Conceived in close collaboration with the artist, the exhibition invites visitors into a universe where fashion engages in dialogue with popular cultures, urban arts and traditional craftsmanship.

Sculptural silhouettes, videos, and textiles interact with the museum’s archives and artisanal gestures, shaping a journey that is both sensory and participatory. Visitors are invited to touch, listen, create, and feel. Trained as much in the street as alongside the great couturiers, Mossi Traoré cultivates an aesthetic that is pared-down and committed.

The exhibition gathers nearly 150 works, half of them created by Mossi Traoré, with several conceived specifically for the occasion. His pieces stand alongside those of artists who inspire him, among them Madame Grès, Lee Bul and Hassan Massoudy, and with objects drawn from the Mucem’s own collections: textiles, costumes, tools and accessories bearing witness to know-how rooted in fashion or belonging to the everyday cultures of the people.

His eponymous label and his school, the Ateliers Alix — in homage to Madame Grès, advocate a form of haute couture that is demanding yet accessible, open to all. With this exhibition, the Mucem affirms its role as a conduit between heritage and contemporary creation and brings to light stories often kept in the margins, yet rich in meaning and memory.

Source: Mucem

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Exhibition Dates
September 23 – November 13, 2026

Warehouse 61, Alserkal Avenue 17th St
Al Quoz Industrial Area 1 – Dubai – United Arab Emirates

Source: Press Release

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Cities change, grow denser, fragment and rebuild. Yet amid the renovations and constant construction, quieter traces remain: everyday gestures, individual stories, familiar objects andarchitectural forms that continue to inhabit our memory.

A corrugated metal roof or a forgotten façade can be enough to evoke a world that is slowly disappearing. It is this fragile space, between presence and absence, that Addis Gezehagn, João Donato, Alain Biet and Mamadou Cissé each explore in their own way.

From 17 September to 14 November, 2026, PERSON – Paris presents Before It All Disappears: Taking Stock of the Everyday, an exhibition that explores the city as a territory of memory, where construction and deconstruction shape not only the urban landscape, but also the human experiences embedded within it.

For Addis Gezehagn, the city is a landscape in constant flux. His paintings and collages made from magazine fragments evoke the many layers of the Ethiopian capital. Architectural forms break apart, shift and reassemble, revealing the tensions between urban development and the disappearance of neighbourhoods and their inhabitants’ ways of life.

João Donato’s work turns our attention to the people who inhabit these spaces. His ceramics evoke the migrations, conflicts and bonds that shape the lives of communities. The city emerges as a place of movement, shared memories and experiences. Buildings become more than structures: they bear silent witness to the lives once lived within them.

For more than twenty years, Alain Biet has tirelessly drawn the objects that enter his daily life, depicting them at actual size. Together, these drawings form an archive of our practices and habits. Behind each object, a presence, an absence or a story comes to light. The seemingly ordinary bears witness to the passage of time and to what is disappearing.

Mamadou Cissé’s drawings offer another perspective. Drawing on his reading, travels and imagination, he creates teeming metropolises in which architecture takes centre stage. Between recollection and invention, these urban landscapes form a mental geography where real cities merge with dreamed ones.

For these four artists, nostalgia is never simply a backward glance. It arises from an awareness that places, buildings and objects bear traces of what is no longer there, alongside the memories and stories that keep them alive. Their works do not seek to reconstruct what has disappeared; they reveal its lingering presence, its resonances and echoes.

This exhibition invites us to look anew at the cities we move through. Behind every wall and every object, unseen stories endure, continuing to shape the way we inhabit the world.

Source: Galerie PERSON Paris

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Tolika is a term used across several South African languages meaning “to translate” or “to interpret”. The word derives from the Dutch tolk, meaning “interpreter”, while mtoliki refers to someone who translates or interprets. The title evokes histories of linguistic and cultural movement, as well as the transformations that accompany displacement. Translation does not mean reproducing an original meaning unchanged; it means transferring meaning into another context, where it inevitably shifts.

In Nicholas Hlobo’s work, ribbon, leather, wood, rubber detritus and found objects are stitched and assembled together into hybrid forms exploring identity, masculinity and his Xhosa heritage.

Bulumko Mbete draws on textile, beading and weaving traditions passed through her family and community, treating them as indigenous archives of migration and generational knowledge.

Kagiso Patrick Mautloa combines found objects from Johannesburg with constructed forms, bringing the physical traces of urban life into his sculptures.

Frans Thoka uses the prison blanket as both an object and a subject, addressing imprisonment, migration, displacement and land dispossession.

Mankebe Seakgoe’s work moves between language and drawing. Her inscriptions resemble writing while resisting a fixed reading, allowing language to become something felt as much as understood.

Xhanti Zwelendaba and Benjamin Stanwix rework and recontextualise photographs of South African landscapes onto ikhukho, a traditional handwoven grass or reed mat, bringing histories of place into new contexts.

Tolika Mtoliki ultimately offers a dialogue between objects, languages, and memories, where each artwork becomes its own form of translating the world.

Source: MAGNIN-A

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Safaa Erruas’s latest body of work continues her exploration of crossings and borders. In this vein, she now considers routes of passage and transit, including the notion of the strait, as spaces to be inhabited, more or less hostile or hospitable. These territories, as geographical as they are internal, which she calls the “interstice,” lead her to use her preferred materials—paper, cotton, pins, needles, glass fiber and metal wire—to trace pathways that maintain a balance between emptiness and fullness, between shadow and light, and between the accumulation of motifs (parallelepipeds, strips of paper and interwoven lines extending into grids) and their hollowing out.

Cartographies of the intimate emerge through a range of artistic interventions that may just as readily carve fissures into the fragile weave of the paper as compose, through meticulous gestures reminiscent of embroidery, interlacings of sinuous forms. A slender thread thus seems to connect arms of the sea and continents, like invisible ridgelines that both shape and unsettle our very being.

Olivier Rachet

Source: Press Release

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Atlantic Cruises: The Sex Tour draws together ongoing strands within both artists’ practices and shared research, including questions explored in Sodipo’s essay “I Guess I Gotta Help Myself”, published in the Serpentine Reader.

ABOUT EBUN SODIPO
Ebun Sodipo (b. 1993, London, UK) is an artist and writer based in London whose work is guided by Black feminist study and spans sound, performance, text, installation, video, and sculpture. Using collage and fabulation, she explores real and imagined narratives of Black trans women’s presence, embodiment, and interiority across the past, present and future. In doing this, Sodipo fills in historical gaps to create moments of archival pleasure for Black trans people. Sodipo’s work has been presented at Frieze London, Cubitt, 198 Contemporary Arts and Learning, Goldsmiths Centre for Contemporary Art, Narrative Projects, Raven Row, The Block Museum of Art, SHOWStudio, South London Gallery, Arcadia Missa’s ‘How To Sleep Faster,’ Auto Italia, Institute for Contemporary Arts, Tate Britain, Texte zur Kunst, Bergen Kunsthall, Wasafiri, Glasgow Centre for Contemporary Arts, and Camden Arts Centre.

ABOUT ROSA-JOHAN UDDOH
Rosa-Johan Uddoh is an artist working across performance, film, installation, writing and print. Drawing on Black feminist practice, archival research, nostalgia and humour, her work explores the role of popular culture in shaping Black identities. She considers how different forms of Black performance are encouraged at different moments, the limits and consequences of ‘representation’, and how alternative scripts might offer possibilities for freedom. Her work creates encounters that are at once deeply felt and politically charged. Her work has been presented at Pioneer Works NY, Bergen Kunsthall, Tate Modern, Women’s Art Collection, Iniva, Focal Point Gallery and Bluecoat. Rosa was the Amant NY Researcher in Residence 2025 and the Stuart Hall Library Resident 2020. Her book Practice Makes Perfect was published by Book Works and Focal Point Gallery in 2021.

Source: Serpentine

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Over five days Holder has collaborated with visitors and local groups of all ages to create a space for rest and conversation using textiles and making, that draws inspiration from familial spaces of domesticity and ancestral healing.

With thanks to all our visitors who have contributed to making this space, including local schools and our community partner Kowetha.

The space was created as part of our Teylu Visiting Artist programme, which invites a contemporary artist to Tate St Ives to co-create an immersive and participatory large-scale artwork with the community in our Foyle Studio.

ABOUT TYREIS HOLDER
Tyreis Holder is an artist, poet, visual storyteller and community arts practitioner from South London, with heritage from Jamaica and St Vincent. She works across installation, textiles, performance, poetry, sculpture and sound. Her practice centres around explorations of selfhood, Black Caribbean British identity politics and ancestral healing.

Currently based at a studio at Somerset House, London, Holder creates large scale tapestries, portraits and wearable art using traditional processes like rug tufting and embroidery alongside experimental techniques. Holder explores the body as an archive, drawing on her experiences of healthcare inequalities faced by Black women. Through a lens of Caribbean heritage and queerness, she generates conversations around how spaces are shaped through social, political and cultural influences.

ABOUT TEYLU AT TATe
Teylu (pronounced Tay-loo) is the Cornish word for family. At Tate St Ives, our families programme is intergenerational and inclusive of all kinds of kin. From parents and carers to chosen family, we develop creative learning projects and artist-led experiences for early years through to elders.

Source: Tate

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Source: Edinburgh Art Festival

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In his latest solo exhibition, In Order of Appearance, Moldovanos explores identity and urban culture through the fluid dynamics of human connection. The body of work captures a range of bonds, from fleeting everyday encounters to lifelong friendships and serves as a visual anthology of the figures who enter, exit and shape our personal narratives.

Moldovanos continues to expand on the distinct visual language that has become his signature: figurative works that are carefully constructed, then deliberately broken down into bold colour fields, geometric patterns and simplified silhouettes. The figures remain grounded in anatomy but are pushed towards abstraction until they feel as if they are constantly shifting between recognition and illusion.

Facial features are intentionally removed, replaced with thick strokes of impasto paint, stripping away personal identity from the subjects and removing the distraction of specific likeness.

His paintings explore the question of identity in an increasingly image-conscious world, examining how what we wear can become a form of self-expression, signalling everything from personality and confidence to culture and belonging. By fragmenting and reconstructing his subjects through colour, pattern and abstraction, he creates works that invite multiple readings, much like identity itself: layered, evolving and rarely as straightforward as it first appears.

Sotiris Moldovanos (b. 1977) is Cape Town based, born in Johannesburg, and graduated from the Tshwane University of Technology in 1999. He paints with a preference for portraiture and figurative work that combines bold colours with geometric patterns; his figures, while anatomically accurate, are simplified into abstract outlines and silhouettes, producing an optical illusion combined with abstraction that allows viewers to form their own unique interpretation of each painting. Moldovanos has held five previous solo exhibitions and participated in numerous group exhibitions.

Source: WORLDART

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In Kala, Buthelezi extends this enquiry into the realm of measurement, asking how we might take account of ourselves and the world at a cultural moment of uncertainty. The isiZulu imperative that is the title translates to “weigh it” or “measure it,” invoking both the logic of calculation and the limits of it. In a pervasive societal milieu where value is increasingly determined by metrics, productivity, and modes of extraction, Buthelezi attempts to measure what refuses calculation: hope, memory, collective dignity, spiritual inheritance, and the distance between who we are and who we might yet become. What forms of knowledge remain, she asks, when conventional systems of measurement no longer suffice?

Across the exhibition, spheres, topographies, concentric circles, and fragmented landscapes manifest as recurring forms. The works recall celestial maps, geological formations, and ancient tools of navigation, occupying a material and conceptual space between the terrestrial and the esoteric. These forms become tools with which Buthelezi attempts to locate the self within a world that feels increasingly unstable: to take measure of how far we have strayed, what has been lost, and what might still be recovered. Rather than describing the world, the works propose another way of reading it, one where intuition and calculation, matter and memory, the mundane and the metaphysical coexist.

Through repetition and methodical labour, she treats materials as carriers of knowledge: repositories of information that can be accessed, exchanged, and transformed through making. Glass beads, natural fibres, clay, and found earth matter are layered into densely worked surfaces that record time as much as form. The work unfolds intuitively. Rather than imposing meaning onto the materials, Buthelezi allows it to emerge through sustained engagement with them.

This sustained engagement with material becomes a form of measurement in itself. Every reiterated gesture, woven strand, and positioned bead records duration, attention, and embodied labour, transmuting time itself into a visceral presence. In Kala, calculation becomes less about arriving at certainty than about cultivating a heightened awareness of the relationships that bind body to landscape, the individual to the collective, and the present to ancestral, multi-directional time. Making becomes a mode of enquiry through which systems of knowledge are not illustrated, but both preserved and produced.

A monumental sphere, titled Mhlaba, becomes a focal form for the exhibition’s central themes. Neither complete nor intact, the work appears suspended in state between formation and erosion. It evokes the Earth, but also a charged body; one marked by extraction, transformation, and latent potential. Its surface is layered with tactile constellations built from cut segments of ‘icansi’, traditional mats hand-woven from iNcema bulrushes. Used across South Africa in ceremonial, ritual and domestic contexts, these mats carry cultural and spiritual significance that extends beyond their everyday function.

The Abacus, an extensive wall-hung installation, transforms an ancient tool of calculation into a distorted meditation on what cannot be counted. Ebonised, handmade clay beads shift across a series of open contour lines. Released from the confines of the abacus’s conventional four-sided boundary, the instrument becomes mutable and porous, exposed to forces of motion, time, deduction and addition. Together, the exhibition’s recurring forms – orb, contour, grid, and horizon – function less as symbols than as devices of orientation. They suggest that the act of measuring is inseparable from the act of locating oneself: within history, within landscape, within inherited frameworks of knowledge and belief.

This search for orientation is also a return to the source. “I am aware that I am ancient”, Buthelezi has shared, gesturing toward the understanding that this knowing moves across generations through ritual, ancestral lineage, spiritual gifts, and the embodied act of art-making. Her materials become a didactic device, a kind of spiritual technology: holding information from the past, while generating new insights for those who come after. Here, making is simultaneously an inward journey and an outward act of transmission, locating the artist within a continuum that extends beyond the limits of an individual lifetime.

Kala proposes that before we can imagine a way forward, we must first take account of the conditions of the present, quantifying not only what has been lost through extraction and dehumanisation, but also what continues to endure through connection, ritual, and community. Ultimately, Kala asks not how we measure the world, but what we choose to measure. It invites an alternative currency of value; one rooted in attention, care, and the belief that making remains a vital way of processing the conditions of the present.

Source: Southern Guild Cape Town

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