The 61st International Art Exhibition of the Venice Biennale arrives at a pivotal moment in the trajectory of global contemporary art—one defined not only by the growing presence of African national pavilions, but by the intellectual and curatorial vision of one of the continent’s most influential cultural figures, Koyo Kouoh. Appointed in December 2024 as artistic director of the Biennale, Kouoh became the first African woman to lead the exhibition in its more than 130-year history, bringing with her a deeply rooted commitment to Pan-African thought, institutional transformation, and the centering of historically marginalized narratives. Her curatorial framework, In Minor Keys, conceived before her passing in May 2025, signals a deliberate move away from dominant, spectacle-driven paradigms toward quieter, more nuanced modes of expression—foregrounding subtlety, affect, and underrepresented voices within global artistic discourse.
Following Kouoh’s untimely death, the Biennale confirmed that the 2026 edition would proceed in fidelity to her vision, carried forward by a collective curatorial and research team that includes figures such as Marie Hélène Pereira, alongside other close collaborators. Pereira—a curator, writer, and editor based in Dakar—has emerged as a key voice within contemporary African curatorial discourse, particularly through her work with RAW Material Company, the influential institution founded by Kouoh. Her practice engages deeply with historiography, exhibition-making, and the politics of visibility, positioning her within a generation of curators reshaping both institutional and independent frameworks across the continent. Within the Biennale’s evolving structure, her role signals continuity—not only of Kouoh’s intellectual legacy, but of a broader shift toward collaborative, research-driven curatorial models that challenge traditional hierarchies of authorship.
Against this backdrop, the presence of 13 African national pavilions takes on heightened significance. These presentations do not exist in isolation but are embedded within the broader curatorial ecology initiated by Kouoh—one that prioritizes plurality, nuance, and the reconfiguration of global art narratives. From first-time participants such as Somalia and Sierra Leone to returning countries like Morocco, Egypt, and Zimbabwe, the Biennale emerges as a site where African curators are not simply representing nations, but actively shaping the terms through which contemporary art is produced, read, and understood. It is within this expanded and intellectually charged context that the curators featured here operate—not merely as organizers of exhibitions, but as key agents in redefining Africa’s position within the global contemporary art landscape.
Beya Gille Gacha — Cameroon
Cameroon’s pavilion, NZƎNDA, curated by Beya Gille Gacha, unfolds as a multi-layered exploration of contemporary African identity through collaborative and interdisciplinary practices. Bringing together artists, performers, and collectives, the pavilion positions itself as both a cultural archive and a living, evolving system of expression.
Gacha’s curatorial approach is rooted in fluidity—rejecting rigid categorizations in favor of hybrid forms that reflect the realities of contemporary African life. By integrating music, performance, and visual art, NZƎNDA challenges conventional exhibition formats and proposes a more expansive understanding of artistic production.
Nadia Yala Kisukidi — Democratic Republic of Congo
For the Democratic Republic of Congo, philosopher and writer Nadia Yala Kisukidi curates Simba Moto! Seize the Fire!, a pavilion that engages deeply with questions of history, resistance, and collective memory. Her intellectual background shapes a project that is as conceptual as it is visual.
The pavilion brings together leading Congolese artists to construct a narrative that interrogates both colonial legacies and contemporary geopolitical realities. Kisukidi’s curatorial lens situates the pavilion within broader philosophical discourse, positioning it as a space of critical reflection and cultural reclamation.
Armen Agop — Egypt
Egypt’s pavilion, Silence Pavilion: Between the Tangible and the Intangible, is uniquely curated by the artist himself, Armen Agop. Known for his sculptural practice, Agop brings a deeply introspective and material-driven approach to the exhibition.
The pavilion explores silence not as absence but as presence—an active, meditative force that shapes both form and perception. Through minimal yet powerful sculptural interventions, Agop creates a contemplative environment that invites viewers into a dialogue with space, time, and the unseen.
Joan Abelló — Equatorial Guinea
Equatorial Guinea’s debut pavilion, The Forest / The Undergrowth, curated by Joan Abelló, presents an ambitious group exhibition that draws on ecological and environmental themes. The project reflects on the forest as both a physical and symbolic space—one tied to memory, spirituality, and survival.
Abelló’s curatorial strategy emphasizes multiplicity, bringing together a wide range of artists whose works collectively explore the intersections of nature, culture, and global crisis. The pavilion stands as a significant entry point for Equatorial Guinea into the global contemporary art discourse.
Abebaw Ayalew — Ethiopia
In Shapes of Silence, Ethiopian curator Abebaw Ayalew constructs a pavilion that navigates the tension between visibility and invisibility. Centered on the work of Tegene Kunbi, the exhibition reflects on silence as both a personal and political condition.
Ayalew’s curatorial framework situates the work within Ethiopia’s broader socio-cultural landscape, exploring themes of introspection, resilience, and transformation. The pavilion offers a quiet yet powerful counterpoint to more overtly political presentations.
Carlo Stragapede — Guinea
Guinea’s first-ever pavilion, Le Son de l’Art: l’Écho de la Matière, curated by Carlo Stragapede, embraces sound and materiality as central elements of artistic expression. The exhibition brings together a large group of artists working across disciplines.
Stragapede’s approach is expansive and inclusive, reflecting the diversity of contemporary artistic practices connected to Guinea. The pavilion foregrounds sensory experience, inviting audiences to engage with art beyond the visual.
Meriem Berrada — Morocco
Morocco’s pavilion, Asǝṭṭa, curated by Meriem Berrada, stands out as one of the most conceptually grounded presentations of this edition. Working with artist Amina Agueznay, Berrada constructs a project deeply rooted in craft, material knowledge, and cultural transmission.
Her curatorial vision bridges traditional practices with contemporary discourse, positioning Moroccan craftsmanship as a site of innovation rather than nostalgia. The pavilion engages with themes of memory, labor, and the politics of materiality within a global context.
Massamba Mbaye — Senegal
Senegal’s pavilion, WURUS – What the Earth Provides Us With, curated by Massamba Mbaye, reflects on humanity’s relationship with the الأرض (earth) through ecological and philosophical lenses.
Mbaye’s curatorial approach emphasizes sustainability and interconnectedness, bringing attention to indigenous knowledge systems and environmental stewardship. The pavilion aligns with broader global conversations around climate and ecology, while remaining rooted in Senegalese contexts.
Sandro Orlandi Stagl & Willy Montini — Sierra Leone
Sierra Leone’s debut pavilion, Mondi Presenti / Worlds of Today, curated by Sandro Orlandi Stagl and Willy Montini, presents a collective exploration of contemporary realities across geographies.
The curatorial duo constructs a multi-artist exhibition that reflects on globalization, migration, and identity. By juxtaposing diverse artistic voices, the pavilion creates a layered narrative that speaks to both local and global experiences.
Mohamed Mire & Fabio Scrivanti — Somalia
Somalia’s first pavilion, Saddexleey, curated by Mohamed Mire and Fabio Scrivanti, brings together artists whose practices engage with language, poetry, and diaspora.
The project reflects on Somali identity as fluid and transnational, shaped by histories of displacement and cultural continuity. The curators position the pavilion as a space of storytelling, where narratives unfold across mediums and geographies.
Lorna Benedict Mashiba & Martina Cavallarin — Tanzania
Tanzania’s pavilion, Minor Frequencies: The Inner Life of a Nation, curated by Lorna Benedict Mashiba and Martina Cavallarin, explores the internal dynamics of national identity through a wide-ranging group exhibition.
The curatorial approach emphasizes subtlety—focusing on “minor frequencies” that often go unnoticed. Through diverse artistic practices, the pavilion reveals the complexities of contemporary Tanzanian society and its global connections.
Taga Francis Nuwagaba — Uganda
Uganda’s pavilion, KAMPALA, curated by Taga Francis Nuwagaba, centers on the city as a site of cultural production and transformation.
Nuwagaba’s curatorial vision captures the energy, contradictions, and creativity of Kampala, presenting it as both a physical and conceptual space. The pavilion highlights the role of urban environments in shaping contemporary African art.
Fadzai Veronica Muchemwa — Zimbabwe
Zimbabwe’s pavilion, Second Nature | Manyonga, curated by Fadzai Veronica Muchemwa, builds on the country’s strong history of participation in the Biennale.
Muchemwa’s curatorial approach explores themes of environment, spirituality, and material transformation. The pavilion reflects on the relationship between humans and nature, offering a nuanced perspective on ecological and cultural continuity.
Closing Perspective
Taken together, these curators represent a compelling cross-section of contemporary African curatorial practice—spanning philosophers, artists, institutional thinkers, and a rising generation of critical voices. Their exhibitions move beyond the optics of representation toward forms of structural participation, where African narratives are not simply included but actively shaping the frameworks through which contemporary art is produced, interpreted, and historicized.
As the Venice Biennale continues to reposition itself as a site of global exchange, the presence of these curators signals a decisive shift—from visibility to authorship, from participation to influence. What emerges is not a peripheral contribution, but a re-centering: a moment in which African curatorial thought asserts itself as integral to the ongoing redefinition of the contemporary art world.
