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Susan Inglett Gallery, New York, and kó, Lagos, are pleased to announce that Marcia Kure has been invited to the 61st International Art Exhibition of La Biennale di Venezia by Koyo Kouoh, taking place May 9-November 22, 2026.

Marcia Kure (b. 1970, Kano, Nigeria) lives and works between the United States and Nigeria. Her multidisciplinary practice repositions drawing as a system of inscription through which materials are condensed, rerouted, and made to bear weight. She engages synthetic hair, indigo, kola nut, and gold as active agents within systems of circulation and material exchange. Her practice approaches substrate not as passive surface but as infrastructure, a site where histories accumulate and spatial relations are pressurized and reorganized. Across large-scale drawing, sculpture, and installation, Kure extends inscription from surface to structure.

In addition to solo exhibitions in Nigeria, Germany, the Netherlands, England, and the United States, her work has been presented at La Triennale, Paris (2013); the International Biennial of Contemporary Art, Seville (2006); and the Sharjah Biennial (2005). She participated in the 11th Dak’Art Biennale, Dakar (2014), and was included in the traveling exhibition Body Talk, shown at WIELS Contemporary Art Centre, Brussels; Frac Lorraine, Metz; and Lunds Konsthall, Sweden. She also participated in Not a Single Story at Wanås Konst, Sweden, and NIROX Sculpture Park, Johannesburg (2018–19).
Kure served as visiting professor at the Royal Institute of Art, Stockholm (2019–20). She was a Research Fellow at the Smithsonian Institution (2008), a Visual Artist in Residence at the Victoria and Albert Museum, London (2014), and the recipient of the Uche Okeke Prize for Drawing (1994).

Image: Marcia Kure, Installation View, Network at the Menil Drawing Institute, Houston | Courtesy the Menil Institute | Photo Credit: Zainob + Mathew Create.

@marciakure_official
@susaninglettgallery

#biennalearte2026 #inminorkeys
@labiennale

kó is pleased to announce that Victoria-Idongesit Udondian has been invited to the 61st International Art Exhibition of La Biennale di Venezia by Koyo Kouoh, taking place May 9-November 22, 2026.

Victoria-Idongesit Udondian (b. 1982, Akwa Ibom, Nigeria) works across textiles, sculpture, installation, performance, photography, video, and ceramics. Her interdisciplinary practice is driven by an ongoing investigation into textiles and the ways material design shapes identity, drawing on the histories and tacit meanings embedded in everyday fabrics and objects. Trained in tailoring, painting, sculpture, and new genres, Udondian creates large-scale interdisciplinary projects with textiles at their core, often informed by her experiences growing up in Nigeria. Her work interrogates the postcolonial condition within an increasingly globalized world, examining the intersections of migration, labour, and global trade.

Victoria-Idongesit Udondian received her B.A. in Fine Arts (Painting) from the University of Uyo, Nigeria, in 2004, and her MFA in Sculpture and New Genres from Columbia University, New York, in 2016. She also attended the Skowhegan School of Painting and Sculpture, Maine, She is currently Visiting Associate Professor of Art at the University at Buffalo, SUNY, New York. Udondian was awarded a Guggenheim Fellowship in 2020 and the Pollock-Krasner Grant in 2018. She has participated in numerous residencies, including Fountainhead (Miami), Instituto Sacatar (Bahia, Brazil), MASS MoCA (Massachusetts), Fine Arts Work Center (Provincetown), Villa Strauli (Winterthur, Switzerland), Fondazione di Venezia (Italy), and Bag Factory Studios (Johannesburg).

Her work has been exhibited at institutions such as the Fischer Landau Center for the Arts (New York), the Bronx Museum, the Children’s Museum of Manhattan, the National Museum (Lagos), the Whitworth Gallery (Manchester), the South London Gallery, and Villa Strauli Art Centre (Switzerland).

Image: Victoria-Idongesit Udondian | Installation View, Ofong Ufok at the British Textile Biennial, Blackburn, UK | Courtesy the artist | Photo Credit: Jack Bolton.

@vickolors
#BiennaleArte2026 #InMinorKeys
@labiennale

kó's exhibition, Osogbo, has been reviewed in the April 2026 print issue of Artforum (@artforum ). The exhibition traced the evolution of the Osogbo Art School, a movement that emerged in the early 1960s and charted a distinctive path for modern art in Nigeria. Thank you to @ayodejirotinwa for the great review!

kó's exhibition, Osogbo, has been reviewed in the April 2026 print issue of Artforum (@artforum ). The exhibition traced the evolution of the Osogbo Art School, a movement that emerged in the early 1960s and charted a distinctive path for modern art in Nigeria. Thank you to @ayodejirotinwa for the great review!

kó's exhibition, Osogbo, has been reviewed in the April 2026 print issue of Artforum (@artforum ). The exhibition traced the evolution of the Osogbo Art School, a movement that emerged in the early 1960s and charted a distinctive path for modern art in Nigeria. Thank you to @ayodejirotinwa for the great review!

kó's exhibition, Osogbo, has been reviewed in the April 2026 print issue of Artforum (@artforum ). The exhibition traced the evolution of the Osogbo Art School, a movement that emerged in the early 1960s and charted a distinctive path for modern art in Nigeria. Thank you to @ayodejirotinwa for the great review!

Abiodun Olaku is a painter known for his mastery of tonal realism and his sensitive treatment of light and atmosphere. His practice is defined by a methodical process of building form from dark to light, using a restrained palette of greys to construct depth before introducing subtle highlights. This careful modulation of shadow and illumination creates a heightened sense of drama, imbuing his compositions with mood and psychological resonance.
In Oko Baba Cul-de-Sac (2025), Olaku captures an urban environment through a subdued tonal range, where shadow dominates and light emerges gradually, suggesting both stillness and underlying tension. In contrast, Full Bloom (2025) draws on the traditions of the Igbo Mmanwu masquerade, presenting the masked figure as both performer and spiritual vessel. Set against a dark, textured ground, the figure emerges in ornate costume and feathered regalia.

Abiodun Olaku is a painter known for his mastery of tonal realism and his sensitive treatment of light and atmosphere. His practice is defined by a methodical process of building form from dark to light, using a restrained palette of greys to construct depth before introducing subtle highlights. This careful modulation of shadow and illumination creates a heightened sense of drama, imbuing his compositions with mood and psychological resonance.
In Oko Baba Cul-de-Sac (2025), Olaku captures an urban environment through a subdued tonal range, where shadow dominates and light emerges gradually, suggesting both stillness and underlying tension. In contrast, Full Bloom (2025) draws on the traditions of the Igbo Mmanwu masquerade, presenting the masked figure as both performer and spiritual vessel. Set against a dark, textured ground, the figure emerges in ornate costume and feathered regalia.

Bunmi Babatunde is a Nigerian sculptor known for his fluid, expressive sculptures created in wood, bronze, and fiberglass. His works often explore themes of human evolution, growth, and transformation, using the body as a central vehicle for expression. Babatunde’s figures are frequently elongated and contorted, emphasizing movement and emotional intensity while reflecting a modernist approach to sculptural form. The stretched proportions and dynamic gestures of his figures evoke states of tension, reflection, and spiritual ascent, situating the human form within broader narratives of personal and collective development.

Bunmi Babatunde is a Nigerian sculptor known for his fluid, expressive sculptures created in wood, bronze, and fiberglass. His works often explore themes of human evolution, growth, and transformation, using the body as a central vehicle for expression. Babatunde’s figures are frequently elongated and contorted, emphasizing movement and emotional intensity while reflecting a modernist approach to sculptural form. The stretched proportions and dynamic gestures of his figures evoke states of tension, reflection, and spiritual ascent, situating the human form within broader narratives of personal and collective development.

Victor Ekpuk is a Nigerian-American artist whose practice is rooted in drawing as a fundamental mode of expression, extending into painting, printmaking, collage, sculpture, installation, and public art. Taking the ancient Nigerian script Nsibidi as a point of departure, he has developed a distinct abstract visual language that operates between writing and image. His work reimagines graphic sign systems as fluid, evolving forms capable of conveying layered meanings across cultural contexts.
In Children of the Full Moon (2003) and Prisoner of Conscience (2007), Ekpuk explores the expressive and symbolic potential of mark-making as a vehicle for narrative and reflection. These works feature dense accumulations of signs, gestural lines, and calligraphic forms that suggest both encoded language and intuitive drawing. The compositions unfold as immersive fields of symbols, where meaning is not fixed but continually shifting. The works are both hand painted with acrylic ink on an archival inkjet print with pigment ink on cotton paper. Another version of Prisoner of Conscience(2007) was featured in the artist’s solo exhibition at Princeton University Art Museum in 2023, and is now included in their permanent collection.

Victor Ekpuk is a Nigerian-American artist whose practice is rooted in drawing as a fundamental mode of expression, extending into painting, printmaking, collage, sculpture, installation, and public art. Taking the ancient Nigerian script Nsibidi as a point of departure, he has developed a distinct abstract visual language that operates between writing and image. His work reimagines graphic sign systems as fluid, evolving forms capable of conveying layered meanings across cultural contexts.
In Children of the Full Moon (2003) and Prisoner of Conscience (2007), Ekpuk explores the expressive and symbolic potential of mark-making as a vehicle for narrative and reflection. These works feature dense accumulations of signs, gestural lines, and calligraphic forms that suggest both encoded language and intuitive drawing. The compositions unfold as immersive fields of symbols, where meaning is not fixed but continually shifting. The works are both hand painted with acrylic ink on an archival inkjet print with pigment ink on cotton paper. Another version of Prisoner of Conscience(2007) was featured in the artist’s solo exhibition at Princeton University Art Museum in 2023, and is now included in their permanent collection.

Gerald Chukwuma’s practice engages sculpture and assemblage, transforming found wooden panels and discarded materials into richly textured, narrative surfaces. His works combine low-relief carving, pigment, burning, and embedded objects to construct intricate visual fields that interrogate migration, memory, and the socio-political environment. Rooted in material transformation, his practice reclaims the discarded, imbuing it with layered historical and cultural significance.
Moonlight Tales (undated) exemplifies Chukwuma’s approach to storytelling through material and surface. The work unfolds as a series of densely worked wooden panels, where carved motifs, incised lines, and painted passages coexist with embedded fragments. Drawing on Uli and Nsibidi symbol systems, the composition operates as both text and image, weaving together personal memory and collective narrative. The tactile surface, marked by processes of burning and chiselling, evokes a sense of temporal accumulation.

Gerald Chukwuma’s practice engages sculpture and assemblage, transforming found wooden panels and discarded materials into richly textured, narrative surfaces. His works combine low-relief carving, pigment, burning, and embedded objects to construct intricate visual fields that interrogate migration, memory, and the socio-political environment. Rooted in material transformation, his practice reclaims the discarded, imbuing it with layered historical and cultural significance.
Moonlight Tales (undated) exemplifies Chukwuma’s approach to storytelling through material and surface. The work unfolds as a series of densely worked wooden panels, where carved motifs, incised lines, and painted passages coexist with embedded fragments. Drawing on Uli and Nsibidi symbol systems, the composition operates as both text and image, weaving together personal memory and collective narrative. The tactile surface, marked by processes of burning and chiselling, evokes a sense of temporal accumulation.

Jerry Buhari is an artist, curator, and professor whose practice spans painting, drawing, and installation. His work is characterised by an experimental engagement with non-traditional materials and serial processes, often employing vibrant colour and dynamic formal arrangements as a visual language to explore political and social dynamics. Through repetition, layering, and material play, Buhari constructs compositions that move between personal expression and collective experience.
A Gbagyi Story II (1983) draws from indigenous narratives, translating them into a complex abstract visual field. Thelayered composition evokes both landscape and encoded storytelling, reflecting the multiplicity of histories embedded within Gbagyi identity.

Jerry Buhari is an artist, curator, and professor whose practice spans painting, drawing, and installation. His work is characterised by an experimental engagement with non-traditional materials and serial processes, often employing vibrant colour and dynamic formal arrangements as a visual language to explore political and social dynamics. Through repetition, layering, and material play, Buhari constructs compositions that move between personal expression and collective experience.
A Gbagyi Story II (1983) draws from indigenous narratives, translating them into a complex abstract visual field. Thelayered composition evokes both landscape and encoded storytelling, reflecting the multiplicity of histories embedded within Gbagyi identity.

Rom Isichei is a mixed media artist whose practice explores metaphors drawn from everyday social and personal experiences. Working across painting, drawing, and collage, his compositions often examine human relationships, spirituality, and aspects of cultural life. Isichei is particularly recognized for his expressive portraiture, characterized by dense, textured surfaces and layered brushwork.

In Hmmm… I See What You See (undated), Isichei constructs a composition of interlocking geometric forms and textured surfaces arranged in a patchwork-like structure. Blocks of muted color—cream, ochre, pink, and pale blue—are layered with vertical ridges and tactile marks. Embedded within the composition are subtle figurative suggestions, including a simplified face and a central circular motif, which emerge from the abstract grid. The work reflects Isichei’s interest in blending abstraction with symbolic references to human presence, allowing forms to oscillate between architectural structure and portrait-like imagery.

Repose in Her Comfort Zone (2010) depicts a reclining female figure absorbed in reading, rendered through Isichei’s distinctive impasto technique. Thick applications of oil paint create a richly textured surface in which the figure appears both sculpted and painterly. The composition emphasizes intimacy and stillness: the figure lies comfortably on the ground, her relaxed posture and focused gaze directed toward the open book. The warm palette of ochres, creams, and orange tones reinforces the sense of quiet contemplation.

Rom Isichei is a mixed media artist whose practice explores metaphors drawn from everyday social and personal experiences. Working across painting, drawing, and collage, his compositions often examine human relationships, spirituality, and aspects of cultural life. Isichei is particularly recognized for his expressive portraiture, characterized by dense, textured surfaces and layered brushwork.

In Hmmm… I See What You See (undated), Isichei constructs a composition of interlocking geometric forms and textured surfaces arranged in a patchwork-like structure. Blocks of muted color—cream, ochre, pink, and pale blue—are layered with vertical ridges and tactile marks. Embedded within the composition are subtle figurative suggestions, including a simplified face and a central circular motif, which emerge from the abstract grid. The work reflects Isichei’s interest in blending abstraction with symbolic references to human presence, allowing forms to oscillate between architectural structure and portrait-like imagery.

Repose in Her Comfort Zone (2010) depicts a reclining female figure absorbed in reading, rendered through Isichei’s distinctive impasto technique. Thick applications of oil paint create a richly textured surface in which the figure appears both sculpted and painterly. The composition emphasizes intimacy and stillness: the figure lies comfortably on the ground, her relaxed posture and focused gaze directed toward the open book. The warm palette of ochres, creams, and orange tones reinforces the sense of quiet contemplation.

Rom Isichei is a mixed media artist whose practice explores metaphors drawn from everyday social and personal experiences. Working across painting, drawing, and collage, his compositions often examine human relationships, spirituality, and aspects of cultural life. Isichei is particularly recognized for his expressive portraiture, characterized by dense, textured surfaces and layered brushwork.

In Hmmm… I See What You See (undated), Isichei constructs a composition of interlocking geometric forms and textured surfaces arranged in a patchwork-like structure. Blocks of muted color—cream, ochre, pink, and pale blue—are layered with vertical ridges and tactile marks. Embedded within the composition are subtle figurative suggestions, including a simplified face and a central circular motif, which emerge from the abstract grid. The work reflects Isichei’s interest in blending abstraction with symbolic references to human presence, allowing forms to oscillate between architectural structure and portrait-like imagery.

Repose in Her Comfort Zone (2010) depicts a reclining female figure absorbed in reading, rendered through Isichei’s distinctive impasto technique. Thick applications of oil paint create a richly textured surface in which the figure appears both sculpted and painterly. The composition emphasizes intimacy and stillness: the figure lies comfortably on the ground, her relaxed posture and focused gaze directed toward the open book. The warm palette of ochres, creams, and orange tones reinforces the sense of quiet contemplation.

Rom Isichei is a mixed media artist whose practice explores metaphors drawn from everyday social and personal experiences. Working across painting, drawing, and collage, his compositions often examine human relationships, spirituality, and aspects of cultural life. Isichei is particularly recognized for his expressive portraiture, characterized by dense, textured surfaces and layered brushwork.

In Hmmm… I See What You See (undated), Isichei constructs a composition of interlocking geometric forms and textured surfaces arranged in a patchwork-like structure. Blocks of muted color—cream, ochre, pink, and pale blue—are layered with vertical ridges and tactile marks. Embedded within the composition are subtle figurative suggestions, including a simplified face and a central circular motif, which emerge from the abstract grid. The work reflects Isichei’s interest in blending abstraction with symbolic references to human presence, allowing forms to oscillate between architectural structure and portrait-like imagery.

Repose in Her Comfort Zone (2010) depicts a reclining female figure absorbed in reading, rendered through Isichei’s distinctive impasto technique. Thick applications of oil paint create a richly textured surface in which the figure appears both sculpted and painterly. The composition emphasizes intimacy and stillness: the figure lies comfortably on the ground, her relaxed posture and focused gaze directed toward the open book. The warm palette of ochres, creams, and orange tones reinforces the sense of quiet contemplation.

Chike Obeagu is a visual artist, curator and writer whose work explores the dualism of human nature and its social manifestations. He is best known for his large scale, expressive mixed-media paintings, which incorporate elements of collage. Obeagu combines colorful compositions and geometric patterns, using torn pages from magazines and commercial advertisements. He explores the experiences of the everyday through narratives of music, politics, religion, family and kinship.

In In a World of My Own (2022), Obeagu constructs an introspective portrait built from folded paper elements. The composition presents a close-cropped face with eyes closed, formed by a textured field of densely aggregated material thatproduces a granular effect.

Chike Obeagu is a visual artist, curator and writer whose work explores the dualism of human nature and its social manifestations. He is best known for his large scale, expressive mixed-media paintings, which incorporate elements of collage. Obeagu combines colorful compositions and geometric patterns, using torn pages from magazines and commercial advertisements. He explores the experiences of the everyday through narratives of music, politics, religion, family and kinship.

In In a World of My Own (2022), Obeagu constructs an introspective portrait built from folded paper elements. The composition presents a close-cropped face with eyes closed, formed by a textured field of densely aggregated material thatproduces a granular effect.

Ablade Glover’s practice is rooted in expressive painting, capturing the vibrancy and rhythm of urban and market life in Ghana through richly textured, impasto surfaces. His compositions often depict densely populated scenes, including markets, crowds, and cityscapes, rendered in warm, saturated hues and dynamic arrangements that convey movement and collective energy.

Working with a palette knife, Glover builds his paintings through an accretion of simple shapes, layering and repeating gestures to generate visual density and weight. Tightly clustered forms accumulate into pulsating fields of color, where individual figures dissolve into a collectiverhythm. Glover also produces more distilled, figure-based works that foreground the presence of a single subject. Here, form is abbreviated and rendered through sweeping, gestural strokes, with emphasis placed on posture and painterly rhythm.

Ablade Glover’s practice is rooted in expressive painting, capturing the vibrancy and rhythm of urban and market life in Ghana through richly textured, impasto surfaces. His compositions often depict densely populated scenes, including markets, crowds, and cityscapes, rendered in warm, saturated hues and dynamic arrangements that convey movement and collective energy.

Working with a palette knife, Glover builds his paintings through an accretion of simple shapes, layering and repeating gestures to generate visual density and weight. Tightly clustered forms accumulate into pulsating fields of color, where individual figures dissolve into a collectiverhythm. Glover also produces more distilled, figure-based works that foreground the presence of a single subject. Here, form is abbreviated and rendered through sweeping, gestural strokes, with emphasis placed on posture and painterly rhythm.

Gerry Nnubia (b.1966) is a Nigerian painter and sculptor associated with the generation of artists often referred to as the “colourists,” whose work foregrounds the expressive and emotive potential of colour. His practice is rooted in a deep engagement with landscape, atmosphere, and the sensorial qualities of paint. Trained at the University of Nigeria, Nsukka, Nnubia developed his practice within a context that encouraged experimentation and a departure from strict naturalism. His work reflects an openness to abstraction, where form is often dissolved into fields of colour and gestural movement.

In May Blossom (2011), Nnubia explores themes of renewal, growth, and transience through a richly layered composition dominated by floral and organic forms. The work moves beyond literal depiction, using bursts of colour and soft, diffused edges to suggest the fleeting nature of blooming. Petal-like shapes emerge and recede within a vibrant field, capturing a moment that feels both immediate and ephemeral.

Gerry Nnubia (b.1966) is a Nigerian painter and sculptor associated with the generation of artists often referred to as the “colourists,” whose work foregrounds the expressive and emotive potential of colour. His practice is rooted in a deep engagement with landscape, atmosphere, and the sensorial qualities of paint. Trained at the University of Nigeria, Nsukka, Nnubia developed his practice within a context that encouraged experimentation and a departure from strict naturalism. His work reflects an openness to abstraction, where form is often dissolved into fields of colour and gestural movement.

In May Blossom (2011), Nnubia explores themes of renewal, growth, and transience through a richly layered composition dominated by floral and organic forms. The work moves beyond literal depiction, using bursts of colour and soft, diffused edges to suggest the fleeting nature of blooming. Petal-like shapes emerge and recede within a vibrant field, capturing a moment that feels both immediate and ephemeral.