nor heroism but necessity – the need for cultural life to persist between darkness and daylight, war and work.
As the night after the exhibition gives way to morning, with half of Kyiv still without electricity and water, the city's rhythm resumes. Coffee flows once more, children play, emails are exchanged, plans unfold, and reconstruction begins. Between light and darkness, between conflict and cultural endeavour, Africa Direct reminds us that continuity is possible – even in the midst of chaos – if we engage with our narratives with critical engagement, intelligence, and resilience.
Just got my hands on some exclusive deets about Africa Direct 
️. I mean, who knew Ukraine was a hotbed for African art appreciation? 
It's like they're trying to make up for lost time after that crazy war 
. And let me tell you, the selection is fire 
! Those ceramics and terracotta pieces are straight outta Africa 
. I'm loving how they're redefining the way museums engage with resistance and decolonization – it's about time we had a more nuanced conversation around these issues 
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. It's like, they're not just talking at each other across cultures; they're actually listening and learning from each other 
. And can we talk about the team behind this exhibition? They're the real MVPs – young, talented, and dedicated to keeping cultural life alive even in the darkest of times 
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. But you know what? I think Africa Direct is just the kind of bold experiment we need right now. It's all about redefining our narratives, addressing racism, and sharing knowledge in new ways 
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. Trust me, your mind will be blown 
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It would be so mind-blowing to explore these pieces in a completely new way! And can you imagine the impact on accessibility? People with disabilities could finally experience art that's been hidden behind glass for centuries 
. The possibilities are endless!
, especially after everything they've been through. I mean, who would've thought that Ukraine and Africa could come together like this? It's like a bridge between two continents, right? And to think that the African community in Ukraine is drawing parallels with their own struggle for independence... it's powerful stuff 
. But this exhibition feels like a beacon of hope, reminding us that even in the darkest times, culture can be a source of strength and resilience 
. And who knows, maybe it'll inspire some new conversations and connections between people from different parts of the world 
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I'm loving this exhibition - it's like a breath of fresh air in Kyiv right now 
. I'm not surprised, though - Ukraine has always had a rich cultural scene. The exhibit itself sounds incredible, with all those historical artefacts and contemporary art pieces on display 
. I'd love to see some of these pieces up close one day! 
And Anika Johnson's quote about decolonisation is so true... it's like we're finally seeing the connections between Africa's fight for independence and Ukraine's own struggles 
.