Biennale de Dakar has named artist Amadou Kane Sy as curator of Senegal’s pavilion, titled Re-enchanting the World. According to the organiser, the presentation will bring together varied forms of contemporary Senegalese artistic practice, connecting artists’ local contexts with international cultural exchange. The announcement outlines the pavilion’s curatorial purpose but does not identify participating artists or specify exhibition dates.
Biennale de Dakar has included Laila Gohar in its design selection, identifying her with Egypt and the United States. Its artist profile describes a New York-based practice combining food, design and performance, with edible materials shaped into sculptural compositions. The organiser connects her work to sensory experience, memory and cultural exchange, without specifying the work she will present in Dakar.
Biennale de Dakar has announced Trajectories and Heritage, an exhibition of Senegal’s state art collection curated by Kalidou Kassé. The organiser says the presentation examines the country’s visual-art history through major institutional acquisitions. It is being developed by the Directorate of Cultural Heritage, the biennale’s general secretariat and the National Art Gallery. The announcement does not provide an exhibition timetable.
Biennale de Dakar has announced the Democratic Republic of the Congo as guest country of honour for its 16th edition, with artist Steve Bandoma curating its presentation. The organiser places the Congolese pavilion alongside its international exhibition and design section. Its national-pavilion programme gives participating countries space to present their contemporary art scenes through their own curatorial choices.
APS’s cultural calendar places Dak’Art’s sixteenth edition from 19 November to 19 December, with the former Palais de Justice hosting its international exhibition and national pavilions. The agency also lists a Saint-Louis cinema and photography salon for 26–28 November and the inauguration of Musée Griot-tes in Tambacounda on 3–5 December, including a group exhibition and discussions. Together, the planned events extend the visual-art programme beyond Dakar.
An exhibition at Dakar’s Museum of Black Civilisations revealed visual-art practices among Senegalese police officers during the first Police culturelle event. APS describes photographs by Ousseynou Faye, paintings and collage, an electronic-waste installation by Dieylani, and Betty Tendeng’s reused-straw picture frames. The presentation formed part of a broader programme also including music and sport.
African Arts with Taj reported ArtLab Gallery’s plans for Fragments, a presentation of small-format works by six Nigerian artists in Ikeja, Lagos. Scheduled for 17 October–3 November, the exhibition brings together practices concerned with memory, identity and everyday life. ArtLab’s Timi Balogun described miniature works as an invitation to slow, close viewing, setting the exhibition’s intimate scale against the prominence of large-format art.
Amoako Boafo’s The Home I Have Never Had opened at Mariane Ibrahim in Paris on 19 October 2026 and is scheduled to run through 19 December. The gallery describes an interior-like installation combining recent portraits, including paintings with embroidery, with works dating to 2016. C& lists the exhibition as an exploration of home and belonging through people close to the Ghanaian artist.
Selassie Atadika brings cocoa farming into the gallery through portraits, field recordings, agricultural materials and a brass pod cast by Emmanuel Fosu. In an interview about Commodity / Couture at 1-54 London, she explains how the installation connects craft and agricultural knowledge while questioning whose labour receives recognition and economic value.
APS highlighted photographer Ina Thiam’s exhibition En mouvement, en lumière at the Institut français de Dakar ahead of the Youth Olympic Games. Its short accompanying report describes a focus on Senegalese women athletes, photographed in several cities. The presentation places women’s participation in sport at the centre of a public photographic display.
Tajudeen Sowole reviewed Christianah Anuoluwapo Apanisile’s textile-based mixed-media work in African Arts with Taj. Focusing on Stories Beneath the Old Tree and Lessons by the Fire, he explored how drawing and fabric convey exchanges of knowledge between generations. The review praised her handling of figures and restrained colour while questioning the scale of elements in one composition.
Writing for BUALA, Sumaila Jaló reads Sana Na N’Hada’s film Nome as a reflection on Guinea-Bissau’s liberation struggle and the disappointments that followed independence. His review traces how characters’ shared names express solidarity before power divides them. It praises the film’s engagement with collective memory while distinguishing political ideals from their later betrayal.
In an Art Report Africa interview, Frank Coffie explained how stitching damaged paintings developed into a practice combining yarn, found fabric and paint. Discussing his first solo exhibition in Ghana at WorldFaze, Accra, he connected reused tailoring offcuts, patterned figures and tapestries with family memory and everyday experience. His account described materials as active carriers of personal stories rather than decorative additions to painting.
Biennale de Dakar has published a retrospective of the launch of its 16th edition at the Museum of Black Civilisations. According to the organiser, the ceremony on 24 September brought together artists, cultural professionals, institutions, partners and media. The post connects that gathering to the 2026 edition’s exploration of fragility, repair and responses to disruption. It documents a past launch rather than announcing an upcoming opening.
Biennale de Dakar has published an individual accreditation form for people seeking access to openings, previews and other restricted activities during its 2026 edition. The organiser says applications will be reviewed and submission does not guarantee accreditation. Some events and limited-capacity areas may require separate permission. People already registered through the official programme or internal teams are directed not to use the public form.
A profile of Ghanaian artist and educator kąrî’kạchä seid’ou traces the experimental teaching that helped reshape contemporary art in Kumasi. Following his selection for the 2026 Prince Claus Impact Award, the article examines KNUST’s Emancipatory Art Teaching Project, blaxTARLINES and a collaborative philosophy that places shared knowledge and institutional change above individual visibility.
APS reports plans for Police culturelle at Dakar’s Museum of Black Civilisations on October 10. Organised by the cultural press association and national police, the event includes an exhibition and live painting alongside music and poetry. Organisers say the programme will give artist-officers public visibility and encourage dialogue with communities.
APS reports on a touring exhibition of fifteen African and diaspora artists at Dakar’s Théodore Monod museum, continuing until September 20. Paintings, tapestries, photographs and installations address gender, ecology, sovereignty and memory. Curator Michèle Desmottes stresses the artists’ individual positions rather than a single representative image of the continent.
Ahead of Paris Design Week, Africans Column previews a presentation of seven Nigerian designers in All Roads Lead to Lagos, featuring furniture, lighting and collectible objects. It connects their material experiments with manufacturing opportunities, including a lighting collaboration with Ombré. The programme’s planned return to Lagos places emphasis on building production networks rather than treating international exposure as an end in itself.
Sabo Kpade reviewed three Accra exhibitions for Art Report Africa in August 2026. At Nubuke Foundation, domestic objects became records of labour and belonging; at Gallery 1957, Gabriel Selassie Tsagli explored movement and memory through colour. Frank Coffie’s Worldfaze presentation showed yarn functioning both as a tactile pictorial material and as a way of organising different emotional states.