In a quiet street in central Kyiv, the Khanenko Museum has reopened its doors to an exhibition that defies expectations. 'Africa Direct', a collection of over 40 works from 18 African countries, fills the space with objects and voices that challenge traditional narratives. Curated by Yulia Fil and Daria Sukhostavets, this exhibition is an experiment in intellectual realignment, a reflection on how museums can redefine their role in times of resistance.
As one steps into the gallery, the atmosphere is palpable, yet fragile. The exhibition is conceived as a sensuous engagement with African art and material culture – things made to be touched, carried, embraced. At its heart are magnificent ceramic vessels, crafted by women from Nigeria for funerary purposes, and an angel on an early 20th-century Christian Ethiopian healing scroll that stares with wide eyes, meant to protect the body and soul of whoever meets its gaze.
The show is not an easy or straightforward display. Instead, it privileges a nuanced exploration of African art and culture, one that refuses to be bound by traditional ethno graphic displays. The curator has chosen to resist the usual distance imposed by glass, placing the works on simple wooden boxes, an act of humility that suggests fragility and protection.
Anika Johnson's words at the opening resonated deeply – "We are both freedom fighters." It articulated a shared vocabulary of independence that connects two histories often seen as separate. Decolonising the museum means not only revising narratives of art and empire but addressing questions of racism and rethinking how knowledge itself is produced and shared.
However, this process unfolds against a backdrop of fragility and political tension. Relations between Ukraine and several African states are complex, especially where Russian influence is strong. Mali's military government abruptly cut diplomatic ties with Ukraine after accusing it of covert involvement in fighting in the north of the country – a claim denied by Kyiv but widely circulated in the media.
Despite this reality, 'Africa Direct' stands out as an autonomous gesture by art historians, scholars, and curators seeking a different, more reciprocal language of exchange. The staff, mostly in their 20s and 30s, many returned from abroad due to commitment to their institution, city, and purpose, see culture not as a luxury but a form of civic resilience and critical reflection.
The exhibition continues despite the sounds of bombardment – the alarms that sounded on the night after its opening, followed by messages flashing across phones: "Ballistic", "Take shelter". "Now it's drones." Then, hours later: "All clear." The city resumed its rhythm, yet culture continued in overlapping layers, as did life. Between darkness and daylight, between war and work, 'Africa Direct' insists on a principle that is neither tragic nor heroic but necessary – continuity, intelligence, and critical engagement with inherited narratives.
Until January 11th, 2026, the Khanenko Museum will remain open to this groundbreaking exhibition.
As one steps into the gallery, the atmosphere is palpable, yet fragile. The exhibition is conceived as a sensuous engagement with African art and material culture – things made to be touched, carried, embraced. At its heart are magnificent ceramic vessels, crafted by women from Nigeria for funerary purposes, and an angel on an early 20th-century Christian Ethiopian healing scroll that stares with wide eyes, meant to protect the body and soul of whoever meets its gaze.
The show is not an easy or straightforward display. Instead, it privileges a nuanced exploration of African art and culture, one that refuses to be bound by traditional ethno graphic displays. The curator has chosen to resist the usual distance imposed by glass, placing the works on simple wooden boxes, an act of humility that suggests fragility and protection.
Anika Johnson's words at the opening resonated deeply – "We are both freedom fighters." It articulated a shared vocabulary of independence that connects two histories often seen as separate. Decolonising the museum means not only revising narratives of art and empire but addressing questions of racism and rethinking how knowledge itself is produced and shared.
However, this process unfolds against a backdrop of fragility and political tension. Relations between Ukraine and several African states are complex, especially where Russian influence is strong. Mali's military government abruptly cut diplomatic ties with Ukraine after accusing it of covert involvement in fighting in the north of the country – a claim denied by Kyiv but widely circulated in the media.
Despite this reality, 'Africa Direct' stands out as an autonomous gesture by art historians, scholars, and curators seeking a different, more reciprocal language of exchange. The staff, mostly in their 20s and 30s, many returned from abroad due to commitment to their institution, city, and purpose, see culture not as a luxury but a form of civic resilience and critical reflection.
The exhibition continues despite the sounds of bombardment – the alarms that sounded on the night after its opening, followed by messages flashing across phones: "Ballistic", "Take shelter". "Now it's drones." Then, hours later: "All clear." The city resumed its rhythm, yet culture continued in overlapping layers, as did life. Between darkness and daylight, between war and work, 'Africa Direct' insists on a principle that is neither tragic nor heroic but necessary – continuity, intelligence, and critical engagement with inherited narratives.
Until January 11th, 2026, the Khanenko Museum will remain open to this groundbreaking exhibition.
I think it's super cool how they're trying to redefine what a museum can be in times of resistance 
. I mean, using objects and voices from Africa that challenge traditional narratives is a bold move 
. It's not easy to make those kinds of changes, but I think it's necessary for growth and understanding 
. And I love how they're prioritizing sensuous engagement with African art and culture – it's all about creating a connection between the visitor and the artwork 
. The way they've placed the works on wooden boxes is such a nice touch too - it's like they're saying "we value you" 
. The fact that they can keep showing this exhibition despite the sounds of bombardment is really impressive too 
. I think we need more of that kind of resilience and critical engagement in our world 
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... the way they're pushing boundaries with traditional displays is super inspiring, you know? I mean, who needs glass when you can have wooden boxes that show vulnerability instead of protection? It's like they're saying "our art is not just for viewing, but also for touching and feeling" 
. The way they're pushing against traditional narratives and exploring African art in a more nuanced way... it's like, finally, we're seeing some real representation 
.
. Like, in a time of war, we need art and culture to bring us together, not tear us apart 
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. These African art pieces aren't just pretty objects, they're a reflection of resistance and resilience. The way they've set up the space is genius too - all hands on wood instead of glass. Makes you feel like you're holding something precious.
. War and politics aside, 'Africa Direct' is just... necessary 
.
. Go check it out while you can - until January 11th 
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I'm loving how Ukraine is using culture as a form of resistance during these crazy times 
? The fact that the curators are willing to take risks and defy expectations is truly admirable. It's like they're saying, "Hey, we can't just sit back and wait for things to get better – let's create our own future." 
just heard from a super reliable source at the museum that they're really worried about the Russian influence on African states & how it's gonna affect the exhibit 
the whole 'decolonizing' vibe is awesome, but can't help feeling like this show's being put under a microscope because of Ukraine's situation 
still, the energy in the gallery when I visited was LIT 
the way they've put the focus on sensuous engagement is so refreshing 
it's like they knew that culture wasn't gonna disappear just because of some conflict 
it feels so true, you know? when museums can bring people together and challenge traditional narratives, that's where the real power is 
i mean i love how they broke all those rules with traditional museum setups, its so refreshing to see art in a different light 
& anika johnson's quote "we are both freedom fighters" gave me chills 
i dont know what was going through the curators minds but it felt like they were trying to prove that culture is still relevant even in times of war 
I love how the curators have pushed boundaries by not using traditional display cases – it feels so intimate and humanizing 
And can we talk about Anika Johnson's quote? "We are both freedom fighters" is giving me chills 
#RepresentationMatters. And I love how the curators have ditched the traditional glass cases for wooden boxes 
#ArtTherapy. It's giving me life! 
. Those ceramic vessels from Nigeria, man... they're stunning 
. And the wooden boxes? Genius 
. Decolonizing museums is so important, and this exhibit is a huge step in that direction 
. Don't miss out on this groundbreaking exhibit!