Olivia Bourrat, a 45-year-old chief heritage curator trained at the École du Louvre, the INP, and the Sorbonne, has been appointed director of the heritage and collections department at the Musée du quai Branly-Jacques Chirac in Paris. She succeeds Anne-Solène Rolland, and returns to the museum after previous stints there, as well as at France-Muséums, the Louvre Abu Dhabi, the French Ministry of Culture, and Paris Musées.
Deborah Roberts presents her newest body of work in the exhibition "Consequences of being" at The FLAG Art Foundation, featuring eight canvases and nine mixed-media works on paper that blend collage, painting, and drawing. The works explore the postcolonial landscape of Europe and Africa, using fragmented imagery of Black children against stark-white backgrounds to address themes of colonialism, commerce, and identity. Key pieces include "Have a seat, this may take a while" (2025), which incorporates miniature sailing ships and a collaged tiara from Queen Elizabeth II, and "Hands in the air," which critiques racist packaging from a German ice cream company. The exhibition also includes a series of eight collages titled "Many thousands gone" and a sculptural edition, "Zuri," a ceramic bust with metallic glaze.
The Museum of Contemporary Art Chicago has opened "Dancing the Revolution: From Dancehall to Reggaetón," an ambitious exhibition exploring the historical evolution of dancehall and reggaetón as cultural movements and their influence on contemporary art. Curated by Carla Acevedo-Yates, the show features over 40 international artists including Isaac Julien, Edra Soto, Alberta Whittle, Carolina Caycedo, supakid, and Lee "Scratch" Perry, tracing the genres' roots from Afro-Caribbean traditions through their emergence in Jamaica, Panama, and Puerto Rico to global mainstream dominance by figures like Daddy Yankee and Bad Bunny.
The St. Gregory’s College Old Boys Association is set to host 'The Gregorian Art Exhibition' in Lagos, a landmark event honoring the legendary Nigerian master artist Bruce Onobrakpeya. Running from April 25 to 27, 2026, the showcase will feature a high-profile opening ceremony attended by Nobel laureate Wole Soyinka, the Obi of Onitsha, and various prominent traditional rulers and political figures.
Peruvian multidisciplinary artist Joan Jiménez Suero, known as Entes, has been named one of three winners for the Museum of Contemporary Art North Miami’s (MOCA) Art on the Plaza 2026. His winning installation, "Bailando Nuestros Problemas" (Dancing Our Problems), features kinetic metal sculptures inspired by Afro-Peruvian traditions and salsa culture. The work, which officially opens on April 15, 2026, transforms rigid industrial materials into fluid figures of musicians and dancers to celebrate the resilience of the Latin American diaspora.
The 1-54 Contemporary African Art Fair will return to New York's Starrett-Lehigh Building from May 13 to May 17, 2026, for its 12th edition. Featuring over 20 exhibitors from 12 countries, the fair introduces a curated section titled "1-54 Presents: Brazil Beyond Brazil," led by Brazilian curator and professor Igor Simões, marking the fair's first focus on Afro-Brazilian art and the cultural connections between Africa and Latin America. New participants include Adegbola Gallery (Lagos), Aura (São Paulo), and Black Pony Gallery (Bermuda), alongside returning exhibitors such as 193 Gallery and Galerie Myrtis.
Scholar Leigh Raiford examines the personal family archives of Black Panther Party leaders Kathleen and Eldridge Cleaver, specifically focusing on photographs taken during their period of exile in the 1970s. The analysis centers on how domestic objects, such as a zebra-print carver chair and various African artifacts, transitioned from private household items to iconic symbols of Black Power and cultural nationalism in the public sphere.
A nostalgic art exhibition opened at the South End Museum in Nelson Mandela Bay, featuring canvas paintings that recreate historical black-and-white images of the former South End neighborhood. The exhibition and sale, organized by local framing company Frame Art and artist/trustee Michael Barry, showcases works primarily by Vincent Olivier, based on a collection amassed by the late Frame Art founder Salie Wackie.
Berliner Museum will fast 600 Schädel zurückgeben
The Prussian Cultural Heritage Foundation in Berlin has announced plans to repatriate hundreds of human skulls to West African nations following a multi-year provenance investigation. The research identified the origins of 574 skulls, with 336 linked to present-day Cameroon, 151 to Togo, 23 to Ghana, and one to Nigeria, while 63 could not be precisely located. The skulls were part of a historical anthropological collection transferred from Berlin's Charité university hospital in 2011.
Zimbabwean artist Richard Mudariki has created 'ArtWorld Passport,' a participatory artwork debuting at the Venice Biennale 2026. The piece functions as a social sculpture and performance, where passport holders collect stamps, signatures, and drawings from artists, exhibitions, and pavilions across the Biennale, transforming the bureaucratic tool of travel into a speculative exploration of access and authorship.
The Henrike Grohs Art Award concludes its final edition, naming Tanzanian artist Rehema Chachage as the 2026 laureate. Chachage, who works across performance, video, text, scent, and installation, creates a "performative archive" in collaboration with her mother and grandmother, transforming personal and ancestral memory into shared sensory experiences. The two finalists are Younès Ben Slimane, a Tunisian filmmaker and visual artist whose silent, disorienting works challenge cinematic narrative structures, and Egyptian artist Rania Atef, whose participatory practice turns domestic spaces into stages for revealing power dynamics. The award received over 600 applications from more than 30 African countries.
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.
Guinea has presented its first-ever national pavilion at the 61st Venice Biennale. Titled 'Le Son de l’Art,' the exhibition is installed on the island of San Servolo and is curated by Koyo Kouoh, featuring a multidisciplinary group of artists exploring memory, materiality, and postcolonial identity.
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.
Peterson Kamwathi's exhibition 'Tabula Rasa: The Geometry of the Collective' opened at the Nairobi Contemporary Art Institute. The show features his work exploring how individual bodies accumulate and dissolve into larger social and political formations, mapping the dynamics of crowds, protests, and collective identity.
South African artist Johannes Phokela is set to showcase a significant body of work at the 2026 Venice Biennale, building on his recent series 'The Seven Virtues' and 'Original Sin'. Curated under a vision initiated by the late Koyo Kouoh and supported by Eclectica Contemporary, Phokela’s paintings subvert the aesthetics of European Old Master traditions. His works, including 'Fides' and 'Temperantia', utilize Baroque visual languages to critique constructed morality, institutional power, and the performance of virtue.
Curator Simon Njami discusses his exhibition 'NAFRICA–MASCHERE' at the Museo e Real Bosco di Capodimonte, which juxtaposes the fascist anthropological archives of Lidio Cipriani with contemporary artworks. The show utilizes the metaphor of the mask to explore the tension between how individuals are perceived and how they project themselves, specifically addressing the persistence of colonial logic in the modern world. By including artists from Africa, America, and Italy, Njami seeks to move beyond a binary 'colonizer vs. colonized' narrative toward a broader inquiry into human representation and power.
The National Pavilion UAE has announced its upcoming exhibition for the 61st Venice Biennale in 2026, titled ‘Washwasha’ (Whispers Across Water). Curated by Bana Kattan with assistant curator Tala Nassar, the presentation features six artists: Mays Albaik, Jawad Al Malhi, Farah Al Qasimi, Alaa Edris, Lamya Gargash, and Taus Makhacheva. The exhibition moves away from traditional visual spectacle to focus on sound, oral traditions, and 'sonic cartographies' that explore memory, migration, and the fluid identity of the UAE through an architectural environment designed by Büro Koray Duman Architects.
Michaela Yearwood-Dan has unveiled her first major UK institutional exhibition, 'The Practice of Liberation,' at the Whitworth. The immersive installation integrates fourteen new paintings with ceramic vessels and soundscapes, reimagining traditional religious motifs through a contemporary, secular lens. By deconstructing elements like stained glass and the Stations of the Cross into abstract forms, the artist creates a sanctuary that explores themes of ritual, memory, and personal identity.
Deborah Roberts’s solo exhibition, 'Consequences of Being,' at The FLAG Art Foundation showcases a significant evolution in her practice, featuring new large-scale paintings, works on paper, and her debut in ceramic sculpture. Her signature collage-based figures are presented as fragmented, composite bodies that challenge fixed notions of Black identity and subjecthood. By blending archival imagery with vernacular signage, Roberts explores how colonial legacies and historical narratives continue to influence the perception of Black bodies across the globe.
The Museum of Modern Art of Rio de Janeiro (MAM Rio) is hosting a major retrospective titled 'Rubem Valentim: a ordem do sensível,' featuring approximately 180 works spanning four decades. Curated by Raquel Barreto and Phelipe Rezende, the exhibition showcases Valentim’s unique fusion of modernist abstraction with the spiritual symbols of Afro-Brazilian and Indigenous cosmologies. The presentation includes paintings, reliefs, and sculptures, culminating in monumental works like 'Templo de Oxalá.'
Hajra Waheed’s upcoming solo exhibition at Kunstinstituut Melly, titled 'There Is a Fountain Even If Pale That Flows Beneath Us All', explores the intersection of sound, politics, and collective resistance. Curated by Hera Chan as part of the Call & Response series, the show features a multidisciplinary array of new commissions and recent works, including the central multichannel sound installation 'HUM' (2020), which amplifies the voices of political prisoners.
The Museu de Arte do Rio has launched 'Sortilégios de desvio,' the first solo institutional exhibition by Brazilian artist No Martins. Produced in collaboration with Galeria Almeida & Dale and curated by a five-person team led by Marcelo Campos, the show features a significant selection of Martins’ recent works that explore the intersections of urban experience and Afro-Brazilian cultural imaginaries. Through a variety of media, the exhibition highlights the artist's focus on gesture, memory, and the reconfiguration of traditional visual narratives.
Lidija Khachatourian, founder of AKKA Project, discusses her gallery's evolution from Dubai to Venice, where it remains the only gallery dedicated to African and diasporic artists. In an interview with ART AFRICA, she explains her shift from a market-driven model toward a research-led, custodial approach that prioritizes long-term relationships and slowness over high-volume programming. The gallery, established in Venice in 2019, operates with a deliberate resistance to market pressures, focusing on care, continuity, and direct material support for its artists.
The Herndon Gallery at Antioch College is opening a group exhibition titled 'Rightstarter: Resistance, Rap and the Golden Era,' curated by artist Joshua Whitaker. The show, launching with a reception on May 9, explores the rap counterculture of the late 1980s and early 1990s, featuring works by artists from Dayton and beyond. It includes drawings, paintings, sculpture, installations, video, and performance, with a live jazz performance by G. Scott Jones and the Freedom Ensemble. The exhibition highlights how hip-hop served as a platform for social commentary against the backdrop of Reaganomics, the crack epidemic, the war on drugs, and the AIDS crisis.
Yoann Cormier curates 'In Mali, When Animals Dance' at the Musée des Confluences, an exhibition dedicated to sogo bò, a Malian performance tradition blending theater, dance, music, and community. Rejecting static displays, Cormier uses immersive scenography—light, sound, film footage from the early 2000s by Sonia and Albert Loeb, and reconstructed masks made with the Lyon Opera costume workshop—to evoke the festive atmosphere of sogo bò, moving visitors through a simulated Malian day from afternoon to night.
Southern Guild, a Cape Town-based gallery, opened a permanent location in New York's Tribeca district on Friday, marking a major expansion for the gallery and a milestone for contemporary African art's international visibility. The inaugural exhibitions feature South African painter Mmangaliso Nzuza's "Ballad of the Peacock" and conceptual artist Usha Seejarim's "Used," both on view until May 17. Co-founder Trevyn McGowan described the 371m² space in a historic cast-iron building as both instinctive and strategic, following the closure of the gallery's Los Angeles outpost, which served as a testing ground for American audiences.
The Institute of Contemporary Arts (ICA) in London is hosting 'Angels', a new exhibition of paintings by the multidisciplinary Venezuelan artist Arca. Returning to the venue where she gave her first live vocal performance over a decade ago, Arca presents a series of works created with paint, marker, and mixed media. These pieces explore themes of instability and transformation, featuring fluid forms that hover between figuration and abstraction.
Brighton & Hove Museums in southern England will return 45 artefacts to Botswana. The objects, including clothing, accessories and hunting implements, were acquired by English reverend William Charles Willoughby in the 1890s and will be housed at the Khama III Memorial Museum in Serowe, where they will form part of a permanent exhibition opening on 27 May. A team from Brighton & Hove Museums is working with Botswanan curators on the return, which is scheduled for April.
The Venice Art Biennale's official awards ceremony, scheduled for May 9, has been canceled after the entire five-member jury resigned days before the event. The jury had previously announced they would not consider countries whose leaders face International Criminal Court charges, directly impacting Russia and Israel. Instead of jury-selected prizes, visitors will vote throughout the Biennale's run, with "Visitor Lions" awarded on November 22. The event, running from May 9 to November 22, features 100 national participations, including seven first-time countries, and a posthumous main exhibition titled "In Minor Keys" curated by the late Koyo Kouoh, the first African woman to lead the show. Iran withdrew on May 4 amid Middle East tensions, while Russia's return to the Biennale in 2026 has sparked EU threats to cut funding.