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.
Black Liquid Art Gallery in Rome is presenting Nirveda Alleck’s Spread Over the Ocean Bed from 10 October to 5 December 2026. Curated by Antonella Pisilli, the exhibition pairs the Mauritian artist’s video Insular Variations II – Arise with seven paintings made between 2017 and 2024. C& and the gallery frame the presentation around submerged histories and identity; the gallery describes it as Alleck’s first Italian solo show.
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.
Contemporary And (C&)·
Palazzo Navagero on the Riva degli Schiavoni, photographed in 2012. Caroline Gueye’s WURUS installation is not pictured.Abxbay · CC BY-SA 3.0 · Cropped
In an ART AFRICA interview, Senegalese artist Caroline Gueye discusses WURUS, her Venice Biennale pavilion curated by Massamba Mbaye. The installation transforms Palazzo Navagero through architecture, sculpture and changing viewpoints, using the idea of gold to examine how perception shapes the value people assign to things.
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.
Léon Radegonde discusses a practice built around hessian, wood, rust and deliberately aged materials in an interview about Restan Lepase at 1-54 London. Presented by DēpART, the project connects his work with writing, research and sound, offering a view of Seychelles beyond tourism imagery and reflecting on the country’s developing contemporary-art institutions.
Nancy Dantas discusses West Wind, an exhibition bringing African modernists into conversation across national borders. Works by artists including Kofi Antubam, Gerard Sekoto, Bertina Lopes and Baya frame an exploration of independence, migration and cultural exchange. Her interview emphasises archival research and the relationships that complicate a single, linear account of African art history.
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.
MAP reporting published by Madar21 described Mohamed El Jamaati’s solo exhibition À travers la fenêtre at Kent Gallery in Tangier. Watercolours and acrylic paintings draw on Tétouan’s buildings, balconies and windows, bringing new works together with paintings from the 1980s and 1990s. El Jamaati discussed making charcoal lines, canvas structure and colour transitions visible as part of his continuing experimentation. The exhibition was scheduled to run until 9 November.
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.
An illustrated environmental education book by Gaëlle Mabanza brings artist Lepa Mabila Saye’s work into a project about relations between people and wildlife. Culture Congo reports that a mock-up of Dispute interminable was presented to the Congolese conservation institute on October 2. Publication is planned for March 2027, with the project intended for educational use.
Congolese artist Cédrick Sungo is preparing a five-sculpture installation for the inaugural Festival International de Sculpture de Cotonou, scheduled for October 26–30. Working with assembled wire and cut metal, he explores relations between people and their environment. Culture Congo places his contribution within the festival’s “Retour aux sources” theme and a four-artist delegation from the DRC.
Culture Congo profiles Kinshasa photographer Nathanael Milambo, whose work follows people, sport and cultural life across the city. He describes photography as a way to preserve memories and make overlooked stories visible. The profile also records his recognition for aesthetic expression and photography at the Mwinda Awards, held in Kinshasa on October 3.
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 interview with ACP, Aïcha Muteba announced Rencontre, an exhibition of around twenty previously unseen works scheduled to open in Kinshasa on 20 October. The painter presented the event as a return to audiences and collectors at home, inviting them to explore the messages within a vivid, semi-abstract practice concerned with Congolese society. Muteba’s wider work also encompasses street performance and installation.
ACP reported that Congolese painter Samuel Mbombo Ilunga presented Art Brings People Together at an autumn festival in Fort Worth, Texas. Cultural organiser Rosalie Ilunga described how participants’ signatures around the composition made the painting a collective undertaking. Its central rooted cross connects themes of faith, cultural inheritance and belonging. The report situated Mbombo’s work within efforts to use art as a meeting place across cultures and generations.
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.
Elgin Rust turns photographs of architecture in Ghana, Cairo, Dubai and Cape Town into speculative floating structures in Sky Cities: Futures in Flux. At the AVA Gallery, digital manipulation meets cyanotype printing, bringing environmental uncertainty and material change into view. The exhibition pairs her visual work with an independent sound piece, Umoya.
