Interviews

Armen Agop on Silence, Stillness, and the Invisible at the Egypt Pavilion of the 61st Venice Biennale

Armen Agop Egypt Pavilion Biennale 2026 © Matteo Losurdo

At the 61st Venice Biennale, the Egypt Pavilion arrives not through spectacle, noise, or visual excess, but through an act of withdrawal. Titled Silence Pavilion: Between the Tangible and the Intangible, the presentation by Armen Agop transforms the historic Egyptian Pavilion in the Giardini into a contemplative environment centered on stillness, slowness, and sensory awareness. […]

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Victoria-Idongesit Udondian on Waste, Labour, and the Afterlife of Clothing at the 61st Venice Biennale

Victoria-Idongesit Udondian | Installation View, Ofong Ufok at the British Textile Biennial, Blackburn, UK | Courtesy the artist | Photo Credit: Jack Bolton.

At the 61st Venice Biennale, curated by Koyo Kouoh under the title In Minor Keys, Nigerian artist Victoria-Idongesit Udondian presents a deeply layered intervention that transforms discarded textiles into a powerful meditation on migration, labour, memory, and environmental violence. Invited by Kouoh as part of the International Exhibition, Udondian’s presentation extends her long-standing investigation into

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Inside “Chorus”: How G.A.S. Foundation Is Reimagining Knowledge, Community, and Contemporary African Practice at the 61st Venice Biennale

Bisila Noha, Ile Ọkàn (2025). Structure made from reclaimed bricks and hand-crafted clay tiles, produced during the artist’s residency and presented at her final event. Image courtesy of G.A.S. Foundation. Photo: Sylvester Bayode.

At the 61st Venice Biennale, curated by Koyo Kouoh under the title In Minor Keys, the presence of Guest Artists Space Foundation feels especially resonant. While many presentations within Venice unfold through spectacle, monumentality, or national assertion, G.A.S. Foundation enters the exhibition through a quieter but deeply affecting register—one grounded in listening, collective memory, process,

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Touria El Glaoui on 1-54 New York 2026: Shaping the Global Conversation Around African and Diasporic Art

Touria El Glaoui at La Mamounia, Marrakech. © Emmanuel André

In a city where the global art world gathers each May, the return of 1-54 Contemporary African Art Fair to New York has become more than a calendar fixture—it is a defining moment. Now in its twelfth edition, the fair returns to the Starrett-Lehigh Building in Chelsea from May 13 to 17, bringing together over

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Gold, Memory, and Power: A Conversation with Rita Mawuena Benissan on Her Exhibition ‘The Ones Before Her Were Covered in Gold’

Rita Mawuena at her exhibition, 𝙏𝙝𝙚 𝙊𝙣𝙚𝙨 𝘽𝙚𝙛𝙤𝙧𝙚 𝙃𝙚𝙧 𝙒𝙚𝙧𝙚 𝘾𝙤𝙫𝙚𝙧𝙚𝙙 𝙄𝙣 𝙂𝙤𝙡𝙙, at Gallery 1957 in London

Africans Column is honored to host an exclusive interview with Ghanaian-American interdisciplinary artist Rita Mawuena Benissan about her highly anticipated solo exhibition The Ones Before Her Were Covered in Gold, on view at Gallery 1957, London from 14 October through 18th December 2025. Known for her research-driven, materially rich practice, Benissan works at the intersection

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A Deeper Engagement: Emma Menell on Founding Tyburn Foundation and the ‘Quiet Grounds’ for African Art

Emma Menell, photo by Andrea Adriani, courtesy Tyburn Foundation

The autumn art calendar in Paris is a high-octane spectacle, a time when the city is completely immersed in cultural activity across Paris Gallery Weekend, Paris Art Week, and Art Basel Paris. While the major fairs bustled with collectors and commerce, one exhibition offered a crucial moment of stillness and contemplation amid the flurry. This

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Seating Silence: A Conversation with Joshua Oheneba-Takyi and Curator Domenico de Chirico on “The Silent Allegory of a Universal Chair

Installation view of “The Silent Allegory of a Universal Chair.” Courtesy of Shazar Gallery. Photo by Danilo Donzelli.

The contemporary art world continually seeks voices that can translate global concerns through deeply personal yet universally accessible visual languages. Among them, Joshua Oheneba Takyi, a twenty-eight-year-old artist and researcher from Ghana, is rapidly asserting himself as a compelling figure. Known for a practice centered on painting, with an evolving focus, Joshua’s trajectory has already

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Inside October Gallery’s 1-54 London Presentation: Curator Eleri Fanshawe and Artists Discuss Craft, Critique, and Kinship

Zana Masombuka Ukuphazima Kwamaphiko I, 2025. C-Print on Baryta 270 archival paper in beaded frame. Wood, glass, glass beads, dried indigenous weaving grass, cotton thread, nylon wire, 100 x 4 cm. Edition of 2 plus 1 artist's proof. © Zana Masombuka. Courtesy the Artist and October Gallery. Photo by Sphamandla Dlamini.

October Gallery returns to 1-54 Contemporary African Art Fair, London (16th – 19th October, 2025), with a commanding six-artist presentation that turns the spotlight on material innovation as a vehicle for resistance and historical reckoning. The booth showcases a spectrum of work from the African continent and its diaspora, uniting figures like LR Vandy, Alexis

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Shaping the Future: A Conversation with Kwame Mintah, Dexter Wimberly, and Abdoulaye Konaté on “The Shape of Things to Come” at Efie Gallery

Install view, Abdoulaye Konate and Yinka Shonibare, The Shape of Things to Come, Efie Gallery, Dubai, 2025

The Shape of Things to Come, curated by Dexter Wimberly, and running from 11 October 2025 to 10 January 2026 at Efie Gallery, Dubai, brings together six internationally acclaimed artists—El Anatsui, Yinka Shonibare, Abdoulaye Konaté, Iman Issa, Adam Pendleton, and Carrie Mae Weems—whose works probe transformation, resilience, and the reimagining of identity across geographies and

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Shaping Space, Telling Stories: An Interview with Adonia Mankou Yanate of Shumukh Design

A Mankou Yanate

From childhood moments of rearranging imaginary homes to her first professional milestone with Le Gabriel in Kinshasa, Adonia Mankou Yanate’s journey into interior design has been guided by creativity, resilience, and purpose. Born in the Democratic Republic of Congo and later based in South Africa, she discovered design almost by chance after being redirected from

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