Earlier this week, we welcomed Finnish filmmaker and artist Kush Badhwar for a four-week residency at G.A.S. Lagos. Working across moving image, sound, and research, his multidisciplinary practice explores the ecology of sound and image across time, political change, and large-scale development projects.

On March 6th, 2026, G.A.S. Lagos hosted One Bulb at a Time, a presentation exploring how agricultural innovation can respond to the unique challenges of the Lagos landscape. Led by Jonathan Chambalin in collaboration with Lagos Gallery Weekend, the session brought together practitioners across craft, farming, and technology, including G.A.S. alumnus Ryan Tenney, whose work foregrounds Pan-African approaches to communal development.

Founded in 2020, MOWAA is dedicated to the preservation of heritage, expansion of knowledge and celebration of West African arts and culture. MOWAA's mission centers on documenting, safeguarding, and activating cultural memory through an integrated approach that brings together curatorial practice, conservation, digitization, archaeology, and public programming.
MOWAA fosters collaboration among scholars, artisans, and cultural practitioners to support research, collections care, exhibition, and knowledge production.
The Museum has undertaken several key initiatives, like leading archaeological excavations particularly around the historic Benin City, contributing to knowledge on the region's material culture and urban history. MOWAA is in the process of establishing robust collections management and documentation systems, conservation and material science infrastructure while also delivering public programs. Guided by the principle of bringing the past to the present for the sake of the future, MOWAA continues to serve as a hub for innovation and cultural continuity.

The Women’s History Museum of Zambia is a feminist and decolonial museum initiative practicing rematriation as way of restoring, documenting, and activating women-led indigenous knowledge systems, material culture, and historical narratives in Zambia. Founded in response to the exclusion of women from dominant archival and museum canons, the museum works across research, exhibitions, digital storytelling, workshops, and public pedagogy to build more equitable and community-grounded cultural infrastructures.
Its work spans oral history, archival activation, textile and material culture research, digital interventions, and collaborative programming with artists, knowledge keepers, researchers, and institutions in Zambia and internationally. Through projects such as digital exhibitions, community learning labs, collection-based interpretation, and women-centred publishing and storytelling, the museum rethinks the archive as a living, usable resource rather than a static repository.
The museum’s broader mission is to contribute to epistemic repair by reconnecting communities to histories and knowledge systems that were disrupted through colonialism, patriarchy, and extractive museum practice. It is committed to shaping new models of museum practice from the African continent that centre memory, care, co-authorship, and public value.

KOKOBA: Meeting Our Griots is a multimodal literary platform operating at the intersection of art, research, archiving, documentation, and education. It provides access to Africa’s literary and intellectual heritage through inclusive, aesthetic, and consciousness-raising experiences in order to negotiate freedom, healing, revelation, remembrance and the reshaping of social imaginaries. KOKOBA harnesses the regenerative qualities of storytelling, books, self-study, and collective study to expand our sense of possibility in service of (inner) world-bending, (inner) world-mending, and (inner) world-making. On the occasion of its fifth anniversary, KOKOBA’s founder and steward, Keren LASME, curated La Bibliothèque des Possibles (The Library of Possibilities), a roving study space and library that reimagines the library as both altar and sanctuary: a bridge between the mundane and the sacred, offering poetic, intimate, and intuitive modes of engaging with knowledge.