We must make space for multiple voices to exist together.” — Koyo Kouoh
As the 61st edition of the Venice Biennale opens this week, we reflect on In Minor Keys, the exhibition conceived by the late Koyo Kouoh and her expansive curatorial vision.
Throughout her practice, Koyo approached curating as a form of research, relation, and long-term cultural memory — creating spaces that centred artists, institutions, and experimental platforms across Africa and its diasporas, while reshaping broader conversations around visibility, history, and representation.
Included in this year’s edition are foundations and collectives: Denniston Hill, RAW Material Company, G.A.S. Foundation (G.A.S.), Nairobi Contemporary Art Institute, and blaxTARLINES KUMASI alongside East African and Horn of Africa artists Theo Eshetu, Wangechi Mutu, Kaloki Nyamai, Tegene Kunbi, Joseph Ntensibe, Lilian Mary Nabulime, Ronex Ahimbisibwe, Lakwena Maciver, Sheila Nakitende, Stacey Gillian Abe, Aloka Trevor, Ayan Farah, Asmaa Jama, and Warsan Shire.
Together, these artists and organisations reflect the depth and plurality of contemporary artistic practices emerging from Africa and its diasporas today.
This year also marks important national participations from Ethiopia, Uganda, and Somalia, with Somalia presenting its first-ever pavilion at the Venice Biennale, and Ethiopia returning for its second pavilion following its debut in 2024.
@madamekoyo @ethiopianpavilion @somaliapavilion @ugandapavilion
Image Credits:
1. Koyo Kouoh. Photograph by Mirjam Kluka. Courtesy the museum and La Biennale di Venezia.
2. Ayan Farah, Eldfell, 2011. Copyright the artist. Photograph by Jo Hounsome. Courtesy the artist.
3. Tegene Kunbi, Shapes of Silence, 2026. Courtesy the artist and Ethiopian Pavilion.
4. Stacey Gillian Abe, Garden of Blue Whispers, 2025. Courtesy the artist and Unit.
#VeniceBiennale #KoyoKouoh #ContemporaryAfricanArt #EastAfricanArt
