The 61st International Art Exhibition of La Biennale di Venezia, set to open on May 9, 2026, and run through November 22, 2026, will carry forward the curatorial vision of the late Koyo Kouoh under the evocative title In Minor Keys. Kouoh, a Cameroonian-Swiss curator who passed away unexpectedly on May 10, 2025, at the age of 57, was the first African woman appointed to curate the Venice Biennale, a historic milestone announced in December 2024. Her sudden death from cancer, just days before the planned reveal of the exhibition’s theme, sent shockwaves through the art world, leaving an immense void. However, with the full support of her family, La Biennale di Venezia has committed to realizing her vision exactly as she conceived it, ensuring her legacy endures through a collective effort led by her handpicked team. Kouoh’s appointment was a testament to her formidable reputation as a curator, scholar, and advocate for African and Afro-diasporic artists, built through her leadership at institutions like the Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA) in Cape Town and the RAW Material Company in Dakar. Her curatorial practice, known for its incisive exploration of colonial legacies, diaspora, and collective memory, has reshaped global art narratives. The 2026 Biennale, under her conceptual framework, promises to be a poignant reflection of her belief in art as a tool for social and psychic transformation. This commitment to her vision underscores the Biennale’s role as a platform for groundbreaking curatorial voices and sets a precedent for honoring artistic intent posthumously.
Kouoh’s curatorial journey for the 2026 Venice Biennale began in October 2024, when she was appointed Artistic Director of the Visual Arts Department by La Biennale’s President, Pietrangelo Buttafuoco, who praised her “refined, young, and disruptive intelligence.” Between mid-October 2024 and early May 2025, Kouoh worked intensively to craft In Minor Keys, submitting a comprehensive proposal on April 8, 2025, that outlined the exhibition’s theoretical framework, artist selections, spatial design, visual identity, and catalogue contributions. Her vision, as articulated in her curatorial text, invites audiences to “shift to a slower gear and tune into the frequencies of the minor keys,” emphasizing art’s role in addressing the emotional, sensory, and subjective amid global crises. The theme draws on the musical metaphor of minor keys, often associated with melancholic or introspective tones, and incorporates jazz’s improvisational spirit to evoke alternative forms of knowledge, ancestral memories, and overlooked geographies. Kouoh’s approach was not to comment directly on world events but to foster a “radical reconnection” with art’s societal role, prioritizing artists as “channels to and between the minor keys” who create beauty despite tragedy. Her team, consisting of advisors Gabe Beckhurst Feijoo, Marie Helene Pereira, and Rasha Salti, editor-in-chief Siddhartha Mitter, and assistant Rory Tsapayi, presented her framework at an emotional press conference on May 27, 2025, at Ca’ Giustinian in Venice. The event opened with a video of Kouoh welcoming visitors, followed by readings of her poetic curatorial text, underscoring her collaborative ethos and the team’s dedication to preserving her voice. This meticulous process ensures that every element of the exhibition—from artist commissions to spatial design—remains faithful to her original intent.
The realization of In Minor Keys by Kouoh’s curatorial team marks a significant moment for the Venice Biennale, an institution often dubbed the “Olympics of the art world” for its global influence and prestige. The team, handpicked by Kouoh, brings diverse expertise to the project: Gabe Beckhurst Feijoo, a London-based art historian and curator; Marie Helene Pereira, a Berlin-based curator with ties to Dakar and Beirut; Rasha Salti, a Berlin-based writer and curator; Siddhartha Mitter, a New York-based journalist serving as editor-in-chief of the exhibition catalogue; and Rory Tsapayi, the team’s assistant, who delivered a moving reading of Kouoh’s 2022 poem at the press conference. Their collective effort reflects Kouoh’s belief in convivial collectivity, a principle she articulated as a way to bridge alienation and conflict through art. The exhibition will unfold across the Giardini, Arsenale, and various venues in Venice, with further details, including the full artist list, to be announced on February 25, 2026. While the main exhibition adheres to Kouoh’s vision, national pavilions—such as those featuring Yto Barrada (France), Lubaina Himid (United Kingdom), Abbas Akhavan (Canada), and Maja Malou Lyse (Denmark)—will operate independently, showcasing the Biennale’s multifaceted structure. The event is also supported by a new three-year partnership with Italian fashion brand Bvlgari, highlighting its commitment to cultural exchange. Kouoh’s framework, with its emphasis on introspection and improvisation, is expected to resonate with audiences seeking meaning in a world marked by relentless crises. The 2026 Biennale thus stands as a testament to her enduring influence and the power of collaborative curation to transcend loss.
For Africa and its diaspora, In Minor Keys represents a landmark moment in amplifying voices that have historically been marginalized in global art discourse. Kouoh’s curatorial legacy, rooted in her work at Zeitz MOCAA and RAW Material Company, has consistently challenged Eurocentric narratives, as seen in exhibitions like When We See Us: A Century of Black Figuration in Painting (2022), which celebrated Black self-representation. Her appointment to the Venice Biennale was a historic acknowledgment of African curatorial excellence, following in the footsteps of Okwui Enwezor, the first African-born curator to lead the Biennale in 2015. By centering “minor voices and tonalities,” In Minor Keys will likely highlight African and Afro-diasporic artists, fostering intergenerational and cross-cultural dialogues that Kouoh championed throughout her career. Her vision, as expressed in a Guardian piece published posthumously, emphasized equity, visibility, and the interconnectedness of global stories, noting that “what happens in Dakar resonates in Kuala Lumpur.” This approach not only elevates African art but also redefines the Biennale as a platform for dismantling cultural hierarchies. The exhibition’s focus on personal narratives and ancestral wisdom offers a counterpoint to dominant historical narratives, potentially reshaping how contemporary art is perceived globally. For African artists and curators, Kouoh’s legacy ensures that the door she opened “remains wide open for those who come next,” inspiring future generations to shape the art world on their own terms.
Looking to the future, the 2026 Venice Biennale will serve as a beacon of hope and healing, reflecting Kouoh’s call for art to provide spaces to “heal, laugh, play, and be with beauty.” Her curatorial text, which speaks of “small islands with endlessly rich ecosystems,” suggests an exhibition that celebrates resilience and intimacy in the face of global challenges. The art world, still reeling from her loss, has rallied around her vision, with tributes from artists, curators, and institutions underscoring her role as a transformative figure. The exhibition’s emphasis on the sensory and affective aligns with a growing demand for art that engages emotionally and socially, offering a counterbalance to the accelerated pace of modern life. By prioritizing artists as visionaries and social scientists, In Minor Keys will likely challenge conventional curatorial practices, encouraging audiences to engage with art as a lived experience rather than a spectacle. The Biennale’s decision to forgo a new curator and instead honor Kouoh’s blueprint sets a powerful precedent for respecting artistic intent, potentially influencing how future exhibitions navigate unforeseen challenges. Additionally, the global attention on In Minor Keys will amplify discussions about representation, equity, and the role of art in addressing societal fatigue, as articulated in Kouoh’s poignant words: “We are all tired. The world is tired. Even art itself is tired.” For art news readers, this exhibition is a must-watch, not only for its historical significance but also for its promise to redefine the Biennale as a space for radical reconnection and cultural renewal.
The impact of In Minor Keys extends beyond the art world, offering a model for how institutions can navigate loss while honoring visionary leadership. Kouoh’s curatorial approach, which blends intellectual rigor with emotional resonance, invites a global audience to reconsider art’s role in fostering empathy and understanding. Her emphasis on “minor keys” as a metaphor for marginalized voices challenges the art world to prioritize inclusivity and diversity in curatorial practices. The exhibition’s collaborative realization, led by a team of advisors who share her commitment to global dialogue, underscores the power of collective effort in the face of adversity. For Venice, a city long associated with cultural exchange, the 2026 Biennale will reinforce its status as a global stage for innovative ideas, while paying tribute to a curator who redefined what that stage could represent. The event is expected to draw unprecedented attention to African and Afro-diasporic artists, potentially influencing art markets, institutional programming, and curatorial training worldwide. Furthermore, Kouoh’s vision aligns with broader cultural shifts toward decolonization and restitution, making In Minor Keys a critical intervention in ongoing debates about art’s ethical responsibilities. For art news readers and professionals, the 2026 Venice Biennale will not only be a celebration of Kouoh’s legacy but also a call to action to continue her work in reimagining the global art landscape.
