Museum report·Cape Town
Zeitz MOCAA and UWC fellows open Impossible Garden gathering in Cape Town
The Impossible Garden: A Gathering takes place at Zeitz MOCAA on 28 November 2026, opening a series of interventions by the 2026 Zeitz MOCAA and University of the Western Cape Museum Fellows in response to the IMPRINT publishing atelier.

Zeitz MOCAA in Cape Town will host The Impossible Garden: A Gathering on 28 November 2026, a one-day event that opens a new series of interventions curated by the 2026 Zeitz MOCAA and University of the Western Cape (UWC) Museum Fellows. The gathering is the first public outing of a programme developed by the fellowship cohort during their year at the museum.
The fellows' interventions respond to IMPRINT, the museum's artist-led studio residency and publishing atelier, which treats publishing as a curatorial and educational method. The 2026 cohort consists of Bengi Rwabuhemba, a Ugandan writer and cultural anthropologist; Mawadah Nofal, an Egyptian researcher, writer and artist; Reem Aljeally, a Sudanese artist; and Rohini Amratlal, a South African artist and curator. The four have spent the year working across the museum's curatorial, education and collections departments, and the gathering marks the point where their research turns into public programming.
The fellowship programme, launched in 2022 and co-convened by Zeitz MOCAA's Dr Greer Valley and UWC's Professor Rory Bester, combines practical museum experience with academic study towards a BA Honours degree. Supported by the Mellon Foundation, it is designed to develop a new generation of curators, educators and museum professionals working on contemporary art from Africa and its diaspora.
The Impossible Garden: A Gathering is presented as the beginning of a series rather than a single event, suggesting further fellow-led interventions will follow through the museum's programme. The one-day format on 28 November gives the fellows a focused platform to introduce their ideas to the public and to test how publishing, gathering and shared making can function as forms of exhibition-making in their own right.


