SAMYRA MOUMOUH
designer | artist“Exhibition architect Samyra Moumouh designed a thoughtful structure in which each video or film work is screened off with curtains, preventing them from interfering with one another. Thanks to this ‘choreography of curtains’, the museum spaces virtually fade into the background — a clever intervention that temporarily pushes the previously criticized infrastructure of the museum out of sight. (As described by Marc Ruyters in the article "The Roaring Nineties: When Lenin Was a Mushroom," GLEAN magazine.)
Guided by a spatial ethos of restraint and attentiveness, Moumouh creates exhibition architecture that is quietly present—a subtle framework that facilitates rather than narrates. Her environments do not assert themselves through form but instead offer space for reflection, imagination, and careful viewing. She aims to create conditions that allow artworks to engage viewers directly. Her approach emphasizes clarity, material sensitivity, and minimal intervention—qualities that allow spatial experiences to unfold slowly and meaningfully. Rather than prescribing a single interpretation, her architecture opens a field of possibilities where time, memory, and perception can emerge.
Moumouh has designed exhibitions for institutions such as M HKA (Museum of Contemporary Art Antwerp) and FOMU (Fotomuseum Antwerp), and has collaborated closely with artists including Ricardo Brey, Hans Demeulenaere, Philip Metten, and Anne-Mie Van Kerckhoven. Between 2011 and 2018, she worked extensively with Van Kerckhoven, notably contributing to The Carrel, a project later reinterpreted by the artist as an autonomous work.
She graduated with distinction from Sint-Lukas in Brussels and completed a two-year mentorship with exhibition architect Kris Kimpe in Antwerp. Her work has been featured in Glean Art Magazine.
Alongside her exhibition practice, Moumouh develops site-specific furniture and objects that exist between functional design and sculptural form. Defined by material presence and quiet elegance, these pieces reflect the same spatial sensitivity that characterizes her architectural work.