Artist Gaylen Gerber presented a solo exhibition at Hans Goodrich gallery in Chicago from April 4 to May 17, 2026. The show featured his work "Support" (n.d.), an installation using cremated remains, a felt pen, and a zipper bag, alongside a 1990 painting by Georg Herald.
Ugandan artist Acaye Kerunen presents her first solo museum exhibition in Germany, titled 'Apoi,' at the Kunstmuseen Krefeld. The show, installed across the modernist spaces of Haus Lange and Haus Esters, features handwoven textiles, sculpture, sound, and film that draw on Indigenous knowledge systems and intergenerational exchange. It is part of the museum's ongoing 'HL HE Dialog: What Comes After Art' series.
Haitham Al-Busafi will represent Oman at the 61st Venice Biennale, serving as both artist and curator. His installation, titled "Zinah," transforms the tradition of Omani silver horse adornment (Al-zaanah) into an immersive environment of sand, suspended metal, and collectively generated sound. Located in the Arsenale Artiglierie and commissioned by Oman's Ministry of Culture, Sports and Youth, the work was developed through a community workshop in Muscat where participants inscribed marks into silver forms. The exhibition runs from May 9 to November 22, 2025.
Nuove date, nuova sede e nuovo tema. Ecco come sarà il festival di fotografia emergente di Moncalieri
Liquida Photofestival has announced the details for its fifth edition, scheduled to take place from April 17 to 19, 2026. The independent festival dedicated to emerging contemporary photography is moving to a new venue at the Real Collegio Carlo Alberto in Moncalieri, near Turin. Under the artistic direction of Laura Tota, the upcoming edition will center on the theme "Learning and Unlearning – (re)writing the rules," featuring a program of exhibitions, talks, and publishing events built primarily through open calls.
Nigeria is preparing for its return to the Venice Biennale in 2028 with a fundamentally different approach, framing its participation as a structural intervention rather than mere inclusion. Curator Richard Vedelago, in conversation with Suzette Bell-Roberts, outlines a strategy focused on ownership, authorship, and building a self-sustaining cultural ecosystem, moving beyond seeking validation from global art structures.
Ghanaian painter Kwame Akoto, known for his vibrant signboard works blending bold imagery with urgent text, is the subject of his first major French exhibition, 'Almighty God Art Works', at the Musée du quai Branly – Jacques Chirac in Paris. In an interview with ART AFRICA, Akoto discusses how his paintings transform when moving from the streets of Kumasi—where they function as everyday spiritual and commercial communication—into a European museum context, addressing themes of translation, shared authorship, and the shifting meanings of images across cultural and institutional boundaries.
Seven artists with roots in West Africa—Yacine Tilala Fall, Selly Raby Kane, Maguette Dieng, Ican Ramageli, Hamedine Kane, Eva Diallo, and Babacar Traoré Doli—have jointly created a multi-sensory total installation at Marres in Maastricht. Titled “Porous Grounds, Sacred Codes,” the exhibition incorporates sculpture, sound, textiles, and video, connecting Zikr chanting of mantras, daily life in the Medina, and the trees of the dry landscape.
Moroccan artist M’barek Bouhchichi presents 'Les mains des poètes' at Foundation H in Antananarivo, Madagascar, running until 17 October 2026. The exhibition stems from a residency in Madagascar where Bouhchichi collaborated with local artisans—blacksmiths, weavers, ceramists, and musicians—to create works that resist singular authorship. Central to the show is the revival of sorabe, the Arabico-Malagasy script, treated as an embodied, gestural practice rather than fixed writing.
The article, published by ArtReview, examines the upcoming 61st Venice Biennale (2026), titled *In Minor Keys*, which was conceived by artistic director Koyo Kouoh before her death from cancer in May 2025 at age 57. The exhibition, based on Kouoh's drafted concept and completed by a curatorial team including Rory Tsapayi, Siddhartha Mitter, Marie Hélène Pereira, Gabe Beckhurst Feijoo, and Rasha Salti, adopts a musical metaphor of "minor-ness" and aims to avoid the pitfalls of previous Biennales by focusing on soul frequencies and dissonant harmony rather than direct commentary on world crises. The author, Martin Herbert, questions how critics will respond to a posthumous exhibition of this unprecedented scale, noting that previous artistic directors like Robert Storr, Cecilia Alemani, Christine Macel, and Adriano Pedrosa have faced varied critical receptions.
Lithuanian artist Lina Lapelytė has filled Berlin's Hamburger Bahnhof with 400,000 wooden blocks made of pine and spruce, creating a participatory installation titled “We Make Years Out of Hours.” Commissioned by Chanel, the work invites the public to build and rebuild structures from the 10-centimeter cubes. A series of weekly performances featuring a libretto by writers including Ocean Vuong, Etel Adnan, Forugh Farrokhzad, and Mahmoud Darwish will accompany the installation, which opens on May 1 and runs through January 10, 2027.