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Venice Art Biennale Takeover ! Our next stop is Ghanaian artist Amoako Boafo’s (@amoakoboafo) first solo exhibition in Italy entitled ‘It Doesn’t Have To Always Make Sense’ which draws inspiration from the Renaissance atmosphere of Museo di Palazzo Grimani (@museopalazzogrimani), featuring a series of new and recent works, many of which directly reference the unique architecture and historical context of the site, which is part of the Musei archeologici nazionali di Venezia e della Laguna.
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Here, writer & curator Folasade Ologundudu (@sadeolo) goes up close with the artist, known for his expressive portraits of Black subjects and his signature technique of applying paint with his fingers. Presented in collaboration with Gagosian (@gagosian), these compelling pieces, which continue Boafo’s exploration of identity and style, are installed on the second floor of the palazzo, establishing a dialogue between contemporary Black representation and the enduring legacy of Venetian artistic masterworks.
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The show is on view until November 22, 2026
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#manjujournal #AmoakoBoafo #VeniceArtBiennale #VenicwBiennale #blackartist

Venice Art Biennale Takeover ! Our next stop is Ghanaian artist Amoako Boafo’s (@amoakoboafo) first solo exhibition in Italy entitled ‘It Doesn’t Have To Always Make Sense’ which draws inspiration from the Renaissance atmosphere of Museo di Palazzo Grimani (@museopalazzogrimani), featuring a series of new and recent works, many of which directly reference the unique architecture and historical context of the site, which is part of the Musei archeologici nazionali di Venezia e della Laguna.
.
Here, writer & curator Folasade Ologundudu (@sadeolo) goes up close with the artist, known for his expressive portraits of Black subjects and his signature technique of applying paint with his fingers. Presented in collaboration with Gagosian (@gagosian), these compelling pieces, which continue Boafo’s exploration of identity and style, are installed on the second floor of the palazzo, establishing a dialogue between contemporary Black representation and the enduring legacy of Venetian artistic masterworks.
.
The show is on view until November 22, 2026
.
#manjujournal #AmoakoBoafo #VeniceArtBiennale #VenicwBiennale #blackartist

Venice Art Biennale Takeover ! Our next stop is Ghanaian artist Amoako Boafo’s (@amoakoboafo) first solo exhibition in Italy entitled ‘It Doesn’t Have To Always Make Sense’ which draws inspiration from the Renaissance atmosphere of Museo di Palazzo Grimani (@museopalazzogrimani), featuring a series of new and recent works, many of which directly reference the unique architecture and historical context of the site, which is part of the Musei archeologici nazionali di Venezia e della Laguna.
.
Here, writer & curator Folasade Ologundudu (@sadeolo) goes up close with the artist, known for his expressive portraits of Black subjects and his signature technique of applying paint with his fingers. Presented in collaboration with Gagosian (@gagosian), these compelling pieces, which continue Boafo’s exploration of identity and style, are installed on the second floor of the palazzo, establishing a dialogue between contemporary Black representation and the enduring legacy of Venetian artistic masterworks.
.
The show is on view until November 22, 2026
.
#manjujournal #AmoakoBoafo #VeniceArtBiennale #VenicwBiennale #blackartist

Venice Art Biennale Takeover ! Our next stop is Ghanaian artist Amoako Boafo’s (@amoakoboafo) first solo exhibition in Italy entitled ‘It Doesn’t Have To Always Make Sense’ which draws inspiration from the Renaissance atmosphere of Museo di Palazzo Grimani (@museopalazzogrimani), featuring a series of new and recent works, many of which directly reference the unique architecture and historical context of the site, which is part of the Musei archeologici nazionali di Venezia e della Laguna.
.
Here, writer & curator Folasade Ologundudu (@sadeolo) goes up close with the artist, known for his expressive portraits of Black subjects and his signature technique of applying paint with his fingers. Presented in collaboration with Gagosian (@gagosian), these compelling pieces, which continue Boafo’s exploration of identity and style, are installed on the second floor of the palazzo, establishing a dialogue between contemporary Black representation and the enduring legacy of Venetian artistic masterworks.
.
The show is on view until November 22, 2026
.
#manjujournal #AmoakoBoafo #VeniceArtBiennale #VenicwBiennale #blackartist

Venice Art Biennale Takeover ! Our next stop is Ghanaian artist Amoako Boafo’s (@amoakoboafo) first solo exhibition in Italy entitled ‘It Doesn’t Have To Always Make Sense’ which draws inspiration from the Renaissance atmosphere of Museo di Palazzo Grimani (@museopalazzogrimani), featuring a series of new and recent works, many of which directly reference the unique architecture and historical context of the site, which is part of the Musei archeologici nazionali di Venezia e della Laguna.
.
Here, writer & curator Folasade Ologundudu (@sadeolo) goes up close with the artist, known for his expressive portraits of Black subjects and his signature technique of applying paint with his fingers. Presented in collaboration with Gagosian (@gagosian), these compelling pieces, which continue Boafo’s exploration of identity and style, are installed on the second floor of the palazzo, establishing a dialogue between contemporary Black representation and the enduring legacy of Venetian artistic masterworks.
.
The show is on view until November 22, 2026
.
#manjujournal #AmoakoBoafo #VeniceArtBiennale #VenicwBiennale #blackartist

Venice Art Biennale Takeover ! Our next stop is Ghanaian artist Amoako Boafo’s (@amoakoboafo) first solo exhibition in Italy entitled ‘It Doesn’t Have To Always Make Sense’ which draws inspiration from the Renaissance atmosphere of Museo di Palazzo Grimani (@museopalazzogrimani), featuring a series of new and recent works, many of which directly reference the unique architecture and historical context of the site, which is part of the Musei archeologici nazionali di Venezia e della Laguna.
.
Here, writer & curator Folasade Ologundudu (@sadeolo) goes up close with the artist, known for his expressive portraits of Black subjects and his signature technique of applying paint with his fingers. Presented in collaboration with Gagosian (@gagosian), these compelling pieces, which continue Boafo’s exploration of identity and style, are installed on the second floor of the palazzo, establishing a dialogue between contemporary Black representation and the enduring legacy of Venetian artistic masterworks.
.
The show is on view until November 22, 2026
.
#manjujournal #AmoakoBoafo #VeniceArtBiennale #VenicwBiennale #blackartist

Venice Art Biennale Takeover ! Our next stop is Ghanaian artist Amoako Boafo’s (@amoakoboafo) first solo exhibition in Italy entitled ‘It Doesn’t Have To Always Make Sense’ which draws inspiration from the Renaissance atmosphere of Museo di Palazzo Grimani (@museopalazzogrimani), featuring a series of new and recent works, many of which directly reference the unique architecture and historical context of the site, which is part of the Musei archeologici nazionali di Venezia e della Laguna.
.
Here, writer & curator Folasade Ologundudu (@sadeolo) goes up close with the artist, known for his expressive portraits of Black subjects and his signature technique of applying paint with his fingers. Presented in collaboration with Gagosian (@gagosian), these compelling pieces, which continue Boafo’s exploration of identity and style, are installed on the second floor of the palazzo, establishing a dialogue between contemporary Black representation and the enduring legacy of Venetian artistic masterworks.
.
The show is on view until November 22, 2026
.
#manjujournal #AmoakoBoafo #VeniceArtBiennale #VenicwBiennale #blackartist

Venice Art Biennale Takeover ! Our next stop is Ghanaian artist Amoako Boafo’s (@amoakoboafo) first solo exhibition in Italy entitled ‘It Doesn’t Have To Always Make Sense’ which draws inspiration from the Renaissance atmosphere of Museo di Palazzo Grimani (@museopalazzogrimani), featuring a series of new and recent works, many of which directly reference the unique architecture and historical context of the site, which is part of the Musei archeologici nazionali di Venezia e della Laguna.
.
Here, writer & curator Folasade Ologundudu (@sadeolo) goes up close with the artist, known for his expressive portraits of Black subjects and his signature technique of applying paint with his fingers. Presented in collaboration with Gagosian (@gagosian), these compelling pieces, which continue Boafo’s exploration of identity and style, are installed on the second floor of the palazzo, establishing a dialogue between contemporary Black representation and the enduring legacy of Venetian artistic masterworks.
.
The show is on view until November 22, 2026
.
#manjujournal #AmoakoBoafo #VeniceArtBiennale #VenicwBiennale #blackartist

Venice Art Biennale Takeover ! Our next stop is Ghanaian artist Amoako Boafo’s (@amoakoboafo) first solo exhibition in Italy entitled ‘It Doesn’t Have To Always Make Sense’ which draws inspiration from the Renaissance atmosphere of Museo di Palazzo Grimani (@museopalazzogrimani), featuring a series of new and recent works, many of which directly reference the unique architecture and historical context of the site, which is part of the Musei archeologici nazionali di Venezia e della Laguna.
.
Here, writer & curator Folasade Ologundudu (@sadeolo) goes up close with the artist, known for his expressive portraits of Black subjects and his signature technique of applying paint with his fingers. Presented in collaboration with Gagosian (@gagosian), these compelling pieces, which continue Boafo’s exploration of identity and style, are installed on the second floor of the palazzo, establishing a dialogue between contemporary Black representation and the enduring legacy of Venetian artistic masterworks.
.
The show is on view until November 22, 2026
.
#manjujournal #AmoakoBoafo #VeniceArtBiennale #VenicwBiennale #blackartist

Venice Art Biennale Takeover ! Our next stop is Ghanaian artist Amoako Boafo’s (@amoakoboafo) first solo exhibition in Italy entitled ‘It Doesn’t Have To Always Make Sense’ which draws inspiration from the Renaissance atmosphere of Museo di Palazzo Grimani (@museopalazzogrimani), featuring a series of new and recent works, many of which directly reference the unique architecture and historical context of the site, which is part of the Musei archeologici nazionali di Venezia e della Laguna.
.
Here, writer & curator Folasade Ologundudu (@sadeolo) goes up close with the artist, known for his expressive portraits of Black subjects and his signature technique of applying paint with his fingers. Presented in collaboration with Gagosian (@gagosian), these compelling pieces, which continue Boafo’s exploration of identity and style, are installed on the second floor of the palazzo, establishing a dialogue between contemporary Black representation and the enduring legacy of Venetian artistic masterworks.
.
The show is on view until November 22, 2026
.
#manjujournal #AmoakoBoafo #VeniceArtBiennale #VenicwBiennale #blackartist

Venice Art Biennale Takeover ! Our next stop is Ghanaian artist Amoako Boafo’s (@amoakoboafo) first solo exhibition in Italy entitled ‘It Doesn’t Have To Always Make Sense’ which draws inspiration from the Renaissance atmosphere of Museo di Palazzo Grimani (@museopalazzogrimani), featuring a series of new and recent works, many of which directly reference the unique architecture and historical context of the site, which is part of the Musei archeologici nazionali di Venezia e della Laguna.
.
Here, writer & curator Folasade Ologundudu (@sadeolo) goes up close with the artist, known for his expressive portraits of Black subjects and his signature technique of applying paint with his fingers. Presented in collaboration with Gagosian (@gagosian), these compelling pieces, which continue Boafo’s exploration of identity and style, are installed on the second floor of the palazzo, establishing a dialogue between contemporary Black representation and the enduring legacy of Venetian artistic masterworks.
.
The show is on view until November 22, 2026
.
#manjujournal #AmoakoBoafo #VeniceArtBiennale #VenicwBiennale #blackartist

Venice Art Biennale Takeover ! Visual activist Zanele Muholi (@muholizanele) brings a powerful independent presence to the Venice Biennale with the series ‘Faces and Phases 20’ presented by Southern Guild Gallery (@southernguildgallery). The exhibition marks two decades of her groundbreaking photographic series, one of the most significant ongoing visual archives of Black LGBTQIA+ lives worldwide.
.
Folasade Ologundudu (@sadeolo) closely examines over 200 of the artist’s black-and-white portraits selected from 2006 to the present as the exhibition foregrounds the cumulative scale of Faces and Phases as a living document.
.
Now on view at the residence of Trisja Malisoff and Tony Podesta in the Castello district, the exhibition runs until 10 May. Conceived as an off-site activation, it brings a potent South African artistic presence to the Biennale at a moment when the official South African Pavilion has been withdrawn.
.
#manjujournal #ZaneleMuholi #VeniceArtBiennale #VeniceBiennale #FacesandPhases20 (@lightworkcompany)

Venice Art Biennale Takeover ! Visual activist Zanele Muholi (@muholizanele) brings a powerful independent presence to the Venice Biennale with the series ‘Faces and Phases 20’ presented by Southern Guild Gallery (@southernguildgallery). The exhibition marks two decades of her groundbreaking photographic series, one of the most significant ongoing visual archives of Black LGBTQIA+ lives worldwide.
.
Folasade Ologundudu (@sadeolo) closely examines over 200 of the artist’s black-and-white portraits selected from 2006 to the present as the exhibition foregrounds the cumulative scale of Faces and Phases as a living document.
.
Now on view at the residence of Trisja Malisoff and Tony Podesta in the Castello district, the exhibition runs until 10 May. Conceived as an off-site activation, it brings a potent South African artistic presence to the Biennale at a moment when the official South African Pavilion has been withdrawn.
.
#manjujournal #ZaneleMuholi #VeniceArtBiennale #VeniceBiennale #FacesandPhases20 (@lightworkcompany)

Venice Art Biennale Takeover ! Visual activist Zanele Muholi (@muholizanele) brings a powerful independent presence to the Venice Biennale with the series ‘Faces and Phases 20’ presented by Southern Guild Gallery (@southernguildgallery). The exhibition marks two decades of her groundbreaking photographic series, one of the most significant ongoing visual archives of Black LGBTQIA+ lives worldwide.
.
Folasade Ologundudu (@sadeolo) closely examines over 200 of the artist’s black-and-white portraits selected from 2006 to the present as the exhibition foregrounds the cumulative scale of Faces and Phases as a living document.
.
Now on view at the residence of Trisja Malisoff and Tony Podesta in the Castello district, the exhibition runs until 10 May. Conceived as an off-site activation, it brings a potent South African artistic presence to the Biennale at a moment when the official South African Pavilion has been withdrawn.
.
#manjujournal #ZaneleMuholi #VeniceArtBiennale #VeniceBiennale #FacesandPhases20 (@lightworkcompany)

Venice Art Biennale Takeover ! Visual activist Zanele Muholi (@muholizanele) brings a powerful independent presence to the Venice Biennale with the series ‘Faces and Phases 20’ presented by Southern Guild Gallery (@southernguildgallery). The exhibition marks two decades of her groundbreaking photographic series, one of the most significant ongoing visual archives of Black LGBTQIA+ lives worldwide.
.
Folasade Ologundudu (@sadeolo) closely examines over 200 of the artist’s black-and-white portraits selected from 2006 to the present as the exhibition foregrounds the cumulative scale of Faces and Phases as a living document.
.
Now on view at the residence of Trisja Malisoff and Tony Podesta in the Castello district, the exhibition runs until 10 May. Conceived as an off-site activation, it brings a potent South African artistic presence to the Biennale at a moment when the official South African Pavilion has been withdrawn.
.
#manjujournal #ZaneleMuholi #VeniceArtBiennale #VeniceBiennale #FacesandPhases20 (@lightworkcompany)

Venice Art Biennale Takeover ! Visual activist Zanele Muholi (@muholizanele) brings a powerful independent presence to the Venice Biennale with the series ‘Faces and Phases 20’ presented by Southern Guild Gallery (@southernguildgallery). The exhibition marks two decades of her groundbreaking photographic series, one of the most significant ongoing visual archives of Black LGBTQIA+ lives worldwide.
.
Folasade Ologundudu (@sadeolo) closely examines over 200 of the artist’s black-and-white portraits selected from 2006 to the present as the exhibition foregrounds the cumulative scale of Faces and Phases as a living document.
.
Now on view at the residence of Trisja Malisoff and Tony Podesta in the Castello district, the exhibition runs until 10 May. Conceived as an off-site activation, it brings a potent South African artistic presence to the Biennale at a moment when the official South African Pavilion has been withdrawn.
.
#manjujournal #ZaneleMuholi #VeniceArtBiennale #VeniceBiennale #FacesandPhases20 (@lightworkcompany)

Venice Art Biennale Takeover ! Visual activist Zanele Muholi (@muholizanele) brings a powerful independent presence to the Venice Biennale with the series ‘Faces and Phases 20’ presented by Southern Guild Gallery (@southernguildgallery). The exhibition marks two decades of her groundbreaking photographic series, one of the most significant ongoing visual archives of Black LGBTQIA+ lives worldwide.
.
Folasade Ologundudu (@sadeolo) closely examines over 200 of the artist’s black-and-white portraits selected from 2006 to the present as the exhibition foregrounds the cumulative scale of Faces and Phases as a living document.
.
Now on view at the residence of Trisja Malisoff and Tony Podesta in the Castello district, the exhibition runs until 10 May. Conceived as an off-site activation, it brings a potent South African artistic presence to the Biennale at a moment when the official South African Pavilion has been withdrawn.
.
#manjujournal #ZaneleMuholi #VeniceArtBiennale #VeniceBiennale #FacesandPhases20 (@lightworkcompany)

Venice Art Biennale Takeover ! Visual activist Zanele Muholi (@muholizanele) brings a powerful independent presence to the Venice Biennale with the series ‘Faces and Phases 20’ presented by Southern Guild Gallery (@southernguildgallery). The exhibition marks two decades of her groundbreaking photographic series, one of the most significant ongoing visual archives of Black LGBTQIA+ lives worldwide.
.
Folasade Ologundudu (@sadeolo) closely examines over 200 of the artist’s black-and-white portraits selected from 2006 to the present as the exhibition foregrounds the cumulative scale of Faces and Phases as a living document.
.
Now on view at the residence of Trisja Malisoff and Tony Podesta in the Castello district, the exhibition runs until 10 May. Conceived as an off-site activation, it brings a potent South African artistic presence to the Biennale at a moment when the official South African Pavilion has been withdrawn.
.
#manjujournal #ZaneleMuholi #VeniceArtBiennale #VeniceBiennale #FacesandPhases20 (@lightworkcompany)

Venice Art Biennale Takeover !Folasade Ologundudu (@sadeolo) heads to artist Ibrahim Mahama’s (@ibrahimmahama3) solo exhibition ‘A Shea Garden’, where clay vessels traditionally used for storing shea in Ghana are reimagined through Murano glass.
.
Presented by Galleria Barovier&Toso (@galleriabaroviertoso) in collaboration with A Palazzo Gallery (@apalazzogallery), the exhibition brings Mahama’s material-driven practice into dialogue with the centuries-old tradition of Murano glassmaking. At its centre are vernacular clay vessels from northern Ghana, objects rooted in agricultural and domestic life, transformed into luminous glass forms that carry histories of labour, utility and cultural memory.
.
The exhibition also draws connections between Mahama’s long-standing exploration of trade, labour and material circulation and the fragile legacy of Murano glassmaking. Both are shaped by histories of global exchange and sustained through generational knowledge, while confronting the pressures of economic and industrial change.
.
Now on view at Galleria Barovier&Toso pop-up, Rio Terà della Carità 1046, Dorsoduro, until July 18, 2026.
(@lightworkcompany)
.
#manjujournal #IbrahimMahama #ASheaGarden #VeniceBiennale #VeniceArtBiennale

Venice Art Biennale Takeover !Folasade Ologundudu (@sadeolo) heads to artist Ibrahim Mahama’s (@ibrahimmahama3) solo exhibition ‘A Shea Garden’, where clay vessels traditionally used for storing shea in Ghana are reimagined through Murano glass.
.
Presented by Galleria Barovier&Toso (@galleriabaroviertoso) in collaboration with A Palazzo Gallery (@apalazzogallery), the exhibition brings Mahama’s material-driven practice into dialogue with the centuries-old tradition of Murano glassmaking. At its centre are vernacular clay vessels from northern Ghana, objects rooted in agricultural and domestic life, transformed into luminous glass forms that carry histories of labour, utility and cultural memory.
.
The exhibition also draws connections between Mahama’s long-standing exploration of trade, labour and material circulation and the fragile legacy of Murano glassmaking. Both are shaped by histories of global exchange and sustained through generational knowledge, while confronting the pressures of economic and industrial change.
.
Now on view at Galleria Barovier&Toso pop-up, Rio Terà della Carità 1046, Dorsoduro, until July 18, 2026.
(@lightworkcompany)
.
#manjujournal #IbrahimMahama #ASheaGarden #VeniceBiennale #VeniceArtBiennale

Venice Art Biennale Takeover !Folasade Ologundudu (@sadeolo) heads to artist Ibrahim Mahama’s (@ibrahimmahama3) solo exhibition ‘A Shea Garden’, where clay vessels traditionally used for storing shea in Ghana are reimagined through Murano glass.
.
Presented by Galleria Barovier&Toso (@galleriabaroviertoso) in collaboration with A Palazzo Gallery (@apalazzogallery), the exhibition brings Mahama’s material-driven practice into dialogue with the centuries-old tradition of Murano glassmaking. At its centre are vernacular clay vessels from northern Ghana, objects rooted in agricultural and domestic life, transformed into luminous glass forms that carry histories of labour, utility and cultural memory.
.
The exhibition also draws connections between Mahama’s long-standing exploration of trade, labour and material circulation and the fragile legacy of Murano glassmaking. Both are shaped by histories of global exchange and sustained through generational knowledge, while confronting the pressures of economic and industrial change.
.
Now on view at Galleria Barovier&Toso pop-up, Rio Terà della Carità 1046, Dorsoduro, until July 18, 2026.
(@lightworkcompany)
.
#manjujournal #IbrahimMahama #ASheaGarden #VeniceBiennale #VeniceArtBiennale

Venice Art Biennale Takeover !Folasade Ologundudu (@sadeolo) heads to artist Ibrahim Mahama’s (@ibrahimmahama3) solo exhibition ‘A Shea Garden’, where clay vessels traditionally used for storing shea in Ghana are reimagined through Murano glass.
.
Presented by Galleria Barovier&Toso (@galleriabaroviertoso) in collaboration with A Palazzo Gallery (@apalazzogallery), the exhibition brings Mahama’s material-driven practice into dialogue with the centuries-old tradition of Murano glassmaking. At its centre are vernacular clay vessels from northern Ghana, objects rooted in agricultural and domestic life, transformed into luminous glass forms that carry histories of labour, utility and cultural memory.
.
The exhibition also draws connections between Mahama’s long-standing exploration of trade, labour and material circulation and the fragile legacy of Murano glassmaking. Both are shaped by histories of global exchange and sustained through generational knowledge, while confronting the pressures of economic and industrial change.
.
Now on view at Galleria Barovier&Toso pop-up, Rio Terà della Carità 1046, Dorsoduro, until July 18, 2026.
(@lightworkcompany)
.
#manjujournal #IbrahimMahama #ASheaGarden #VeniceBiennale #VeniceArtBiennale

Venice Art Biennale Takeover !Folasade Ologundudu (@sadeolo) heads to artist Ibrahim Mahama’s (@ibrahimmahama3) solo exhibition ‘A Shea Garden’, where clay vessels traditionally used for storing shea in Ghana are reimagined through Murano glass.
.
Presented by Galleria Barovier&Toso (@galleriabaroviertoso) in collaboration with A Palazzo Gallery (@apalazzogallery), the exhibition brings Mahama’s material-driven practice into dialogue with the centuries-old tradition of Murano glassmaking. At its centre are vernacular clay vessels from northern Ghana, objects rooted in agricultural and domestic life, transformed into luminous glass forms that carry histories of labour, utility and cultural memory.
.
The exhibition also draws connections between Mahama’s long-standing exploration of trade, labour and material circulation and the fragile legacy of Murano glassmaking. Both are shaped by histories of global exchange and sustained through generational knowledge, while confronting the pressures of economic and industrial change.
.
Now on view at Galleria Barovier&Toso pop-up, Rio Terà della Carità 1046, Dorsoduro, until July 18, 2026.
(@lightworkcompany)
.
#manjujournal #IbrahimMahama #ASheaGarden #VeniceBiennale #VeniceArtBiennale

Venice Art Biennale Takeover !Folasade Ologundudu (@sadeolo) heads to artist Ibrahim Mahama’s (@ibrahimmahama3) solo exhibition ‘A Shea Garden’, where clay vessels traditionally used for storing shea in Ghana are reimagined through Murano glass.
.
Presented by Galleria Barovier&Toso (@galleriabaroviertoso) in collaboration with A Palazzo Gallery (@apalazzogallery), the exhibition brings Mahama’s material-driven practice into dialogue with the centuries-old tradition of Murano glassmaking. At its centre are vernacular clay vessels from northern Ghana, objects rooted in agricultural and domestic life, transformed into luminous glass forms that carry histories of labour, utility and cultural memory.
.
The exhibition also draws connections between Mahama’s long-standing exploration of trade, labour and material circulation and the fragile legacy of Murano glassmaking. Both are shaped by histories of global exchange and sustained through generational knowledge, while confronting the pressures of economic and industrial change.
.
Now on view at Galleria Barovier&Toso pop-up, Rio Terà della Carità 1046, Dorsoduro, until July 18, 2026.
(@lightworkcompany)
.
#manjujournal #IbrahimMahama #ASheaGarden #VeniceBiennale #VeniceArtBiennale

Venice Art Biennale Takeover !Folasade Ologundudu (@sadeolo) heads to artist Ibrahim Mahama’s (@ibrahimmahama3) solo exhibition ‘A Shea Garden’, where clay vessels traditionally used for storing shea in Ghana are reimagined through Murano glass.
.
Presented by Galleria Barovier&Toso (@galleriabaroviertoso) in collaboration with A Palazzo Gallery (@apalazzogallery), the exhibition brings Mahama’s material-driven practice into dialogue with the centuries-old tradition of Murano glassmaking. At its centre are vernacular clay vessels from northern Ghana, objects rooted in agricultural and domestic life, transformed into luminous glass forms that carry histories of labour, utility and cultural memory.
.
The exhibition also draws connections between Mahama’s long-standing exploration of trade, labour and material circulation and the fragile legacy of Murano glassmaking. Both are shaped by histories of global exchange and sustained through generational knowledge, while confronting the pressures of economic and industrial change.
.
Now on view at Galleria Barovier&Toso pop-up, Rio Terà della Carità 1046, Dorsoduro, until July 18, 2026.
(@lightworkcompany)
.
#manjujournal #IbrahimMahama #ASheaGarden #VeniceBiennale #VeniceArtBiennale

Venice Art Biennale Takeover !Folasade Ologundudu (@sadeolo) heads to artist Ibrahim Mahama’s (@ibrahimmahama3) solo exhibition ‘A Shea Garden’, where clay vessels traditionally used for storing shea in Ghana are reimagined through Murano glass.
.
Presented by Galleria Barovier&Toso (@galleriabaroviertoso) in collaboration with A Palazzo Gallery (@apalazzogallery), the exhibition brings Mahama’s material-driven practice into dialogue with the centuries-old tradition of Murano glassmaking. At its centre are vernacular clay vessels from northern Ghana, objects rooted in agricultural and domestic life, transformed into luminous glass forms that carry histories of labour, utility and cultural memory.
.
The exhibition also draws connections between Mahama’s long-standing exploration of trade, labour and material circulation and the fragile legacy of Murano glassmaking. Both are shaped by histories of global exchange and sustained through generational knowledge, while confronting the pressures of economic and industrial change.
.
Now on view at Galleria Barovier&Toso pop-up, Rio Terà della Carità 1046, Dorsoduro, until July 18, 2026.
(@lightworkcompany)
.
#manjujournal #IbrahimMahama #ASheaGarden #VeniceBiennale #VeniceArtBiennale

MANJU Journal heads to Venice this week for a special takeover in collaboration with Folasade Ologundudu (@sadeolo), presenting exclusive previews and highlights from the 61st International Art Exhibition of La Biennale di Venezia. Across a curated lens, we will share key moments and programme insights from selected exhibitions & pavilions across Africa and its diaspora, tracing the conversations, gestures, and practices shaping this year’s edition in Venice.
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Folasade Ologundudu is a curator, podcast creator, and writer based in New York whose practice seeks to uncover ideas related to the universal human condition. She has written art criticism, profiles, interviews, and essays for Vogue, Essence, Artforum, ARTnews, Cultured Magazine, and Frieze. As founder of Light Work (@lightworkcompany), a US-based creative platform operating at the intersection of art, education, and culture, she collaborates with artists, curators, academics, and cultural practitioners through dialogue that engages contemporary art, cultural production, and the shifting conditions of our time.
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#InMinorKeys, shaped under the visionary and profoundly influential curatorial direction of the late Koyo Kouoh, marks a significant moment for African representation. This year’s edition brings together 12 national pavilions from across the continent, including Cameroon, the Democratic Republic of Congo, Egypt, Ethiopia, the Republic of Guinea, Equatorial Guinea, Morocco, Senegal, Sierra Leone, Somalia, Uganda, and Zimbabwe. Four of these countries participate for the first time, signalling a meaningful shift in the visibility and presence of African perspectives within the Biennale, and underscoring Kouoh’s enduring legacy in expanding and reimagining the contours of global contemporary art discourse.
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The 61st International Art Exhibition of La Biennale di Venezia is on view from May 9 to November 22, 2026.
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#LaBiennaleDiVenezia #BiennaleArte #manjujournal #venicebiennale

MANJU Journal heads to Venice this week for a special takeover in collaboration with Folasade Ologundudu (@sadeolo), presenting exclusive previews and highlights from the 61st International Art Exhibition of La Biennale di Venezia. Across a curated lens, we will share key moments and programme insights from selected exhibitions & pavilions across Africa and its diaspora, tracing the conversations, gestures, and practices shaping this year’s edition in Venice.
.
Folasade Ologundudu is a curator, podcast creator, and writer based in New York whose practice seeks to uncover ideas related to the universal human condition. She has written art criticism, profiles, interviews, and essays for Vogue, Essence, Artforum, ARTnews, Cultured Magazine, and Frieze. As founder of Light Work (@lightworkcompany), a US-based creative platform operating at the intersection of art, education, and culture, she collaborates with artists, curators, academics, and cultural practitioners through dialogue that engages contemporary art, cultural production, and the shifting conditions of our time.
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#InMinorKeys, shaped under the visionary and profoundly influential curatorial direction of the late Koyo Kouoh, marks a significant moment for African representation. This year’s edition brings together 12 national pavilions from across the continent, including Cameroon, the Democratic Republic of Congo, Egypt, Ethiopia, the Republic of Guinea, Equatorial Guinea, Morocco, Senegal, Sierra Leone, Somalia, Uganda, and Zimbabwe. Four of these countries participate for the first time, signalling a meaningful shift in the visibility and presence of African perspectives within the Biennale, and underscoring Kouoh’s enduring legacy in expanding and reimagining the contours of global contemporary art discourse.
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The 61st International Art Exhibition of La Biennale di Venezia is on view from May 9 to November 22, 2026.
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#LaBiennaleDiVenezia #BiennaleArte #manjujournal #venicebiennale

I love rites of passage ceremonies where mark making happens on skin. I like to create textures on my body. Textures hold memory. —Manyaku Mashilo⁠ @manyaku_mash
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In this episode, Manyaku Mashilo reflects on how mark-making extends beyond the canvas—onto skin, into ritual, and across memory. From childhood ceremonies to tattooing, her work considers texture as a living archive, carrying emotion, ancestry, and the quiet imprints of where we’ve been.⁠
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Want to hear the full episode? Comment yes pls and we'll send you the full episode now! ⁠
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#EverythingIsConnectedPodcast #lightwork #manyakumashilo #southafrica #artpodcast

In a new feature for Vogue, Folasade Ologundudu traces Southern Guild’s journey from Cape Town to New York, capturing the gallery’s collaborative ethos, commitment to material experimentation, and the expanded vision behind its Tribeca opening.

Spending time with the Southern Guild team and artists in Cape Town during the 2026 Investec Cape Town Art Fair, she offers an intimate look at the ecosystem behind the gallery – from the GUILD Residency to the close working relationships that shape its program.

Thank you, Vogue and Sade!

Read the full article via the link in bio (under NEWS).

@voguemagazine
@sadeolo

#SouthernGuild #SouthernGuildNewYork #Vogue #ArtPress #ContemporaryArt

In a new feature for Vogue, Folasade Ologundudu traces Southern Guild’s journey from Cape Town to New York, capturing the gallery’s collaborative ethos, commitment to material experimentation, and the expanded vision behind its Tribeca opening.

Spending time with the Southern Guild team and artists in Cape Town during the 2026 Investec Cape Town Art Fair, she offers an intimate look at the ecosystem behind the gallery – from the GUILD Residency to the close working relationships that shape its program.

Thank you, Vogue and Sade!

Read the full article via the link in bio (under NEWS).

@voguemagazine
@sadeolo

#SouthernGuild #SouthernGuildNewYork #Vogue #ArtPress #ContemporaryArt

In a new feature for Vogue, Folasade Ologundudu traces Southern Guild’s journey from Cape Town to New York, capturing the gallery’s collaborative ethos, commitment to material experimentation, and the expanded vision behind its Tribeca opening.

Spending time with the Southern Guild team and artists in Cape Town during the 2026 Investec Cape Town Art Fair, she offers an intimate look at the ecosystem behind the gallery – from the GUILD Residency to the close working relationships that shape its program.

Thank you, Vogue and Sade!

Read the full article via the link in bio (under NEWS).

@voguemagazine
@sadeolo

#SouthernGuild #SouthernGuildNewYork #Vogue #ArtPress #ContemporaryArt

In a new feature for Vogue, Folasade Ologundudu traces Southern Guild’s journey from Cape Town to New York, capturing the gallery’s collaborative ethos, commitment to material experimentation, and the expanded vision behind its Tribeca opening.

Spending time with the Southern Guild team and artists in Cape Town during the 2026 Investec Cape Town Art Fair, she offers an intimate look at the ecosystem behind the gallery – from the GUILD Residency to the close working relationships that shape its program.

Thank you, Vogue and Sade!

Read the full article via the link in bio (under NEWS).

@voguemagazine
@sadeolo

#SouthernGuild #SouthernGuildNewYork #Vogue #ArtPress #ContemporaryArt

In a new feature for Vogue, Folasade Ologundudu traces Southern Guild’s journey from Cape Town to New York, capturing the gallery’s collaborative ethos, commitment to material experimentation, and the expanded vision behind its Tribeca opening.

Spending time with the Southern Guild team and artists in Cape Town during the 2026 Investec Cape Town Art Fair, she offers an intimate look at the ecosystem behind the gallery – from the GUILD Residency to the close working relationships that shape its program.

Thank you, Vogue and Sade!

Read the full article via the link in bio (under NEWS).

@voguemagazine
@sadeolo

#SouthernGuild #SouthernGuildNewYork #Vogue #ArtPress #ContemporaryArt

In a new feature for Vogue, Folasade Ologundudu traces Southern Guild’s journey from Cape Town to New York, capturing the gallery’s collaborative ethos, commitment to material experimentation, and the expanded vision behind its Tribeca opening.

Spending time with the Southern Guild team and artists in Cape Town during the 2026 Investec Cape Town Art Fair, she offers an intimate look at the ecosystem behind the gallery – from the GUILD Residency to the close working relationships that shape its program.

Thank you, Vogue and Sade!

Read the full article via the link in bio (under NEWS).

@voguemagazine
@sadeolo

#SouthernGuild #SouthernGuildNewYork #Vogue #ArtPress #ContemporaryArt

In a new feature for Vogue, Folasade Ologundudu traces Southern Guild’s journey from Cape Town to New York, capturing the gallery’s collaborative ethos, commitment to material experimentation, and the expanded vision behind its Tribeca opening.

Spending time with the Southern Guild team and artists in Cape Town during the 2026 Investec Cape Town Art Fair, she offers an intimate look at the ecosystem behind the gallery – from the GUILD Residency to the close working relationships that shape its program.

Thank you, Vogue and Sade!

Read the full article via the link in bio (under NEWS).

@voguemagazine
@sadeolo

#SouthernGuild #SouthernGuildNewYork #Vogue #ArtPress #ContemporaryArt

Everywhere I go in the arts I see women working alongside one another, developing artistic practices and building creative lives.

Cape Town was no different. If anything, it reinforced this fact. I found myself drawn to the work of many emerging women artists.

I was particularly drawn to artists for their uses of material, experimentation within established practices, and a willingness to try new things and attempt new modes of expression.

Artists in video: @zizipo_poswa @manyaku_mash @yagazieemezi @also_known_as_bojj @deborah_jayde @mellaney.coza

Galleries: @southernguildgallery @ko_artspace @bermancontemporary @thedadagallery

During the week Studio Ameila @studioamelia heels paired perfectly with my day-to-night looks and offsite events.

#Capetown #southafrica #artfair #artmarket studioameli

Folasade Ologundudu (@sadeolo) seeks to uncover ideas related to the universal human condition. The New York-based writer, curator and creator of the podcast, Everything is Connected, produced through her creative studio, Light Work (@lightworkcompany) brings this spirit of inquiry to her incisive articles for leading publications like Vogue, Cultured Magazine and Frieze. 

Her mindset – toward writing and life – is equally as intentional. In our recent conversation with Folasade, she reflects on staying true to one’s ethos as a writer, why accessible art writing matters and trends she’s looking out for in 2026.

Folasade Ologundudu (@sadeolo) seeks to uncover ideas related to the universal human condition. The New York-based writer, curator and creator of the podcast, Everything is Connected, produced through her creative studio, Light Work (@lightworkcompany) brings this spirit of inquiry to her incisive articles for leading publications like Vogue, Cultured Magazine and Frieze. 

Her mindset – toward writing and life – is equally as intentional. In our recent conversation with Folasade, she reflects on staying true to one’s ethos as a writer, why accessible art writing matters and trends she’s looking out for in 2026.

Folasade Ologundudu (@sadeolo) seeks to uncover ideas related to the universal human condition. The New York-based writer, curator and creator of the podcast, Everything is Connected, produced through her creative studio, Light Work (@lightworkcompany) brings this spirit of inquiry to her incisive articles for leading publications like Vogue, Cultured Magazine and Frieze. 

Her mindset – toward writing and life – is equally as intentional. In our recent conversation with Folasade, she reflects on staying true to one’s ethos as a writer, why accessible art writing matters and trends she’s looking out for in 2026.

Folasade Ologundudu (@sadeolo) seeks to uncover ideas related to the universal human condition. The New York-based writer, curator and creator of the podcast, Everything is Connected, produced through her creative studio, Light Work (@lightworkcompany) brings this spirit of inquiry to her incisive articles for leading publications like Vogue, Cultured Magazine and Frieze. 

Her mindset – toward writing and life – is equally as intentional. In our recent conversation with Folasade, she reflects on staying true to one’s ethos as a writer, why accessible art writing matters and trends she’s looking out for in 2026.

Folasade Ologundudu (@sadeolo) seeks to uncover ideas related to the universal human condition. The New York-based writer, curator and creator of the podcast, Everything is Connected, produced through her creative studio, Light Work (@lightworkcompany) brings this spirit of inquiry to her incisive articles for leading publications like Vogue, Cultured Magazine and Frieze. 

Her mindset – toward writing and life – is equally as intentional. In our recent conversation with Folasade, she reflects on staying true to one’s ethos as a writer, why accessible art writing matters and trends she’s looking out for in 2026.

Folasade Ologundudu (@sadeolo) seeks to uncover ideas related to the universal human condition. The New York-based writer, curator and creator of the podcast, Everything is Connected, produced through her creative studio, Light Work (@lightworkcompany) brings this spirit of inquiry to her incisive articles for leading publications like Vogue, Cultured Magazine and Frieze. 

Her mindset – toward writing and life – is equally as intentional. In our recent conversation with Folasade, she reflects on staying true to one’s ethos as a writer, why accessible art writing matters and trends she’s looking out for in 2026.

Folasade Ologundudu (@sadeolo) seeks to uncover ideas related to the universal human condition. The New York-based writer, curator and creator of the podcast, Everything is Connected, produced through her creative studio, Light Work (@lightworkcompany) brings this spirit of inquiry to her incisive articles for leading publications like Vogue, Cultured Magazine and Frieze. 

Her mindset – toward writing and life – is equally as intentional. In our recent conversation with Folasade, she reflects on staying true to one’s ethos as a writer, why accessible art writing matters and trends she’s looking out for in 2026.

Folasade Ologundudu (@sadeolo) seeks to uncover ideas related to the universal human condition. The New York-based writer, curator and creator of the podcast, Everything is Connected, produced through her creative studio, Light Work (@lightworkcompany) brings this spirit of inquiry to her incisive articles for leading publications like Vogue, Cultured Magazine and Frieze. 

Her mindset – toward writing and life – is equally as intentional. In our recent conversation with Folasade, she reflects on staying true to one’s ethos as a writer, why accessible art writing matters and trends she’s looking out for in 2026.

Folasade Ologundudu (@sadeolo) seeks to uncover ideas related to the universal human condition. The New York-based writer, curator and creator of the podcast, Everything is Connected, produced through her creative studio, Light Work (@lightworkcompany) brings this spirit of inquiry to her incisive articles for leading publications like Vogue, Cultured Magazine and Frieze. 

Her mindset – toward writing and life – is equally as intentional. In our recent conversation with Folasade, she reflects on staying true to one’s ethos as a writer, why accessible art writing matters and trends she’s looking out for in 2026.

Folasade Ologundudu (@sadeolo) seeks to uncover ideas related to the universal human condition. The New York-based writer, curator and creator of the podcast, Everything is Connected, produced through her creative studio, Light Work (@lightworkcompany) brings this spirit of inquiry to her incisive articles for leading publications like Vogue, Cultured Magazine and Frieze. 

Her mindset – toward writing and life – is equally as intentional. In our recent conversation with Folasade, she reflects on staying true to one’s ethos as a writer, why accessible art writing matters and trends she’s looking out for in 2026.

Folasade Ologundudu (@sadeolo) seeks to uncover ideas related to the universal human condition. The New York-based writer, curator and creator of the podcast, Everything is Connected, produced through her creative studio, Light Work (@lightworkcompany) brings this spirit of inquiry to her incisive articles for leading publications like Vogue, Cultured Magazine and Frieze. 

Her mindset – toward writing and life – is equally as intentional. In our recent conversation with Folasade, she reflects on staying true to one’s ethos as a writer, why accessible art writing matters and trends she’s looking out for in 2026.

Folasade Ologundudu (@sadeolo) seeks to uncover ideas related to the universal human condition. The New York-based writer, curator and creator of the podcast, Everything is Connected, produced through her creative studio, Light Work (@lightworkcompany) brings this spirit of inquiry to her incisive articles for leading publications like Vogue, Cultured Magazine and Frieze. 

Her mindset – toward writing and life – is equally as intentional. In our recent conversation with Folasade, she reflects on staying true to one’s ethos as a writer, why accessible art writing matters and trends she’s looking out for in 2026.

Folasade Ologundudu (@sadeolo) seeks to uncover ideas related to the universal human condition. The New York-based writer, curator and creator of the podcast, Everything is Connected, produced through her creative studio, Light Work (@lightworkcompany) brings this spirit of inquiry to her incisive articles for leading publications like Vogue, Cultured Magazine and Frieze. 

Her mindset – toward writing and life – is equally as intentional. In our recent conversation with Folasade, she reflects on staying true to one’s ethos as a writer, why accessible art writing matters and trends she’s looking out for in 2026.

Folasade Ologundudu (@sadeolo) seeks to uncover ideas related to the universal human condition. The New York-based writer, curator and creator of the podcast, Everything is Connected, produced through her creative studio, Light Work (@lightworkcompany) brings this spirit of inquiry to her incisive articles for leading publications like Vogue, Cultured Magazine and Frieze. 

Her mindset – toward writing and life – is equally as intentional. In our recent conversation with Folasade, she reflects on staying true to one’s ethos as a writer, why accessible art writing matters and trends she’s looking out for in 2026.

Over the years, founder of Light Work, Folasade ‘Sade’ Ologundudu has interviewed and written about more than 100 artists. This year, five artists she’s interviewed have been selected to participate in the 61st Venice Biennale’s In Minor Keys.

Conceived by Koyo Kouoh, the first African woman appointed to lead the Venice Biennale, In Minor Keys features 111 invited participants selected with particular attention to resonances, affinity, and possible convergences between artistic practices.

Congratulations to all the participating artists! Tap the Link in bio to check out Sade’s interviews with them.
@lindagoodebryant @otobongnkanga @kalokinyamaistudio @rajniperera @kennedyyanko @themuseumofmodernart @galerie_barbara_thumm @jamescohangallery @salon94

#venicebiennale #koyokouoh #contemporaryart #venice #inminorkeys

Over the years, founder of Light Work, Folasade ‘Sade’ Ologundudu has interviewed and written about more than 100 artists. This year, five artists she’s interviewed have been selected to participate in the 61st Venice Biennale’s In Minor Keys.

Conceived by Koyo Kouoh, the first African woman appointed to lead the Venice Biennale, In Minor Keys features 111 invited participants selected with particular attention to resonances, affinity, and possible convergences between artistic practices.

Congratulations to all the participating artists! Tap the Link in bio to check out Sade’s interviews with them.
@lindagoodebryant @otobongnkanga @kalokinyamaistudio @rajniperera @kennedyyanko @themuseumofmodernart @galerie_barbara_thumm @jamescohangallery @salon94

#venicebiennale #koyokouoh #contemporaryart #venice #inminorkeys

Over the years, founder of Light Work, Folasade ‘Sade’ Ologundudu has interviewed and written about more than 100 artists. This year, five artists she’s interviewed have been selected to participate in the 61st Venice Biennale’s In Minor Keys.

Conceived by Koyo Kouoh, the first African woman appointed to lead the Venice Biennale, In Minor Keys features 111 invited participants selected with particular attention to resonances, affinity, and possible convergences between artistic practices.

Congratulations to all the participating artists! Tap the Link in bio to check out Sade’s interviews with them.
@lindagoodebryant @otobongnkanga @kalokinyamaistudio @rajniperera @kennedyyanko @themuseumofmodernart @galerie_barbara_thumm @jamescohangallery @salon94

#venicebiennale #koyokouoh #contemporaryart #venice #inminorkeys

Over the years, founder of Light Work, Folasade ‘Sade’ Ologundudu has interviewed and written about more than 100 artists. This year, five artists she’s interviewed have been selected to participate in the 61st Venice Biennale’s In Minor Keys.

Conceived by Koyo Kouoh, the first African woman appointed to lead the Venice Biennale, In Minor Keys features 111 invited participants selected with particular attention to resonances, affinity, and possible convergences between artistic practices.

Congratulations to all the participating artists! Tap the Link in bio to check out Sade’s interviews with them.
@lindagoodebryant @otobongnkanga @kalokinyamaistudio @rajniperera @kennedyyanko @themuseumofmodernart @galerie_barbara_thumm @jamescohangallery @salon94

#venicebiennale #koyokouoh #contemporaryart #venice #inminorkeys

Over the years, founder of Light Work, Folasade ‘Sade’ Ologundudu has interviewed and written about more than 100 artists. This year, five artists she’s interviewed have been selected to participate in the 61st Venice Biennale’s In Minor Keys.

Conceived by Koyo Kouoh, the first African woman appointed to lead the Venice Biennale, In Minor Keys features 111 invited participants selected with particular attention to resonances, affinity, and possible convergences between artistic practices.

Congratulations to all the participating artists! Tap the Link in bio to check out Sade’s interviews with them.
@lindagoodebryant @otobongnkanga @kalokinyamaistudio @rajniperera @kennedyyanko @themuseumofmodernart @galerie_barbara_thumm @jamescohangallery @salon94

#venicebiennale #koyokouoh #contemporaryart #venice #inminorkeys

Over the years, founder of Light Work, Folasade ‘Sade’ Ologundudu has interviewed and written about more than 100 artists. This year, five artists she’s interviewed have been selected to participate in the 61st Venice Biennale’s In Minor Keys.

Conceived by Koyo Kouoh, the first African woman appointed to lead the Venice Biennale, In Minor Keys features 111 invited participants selected with particular attention to resonances, affinity, and possible convergences between artistic practices.

Congratulations to all the participating artists! Tap the Link in bio to check out Sade’s interviews with them.
@lindagoodebryant @otobongnkanga @kalokinyamaistudio @rajniperera @kennedyyanko @themuseumofmodernart @galerie_barbara_thumm @jamescohangallery @salon94

#venicebiennale #koyokouoh #contemporaryart #venice #inminorkeys

Over the years, founder of Light Work, Folasade ‘Sade’ Ologundudu has interviewed and written about more than 100 artists. This year, five artists she’s interviewed have been selected to participate in the 61st Venice Biennale’s In Minor Keys.

Conceived by Koyo Kouoh, the first African woman appointed to lead the Venice Biennale, In Minor Keys features 111 invited participants selected with particular attention to resonances, affinity, and possible convergences between artistic practices.

Congratulations to all the participating artists! Tap the Link in bio to check out Sade’s interviews with them.
@lindagoodebryant @otobongnkanga @kalokinyamaistudio @rajniperera @kennedyyanko @themuseumofmodernart @galerie_barbara_thumm @jamescohangallery @salon94

#venicebiennale #koyokouoh #contemporaryart #venice #inminorkeys

Over the years, founder of Light Work, Folasade ‘Sade’ Ologundudu has interviewed and written about more than 100 artists. This year, five artists she’s interviewed have been selected to participate in the 61st Venice Biennale’s In Minor Keys.

Conceived by Koyo Kouoh, the first African woman appointed to lead the Venice Biennale, In Minor Keys features 111 invited participants selected with particular attention to resonances, affinity, and possible convergences between artistic practices.

Congratulations to all the participating artists! Tap the Link in bio to check out Sade’s interviews with them.
@lindagoodebryant @otobongnkanga @kalokinyamaistudio @rajniperera @kennedyyanko @themuseumofmodernart @galerie_barbara_thumm @jamescohangallery @salon94

#venicebiennale #koyokouoh #contemporaryart #venice #inminorkeys

Over the years, founder of Light Work, Folasade ‘Sade’ Ologundudu has interviewed and written about more than 100 artists. This year, five artists she’s interviewed have been selected to participate in the 61st Venice Biennale’s In Minor Keys.

Conceived by Koyo Kouoh, the first African woman appointed to lead the Venice Biennale, In Minor Keys features 111 invited participants selected with particular attention to resonances, affinity, and possible convergences between artistic practices.

Congratulations to all the participating artists! Tap the Link in bio to check out Sade’s interviews with them.
@lindagoodebryant @otobongnkanga @kalokinyamaistudio @rajniperera @kennedyyanko @themuseumofmodernart @galerie_barbara_thumm @jamescohangallery @salon94

#venicebiennale #koyokouoh #contemporaryart #venice #inminorkeys

Over the years, founder of Light Work, Folasade ‘Sade’ Ologundudu has interviewed and written about more than 100 artists. This year, five artists she’s interviewed have been selected to participate in the 61st Venice Biennale’s In Minor Keys.

Conceived by Koyo Kouoh, the first African woman appointed to lead the Venice Biennale, In Minor Keys features 111 invited participants selected with particular attention to resonances, affinity, and possible convergences between artistic practices.

Congratulations to all the participating artists! Tap the Link in bio to check out Sade’s interviews with them.
@lindagoodebryant @otobongnkanga @kalokinyamaistudio @rajniperera @kennedyyanko @themuseumofmodernart @galerie_barbara_thumm @jamescohangallery @salon94

#venicebiennale #koyokouoh #contemporaryart #venice #inminorkeys

Over the years, founder of Light Work, Folasade ‘Sade’ Ologundudu has interviewed and written about more than 100 artists. This year, five artists she’s interviewed have been selected to participate in the 61st Venice Biennale’s In Minor Keys.

Conceived by Koyo Kouoh, the first African woman appointed to lead the Venice Biennale, In Minor Keys features 111 invited participants selected with particular attention to resonances, affinity, and possible convergences between artistic practices.

Congratulations to all the participating artists! Tap the Link in bio to check out Sade’s interviews with them.
@lindagoodebryant @otobongnkanga @kalokinyamaistudio @rajniperera @kennedyyanko @themuseumofmodernart @galerie_barbara_thumm @jamescohangallery @salon94

#venicebiennale #koyokouoh #contemporaryart #venice #inminorkeys

Over the years, founder of Light Work, Folasade ‘Sade’ Ologundudu has interviewed and written about more than 100 artists. This year, five artists she’s interviewed have been selected to participate in the 61st Venice Biennale’s In Minor Keys.

Conceived by Koyo Kouoh, the first African woman appointed to lead the Venice Biennale, In Minor Keys features 111 invited participants selected with particular attention to resonances, affinity, and possible convergences between artistic practices.

Congratulations to all the participating artists! Tap the Link in bio to check out Sade’s interviews with them.
@lindagoodebryant @otobongnkanga @kalokinyamaistudio @rajniperera @kennedyyanko @themuseumofmodernart @galerie_barbara_thumm @jamescohangallery @salon94

#venicebiennale #koyokouoh #contemporaryart #venice #inminorkeys

My trip to Cape Town left me deeply inspired and not for the reasons you might think.

I met so many powerhouse women and I’ve been thinking about female entrepreneurship and women-led businesses ever since.

The arts is a field dominated by men but everywhere I go more and more women are opening businesses, and building alongside each other with collective care.

Artists in video: @zizipo_poswa @manyaku_mash

Shoes: @studioamelia_

#womeninbusiness #femaleentrepeneur #capetownsouthafrica #southafrica #studioamelia

Everything is Connected: Season 6 loading..

More art.
More culture.
More conversations with artists, curators, and collectors at the forefront of shaping culture.

Join the journey.
Experience the conversations.

Move with me as I travel through the worlds of art and culture in conversation with some of today's most interesting and dynamic creatives and world builders.

#lightwork #everythingisconnected #everythingisconnectedpodcast #lightworkpodcast #artandculture

“There is a rhythm to my paintings, both in the process and the finished piece. It’s the push and pull between color and application, between the direct gaze of the figures and their preoccupied manner.” —Gideon Appah

In conversation with Folasade Ologundudu, Appah discusses painting a collective memory of Ghana and his source material from images and films.

“Gideon Appah: Beneath Night and Day” is on view at Pace in New York City until February 28.

Follow our link in bio to read Appah and Ologundudu’s full conversation.

Image: Gideon Appah, “Bathers and Boats,” 2025, oil on canvas, 78.75 × 71 inches. Courtesy of Pace Gallery. © Gideon Appah.