Editorial Archives - waau art

1-54 Marrakech 2026: Consolidation, Expansion, and the Politics of Presence

Maria Costa — Wed, 25 Feb 2026 06:50:59 +0000

Author: Leila Chik

Between market recalibration and regional realignment, 1-54 Marrakech 2026 unfolded as a moment of consolidation rather than spectacle. Positioned alongside the launch of Art Basel Qatar and bought by a maturing collector base, the Moroccan edition of the fair confirmed its strategic role within the global art ecosystem. Beyond the corridors of La Mamounia, an expanded OFF programme and a growing South-South circulation signalled a structural shift: no longer a platform of visibility alone, 1-54 is becoming a site where contemporary African art negotiates its integration, its canon, and its future.

At La Mamounia, the choreography begins long before the doors officially open. Chauffeurs idle outside as collectors adjust sunglasses against the winter sun. Advisors exchange brief nods in the marble lobby. Inside, the atmosphere is measured rather than electric. The corridors at 1-54 Marrakech resist spectacle. They invite conversation, reflection, and negotiation. Here, the art fair functions less as a stage for competitive visibility than as a laboratory of positioning.

The global art market in 2026 continues its recalibration. Post-pandemic exuberance has given way to strategic selectivity. Auction houses report stabilization rather than acceleration. Collectors acquire fewer works, but with sharper criteria and longer-term thinking. In this climate of precision over volume, 1-54 Marrakech positions itself not as a rival in an overcrowded calendar but as an instrument of focused exchange.

Held from 5 to 8 February 2026, the seventh edition gathered twenty-two galleries and nearly seventy artists. Its boutique format reflects an ideological choice: intimacy over expansion, depth over breadth. Yet this year’s alignment with the launch of Art Basel Qatar introduced geopolitical resonance. Rather than eclipsing Marrakech, the overlap revealed a regional rebalancing. The Middle East and North Africa are no longer peripheral, they are structural nodes within global art circuits. If Doha represents capital consolidation and institutional ambition, Marrakech signals relational density and continental dialogue. The distinction is strategic rather than competitive.

Market Figures and measured optimism

Beyond atmosphere and positioning, the numbers at 1-54 Marrakech 2026 offer a revealing snapshot of market maturity. While the fair maintains a compact format with twenty-two galleries, the price spectrum reflects increasing stratification. Emerging artists such as Adjei Tawiah and Méné were presented in the €6,000 to €18,000 range, depending on scale and medium. Works on paper and smaller canvases tended to move quickly during the preview, particularly among younger Moroccan and West African collectors building first serious acquisitions. Mid-career painters like Chigozie Obi saw works priced between €25,000 and €45,000, with larger compositions approaching €60,000. According to a Moroccan gallerist participating in the fair, “Collectors are no longer afraid of the €40,000 mark if the narrative and institutional trajectory are clear. Five years ago, that psychological threshold was much lower.” Textile-based practices occupied a slightly higher conceptual bracket. Joana Choumali’s embroidered photographic works were positioned between €35,000 and €75,000, reflecting her international visibility and museum presence. “Those works don’t sit long,” the same gallerist noted. “They’re seen as historically grounded and internationally validated.” In the upper segment, modern and historically anchored works commanded six-figure expectations. Pieces by figures such as Karim Bennani or carefully sourced works by Roland Dorcély entered the €80,000 to €150,000 bracket, depending on provenance and rarity. This inclusion of modern masters alongside contemporary names signals a notable shift: collectors are constructing narratives across generations rather than isolating contemporary production. According to the gallerist, the fair’s “real strength sits between €20,000 and €70,000, that’s where serious consolidation happens.” She added, “We had fewer impulse buyers this year, but stronger commitments. Clients returned twice, sometimes three times. That tells you something about confidence.” Overall, while 1-54 Marrakech does not compete with blue-chip mega-fairs in raw volume, it demonstrates a healthier depth across segments, from emerging to modern. More importantly, intra-continental acquisition is rising. “The most interesting change,” the gallerist concluded, “is seeing African collectors buying African artists here, not waiting for London or Paris to validate them first.”

The Market Lens: From What to Collect to What to Sustain

The 2025 “What to Collect” focus published by Diptyk already suggested a market in transition. Rather than privileging singular blue-chip names, the editorial selection highlighted a plurality of trajectories: emerging figuration, materially driven abstraction, sculptural experimentation, and the reactivation of modernist legacies.

This shift was visible again in 2026. Nigerian painter Chigozie Obi, whose series Shades of Black celebrates Black corporeality through chromatic intensity, exemplifies the renewed appetite for figurative painting that refuses caricature. The works do not rely on exotic appeal, they articulate self-defined representation. That confidence translates into collector trust.

Similarly, Moroccan artist Bouchra El Menjra’s bas-reliefs — constructed from reclaimed materials and extending dialogues initiated by the Casablanca School — demonstrate how abstraction rooted in local history can resonate internationally. Her practice exemplifies a broader tendency: collectors are increasingly attentive to works that anchor contemporary experimentation within genealogies rather than trends.

Ivorian artist Méné’s quasi-mystical compositions, oscillating between organic abstraction and cosmological suggestion, reflect another market evolution. Rather than chasing stylistic uniformity, buyers now seek conceptual depth. Ghanaian artist Adjei Tawiah’s use of nylon sponge (referencing cleansing, domestic labor and resilience) similarly merges material metaphor with social commentary.

The Diptyk selection also foregrounded historical modern figures such as Roland Dorcély, signaling a crucial market expansion: the reintegration of modern African art into contemporary collecting circuits. That dialogue between modern and contemporary continued in 2026. The presence of works by figures such as Karim Bennani reinforces this continuum. Collectors are no longer dividing their attention strictly between emerging contemporary names and Western modernism; they are constructing narratives that situate African modernism as intrinsic rather than peripheral.

This maturation of collecting culture suggests something essential: Marrakech is no longer merely a discovery fair. It is becoming a site of canon negotiation.

The Social Choreography of the Fair

What distinguishes 1-54 Marrakech from its counterparts is not only what hangs on the walls but what circulates between them. The fair unfolds through a subtle social choreography. Advisors move discreetly between suites. Young Moroccan artists linger at thresholds, absorbing signals about pricing, presentation, and positioning. Conversations oscillate between English, French and Arabic, reflecting the city’s layered linguistic identity.

In the early hours of the preview, transactions are swift but discreet. By mid-afternoon, the pace slows. Collectors return for second viewings. Negotiations unfold quietly in adjacent rooms. Unlike larger fairs where momentum is relentless, Marrakech allows hesitation. Hesitation here becomes productive. It allows consideration.

A notable shift lies in the profile of buyers. Beyond established European collectors, there is visible participation from North and West African patrons whose acquisitions signal intra-continental circulation. This South-South exchange remains under-reported in global market analyses, yet it may represent one of the most significant long-term developments. African collectors purchasing African artists on African soil reframes the geography of validation.

A Structured Ecosystem

Over the past decade, Marrakech has transitioned from episodic meeting point to coordinated cultural circuit. During a studio visit in Tahanaout, artist Mourabiti reflected on this evolution: “Before, it was only Al-MAQAM*, and it was part of the cultural circuit. Now they organise studio visits with Mou, Fatiha, me and artists in residency. It’s a way to open space for everyone, beyond VIP, beyond galleries. It shows foreigners that Morocco isn’t only folklore.”

His observation highlights a shift not only in scale but in structural ambition. The fair no longer exists solely as marketplace; it operates as hinge between production, circulation, and discourse. Collectors now plan their February itineraries around 1-54. European, American, Gulf and West African patrons converge. Advisors accompany clients. Moroccan students and emerging artists circulate with professional intent rather than simple curiosity.

Sales during the VIP preview reflected diversified appetite. Painting remains strong, yet textile-based practices, ceramic works and sculptural installations demonstrated steady movement. Photography retained conceptual gravitas. Buyers appear increasingly attuned to narrative depth rather than surface appeal.

Memory, Material and the Politics of Craft

Material tendencies at the fair reflect broader theoretical preoccupations with memory and embodied knowledge. Textile practices do not merely reference craft traditions; they interrogate them. Embroidery becomes archive. Woven fibres suggest continuity across generations disrupted by colonial histories and urban migration.

The prominence of such practices in Marrakech is not accidental. Morocco’s artisanal heritage operates as implicit backdrop. Yet artists resist folkloric reduction. They re-code traditional techniques through contemporary frameworks. This dynamic resonates directly with Mourabiti’s insistence on moving beyond surface exoticism. The works do not perform tradition, they question its afterlives.

Sculptural works engage similar material politics. Clay vessels evoke ritual and domesticity, yet their placement within the fair context reframes them as contemporary propositions rather than ethnographic artifacts. The shift from anthropological gaze to conceptual engagement is subtle but decisive.

Booth Presence and Curatorial Strategies

Several booths crystallised the edition’s tonal direction. Loft Art Gallery presented Joana Choumali’s embroidered photographic works, whose layered threads function simultaneously as aesthetic gesture and mnemonic intervention. Galerie 38 showcased ceramics and sculptural forms that slowed circulation and required viewers to dwell. Smaller galleries opted for focused solo presentations privileging narrative cohesion over visual overload. Figurative painting maintained presence, yet its language has shifted toward introspection and psychological tension. Textile practices proliferated, with embroidery functioning as inscription rather than ornament.

Photography’s conceptual expansion was evident across multiple stands. Whether engaging staged identity or archival layering, works demonstrated that photography now occupies a theoretical space equal to other mediums within contemporary African practice.

Touria El Glaoui and Strategic Integration

Since its foundation in 2013, 1-54 has repositioned its mission. Founder Touria El Glaoui articulates this evolution: “Today, it is no longer just about visibility, but about a true integration of the African continent into the global discourse on contemporary art.”

Integration implies permanence, continuity, and reciprocity. El Glaoui also situates Marrakech as a distinct platform: “Marrakech has always occupied a distinct place. It is a meeting space on the continent where artists, gallerists, collectors, and institutions can exchange directly, free from constraints often associated with Western markets.”

Her emphasis shifts the narrative from exhibition to encounter. “Our objective is to create conditions for a durable presence and not simply momentary visibility.” Durability signals structural ambition rather than episodic spectacle.

The OFF: City as Counter-Structure

If La Mamounia concentrates attention, the OFF disperses it across the city. Thursday’s Gallery Night activated Guéliz. Storefront galleries hosted openings while rooftop terraces became stages for extended conversation. Street corners filled with informal dialogue. The city’s rhythm became integral to the fair’s tempo. Studio visits in Tahanaout provided an even deeper counterpoint. Gravel underfoot. Open doors. Works in progress leaning against walls. Collectors shed VIP badges and entered working environments.

Mourabiti elaborated: “We have artists who work in different ways, with their own research.”

The OFF did not function as decorative supplement but as parallel ecosystem. Pop-up exhibitions unfolded in riads. Hotel patios hosted installations. Foundations presented special projects. Late evenings blurred into informal salons where artists articulated structural concerns and curators debated acquisition ethics. The OFF produced density that the hotel suites alone could not sustain.

Infrastructure and Structural Fragility

Growth reveals gaps. Morocco has limited fine arts institutions, primarily in Casablanca and Tetouan. Independent criticism remains sparse. Educational infrastructure lags behind market momentum. Mourabiti addressed these tensions candidly: “We need figures who can invest intelligently, who can support artists. We need art critics, which we barely have. In the South, there’s nothing. Artists learn on their own. That is both beautiful and difficult.”

His remarks foreground the interplay between market maturation and intellectual scaffolding. Without criticism, pedagogy and institutional depth, integration risks remaining superficial.

The central tension of 1-54 Marrakech 2026 lies between continental specificity and global integration. El Glaoui’s formulation on moving from visibility to integration encapsulates this shift. African contemporary art is no longer framed as emerging novelty but as constitutive component of global discourse. Yet integration carries risk: dilution, assimilation, homogenization. Marrakech’s strength lies in preserving friction. Its scale, rootedness and layered urban fabric resist total assimilation. That friction sustains dialogue.

Presence as Policy

By the final afternoon, the corridors of La Mamounia grow quieter. Works have been marked with red dots. Conversations taper. Crates await repacking. Yet what lingers is not transactional residue but structural momentum. 1-54 Marrakech 2026 did not pursue spectacle. It pursued equilibrium. It balanced global ambition with local anchoring, market pragmatism with curatorial inquiry, exclusivity with permeability. In a volatile art world, equilibrium is not passivity. It is strategy.

The fair’s maturation mirrors that of the market it helped shape. From improvisational beginnings to structured integration, from episodic visibility to durable presence, the trajectory is clear. And as the city returns to its ordinary rhythm, one realizes that the true measure of 1-54 lies not only in what was sold but in what was sustained: conversations, networks, commitments, and the slow architecture of cultural integration.

*Al-Maqam is an artist residency created in 2004 by artist Mohamed Mourabiti, in Tahannaout, 30km from Marrakech.

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WAAU’s talk at ARCOlisboa 2025: Afro-Atlantic Histories and Memories

Maria Costa — Tue, 12 Aug 2025 08:00:00 +0000

The full recording of the WAAU Talk, Afro-Atlantic Histories and Memories: Ancestry, Futurity and Community against Erasure, held on 30 May 2025 at ARCOlisboa, is now available on our website.

This timely and resonant conversation, moderated by Ana Balona de Oliveira, brought together Paula Nascimento, Igor Simões, Januário Jano, Melissa Rodrigues, Cássio Markowski, Moisés Patrício, and Alicia Knock—artists, curators, and thinkers whose practices are rooted in and respond to diverse Afro-Atlantic contexts.

Presented in collaboration with The Shapes of the Ocean section at ARCOlisboa, the discussion examined the role of memory, imagination, and cultural production in countering historical silencing and constructing more just futures. Reflecting on ancestry, belonging, and the persistent legacies of coloniality, the speakers explored how contemporary art intervenes in dominant narratives and opens space for collective agency.

The post WAAU’s talk at ARCOlisboa 2025: Afro-Atlantic Histories and Memories appeared first on waau art.

WAAU Takes on the 19th Venice Architecture Biennale

Maria Costa — Wed, 09 Jul 2025 08:00:00 +0000

Even if the 19^th edition of the Venice Architecture Biennale is not resolutely African, like the one Lesley Lokko imagined for 2023, it is nevertheless characterized by a significant presence of voices previously seen as marginal. Within this very dense and pragmatic exhibition, which has a global resonance, the ideas that come from the continent and the diasporas not only have their place, but they also have the strength to be heard. Even though they do not always benefit from the support and recognition of African institutions and from the people of the continent. Let’s have a look at what is actually going on in Venice!

Author: Luisa Nannipieri

Two years ago, for the first time in its history, Africa was the protagonist of the Venice Architecture Biennale. Lesley Lokko, the event’s first curator coming from the continent, carried out a remarkable groundwork which has left a lasting mark that is still making waves. The paradigm shift is noticeable even in this new 19^th edition of the Biennale (ongoing till November 23), curated by the Italian architect and urban planner Carlo Ratti. Ratti, who lives and works in the United States, has always kept an eye on the scene developing in Asia and in the rest of the world, the Global South included. His exhibition is dubbed “Intelligens. Natural. Artificial. Collective” and it translates as a statement about how we urgently need to address the social and environmental challenges that are currently shaking the world. It invites us to make a leap in sustainable architecture and promotes cooperation and transnational work. In the hope that collective intelligence will show us ways to adapt to the future that awaits us.

To this end, Ratti reminds us that it is essential to listen and be inspired by the diverse voices that come from outside the well-established narrative of the Western architectural world: “For the first time in the history of the Biennale, we have launched a call for applications for the exhibition taking place at the Arsenale (the former shipyard in Venice and the symbolic location of the event). An open call that was a very difficult act, but also magnificent. Difficult because we were inundated with applications. But at the same time beautiful, because we found voices that we would not have been able to find otherwise. Those voices came from the other side of the world, or were yet to be heard, like those of the students who had just left university”. This gave birth to a very dense exhibition, imagined as a large fractal organism where the works of more than 750 participants resonate with each other. This incredible number of participants is definitely a first, in Venice. And, of course, several of them live in, work with, or have ties with the African continent. For those who have had the occasion to see Lokko’s Biennale, several practitioners named in this article will certainly stand out, as they previously made an appearance in the Guests from the Future’s sections, she personally curated.

The work of the Nigerian architect Tosin Oshinowo, An Alternative Urbanism: Self-organising Markets of Lagos, has been especially appreciated by the international jury, which awarded the project a special mention award for its insight into the everyday innovation that drives many African cities. Through three documentary films, the project reveals the systems, practices, and ingenuity embedded in the Ladipo, Computer Village, and Katangua markets. Where you can find second-hand car parts, electronics, and recycled fashion. These spaces actually function as informal factories, processing end-of-life products from the Global North and embodying the principles of circularity. Oshinowo, who is based in Lagos, has been fascinated by this collective process and has chosen to show it using an optimistic narrative, rejecting the common voyeuristic representations of African spaces. The research project tries to understand how the urbanization of the continent has created an urban condition that is alternative to conventional expectations of progress and development.

Several other African and diasporic projects, both theoretical and pragmatic, can be spotted across the huge L-shaped venue of the Arsenale. They are scattered in the three main thematic worlds, or sections, composing the exhibit: Natural Intelligence, Artificial Intelligence and Collective Intelligence. But we can also find some of them in the extra section called Out, where the visitors are asked if we can really look at the space to find a solution to the crises we face on Earth. The non-exhaustive list features a modular kitchen project by Design for Communities, which delivers 300 meals a day to children in the Mathare slum in Nairobi. An educational and co-designed project in Uganda focusing on urban planning and sustainable practices (The Kitintale Collective). Or a study on bungalow compounds in Johannesburg, which in the post-colonial era were transformed into informal and flexible living spaces.

It is also worth mentioning the philosophical work of South Africa’s practitioners Mphethi Morojele and Kgaugelo Lekalakala, proposing an architecture inspired by the culture and needs of animist societies. The suggestions around building an adaptive health architecture in rural Kenya, based on artificial intelligence, made by Geoffrey Mosoti Nyakiongora with Bridging the Health Divide. A philanthropic project coordinated by a Catalan university in Tanzania, which includes a multipurpose building made from 3D-printed earth. Or the Probiotic tower by the Egyptian firm Design&More, envisioning the transformations of Cairo’s abandoned water towers into independent vertical ecosystems.

In the Out section we can find a piece by Olalekan Jeyifous entitled Even in Arcadia… which draws inspiration from the Arcadian myth to juxtapose picturesque portrayals of idyllic pastoral life with glimpses of a retrofuturist urban protopia set within the Hudson Valley, New York. And catch a glimpse of the journey of Senegalese astronomer Maram Kaire. A man who, at the head of a NASA mission, blends modern science and Senegalese astronomical tradition to shape the conversation about a sustainable future in his own country.

Besides the exhibition designed by Carlo Ratti, the Arsenale also hosts some of the national pavilions, such as the Italian, Chinese or Saudi. Morocco has also occupied a large room of the venue with an installation called Materiae Palimpsest, which offers an immersive experience in the world of earthen construction in the Kingdom. Visually striking, complete with holograms of artisans, a labyrinth of stone and earth columns, and even a ceiling covered with work tools such as shoves and wooden handcarts, the exhibition is curated by two architects still mostly unknown in the country (Khalil Morad El Ghilali and El Mehdi Belyasmine), and it has generously been funded by the State. The proclaimed goal was to highlight the country’s expertise on vernacular architecture, but on site we could hear several Moroccan practitioners harshly criticize the results: “There is very little substance, it’s nothing more than folklore and a flashy show”, “It’s a lost opportunity”, told us the most skeptical.

Indeed, one might wonder why not showcase the work of local architects who are experts in the field of neo-traditional and sustainable architecture, such as Aziza Chaouni or Salima Naji. Chaouni, who is an associate professor at the University of Toronto and specializes in the implementation of sustainable technologies and adaptive reuse in developing contexts, recently received international recognition for her innovative, low-cost prototype of a rammed-heart house in Morocco’s Haouz region, which was devastated by an earthquake in 2023. Salima Naji, an architect and anthropologist, has been working for more than 20 years around the preservation of Saharan collective architectures, and she is known for her contemporary projects with a social character. She is one of the laureates of the 18^th edition of the Global Award for Sustainable Architecture, supported by Saint-Gobain and UNESCO, which was announced in Venice at the same time as the Biennale opening.

Both of them are actually present in Venice, participating in talks and showcasing some of their works at the invitation of the Qatari pavilion.

The Gulf State is set to soon build its own venue in the Giardini, the garden where the prominent nations such as the UK, France, Brazil, or Japan historically have their statement pavilions. But, for its first participation in the Biennale, it is showcasing works centred on the common features of the architecture of the MENASA region in the magnificent setting of the former Franchetti Palace. The exhibition, titled Beyti Beytak. My home is your home. La mia casa è la tua casa, explores hospitality and shared spaces, honouring architects such as Egyptian Hassan Fathy, one of the first to advocate a return to sustainable vernacular architecture, and his compatriot Abdel-Wahed El-Wakil, one of the masters of contemporary Islamic architecture. It also features the work of the young Algerian architect and activist Meriem Chabani, with the project for a cultural centre in Myanmar she designed with her studio New South, and the work of French architect and historian André Ravéreau on the oases of the Sahara.

Togo is another notable first-time participant at this Biennale and the only sub-Saharan African country represented this year. In this case, the government has not been actively involved in the project. If the Republic of Togo came to Venice, it is thanks to the impressive determination of the founding director of the Palais de Lomé, Sonia Lawson, who has been reflecting on the historical and cultural importance of architecture in her country since the renovation of the Palais, the largest visual arts centre of the country. “I am delighted to commission the first Togolese Pavilion at the International Architecture Exhibition of La Biennale di Venezia”, said Lawson. “It is a milestone to showcase Togo’s diverse architectural heritage to a large number of visitors from across the world. The Palais de Lomé is a landmark architectural venue in Togo. Once a place of colonial exclusion, the institution’s program engages in a dialogue about contemporary issues relating to culture, architecture, and the environment. I hope the pavilion furthers the conversations on the future and preservation of architectural heritage in West Africa”.

The project, entitled Considering Togo’s Architectural Heritage, has been curated by the architecture and research firm Studio NEiDA (Jeanne Autran-Edorh and Fabiola Büchele) with the participation of Sabrine Bako. It takes the form of a photographic exhibition, a real gem, exploring the country’s architectural narratives from the turn of the 20th century, focusing on the themes of conservation and transformation. The methodical documentation of Togo’s iconic architecture lead by Studio NEiDA, establishes a dialogue between conventional building practices and modernist construction techniques and it has allowed to restore the names of the local architects who worked on the projects and had been erased from the official history.

The show especially highlights Afro-Brazilian architecture, a style developed by freed slaves returning from Brazil, and the remarkable examples of modernist structures built after the independence. Some of the outlined buildings are still functional, such as the ECOWAS and the BOAD banks headquarters. It is quite interesting to note that the West African Development Bank (BOAD) has been actively preserving the building, the design of which is inspired by the traditional Batammariba architecture of northern Togo, specifically the tata somba (earth houses) of the Koutammakou region.

Other structures showcased in the exhibit have benefited from renovation. Particularly noteworthy are the refurbished Hotel 2 Février and the Palais des Congrès, which is in the process of restoration. But other prominent buildings, such as the Hotel de la Paix and the Bourse du Travail, are in a state of disrepair, completely dilapidated and threatened with destruction. Studio NEiDA has actually designed a renovation project balancing social impact and preservation for some of those sites, but their proposal met with the indifference of the Togolese institutions. “If bringing this project to Venice allows us to highlight our architectural heritage and history”, believes Jeanne Autran-Edorh, “perhaps they will also change their approach and their stand on the matter.”

The efforts of the Togolese team have been well received and recognized internationally, putting the country’s architecture under the spotlight. This success, despite the lack of interest of the institutions in participating in the Biennale, raises some questions about the means by which African countries can establish themselves on the international stage. The partnership involving private or non-governmental arts institutions – or platforms – and the talented voices of the continent and its diasporas, is definitely a valid option, as the Togo’s example shows. It’s undeniable that events like the Venice Biennale still have an appeal. Especially when we consider that even now many people on the Continent base their scale of values on the Western one. Seeing the ideas coming from the South recognized in the global North, such as the importance of using vernacular techniques to build better in a global warming context, gives them more strength in their countries of origin. It can be frustrating, but it is still a reality African practitioners need to deal with.

Leaving behind the Togo pavilion, nested in a quiet and charming building outside the touristic routes, just across a small bridge behind the Arsenale, we take the vaporetto towards the Giardini. The last stop of this Venetian tour still has a lot to offer. Starting with the magnificent temporary pavilion, made of recycled wood and glass, that Rolex commissioned from the Nigerian architect Mariam Issoufou (already Kamara). The pavilion features a wooden facade, crafted locally from recycled wood beams, and fashioned to evoke the fluted bezel of many of Rolex’s iconic watches. Inside, the translucent coloured ceiling – made by Murano glassmakers – produces a range of shades and hues that morph throughout the day. The terrazzo flooring is made of an aggregate that includes recycled “Cottisso” crushed glass. The ecological vulnerability of Venice, as well as Rolex’s commitment to craft, was her inspiration for the project. Issoufou has an intersectional approach to sustainability, one that extends beyond environmental factors, and she made sure that the pavilion promotes the social fabric, cultural history, and economic conditions of crafters in Italy, and more specifically in Venice itself.

Let’s Grasp the Mirage is the name of the interactive exhibition showcased in the Egyptian pavilion (Egypt is the only African country disposing of a permanent venue in the Giardini). Curated by Salah Zikri, Ebrahim Zakaria, and Emad Fikry, and commissioned by the Ministry of Culture Egypt and Accademia d’Egitto, the project reflects on the delicate balance between conservation and development, centring on the oasis seen as a microcosm and a symbol of sustainability. The core of the installation is a 10 meters long platform suspended above a sand-covered floor, where visitors can place and shift yellow and blue-gray blocks, representing conservation and development. Each of them comes in a different size and weight: their disposition can create a visual and physical equilibrium, taking part at the same time in a game of balance that visualizes the complexity of sustainability and the impact of uneven decisions.

Speaking of national contributions, it is interesting to talk about how the French and British pavilions approached this year’s Biennale. Keeping in mind that Great Britain has been awarded a special mention for National Participation by the Biennale international jury for its ability to “reveal architecture as architecture that is defined by extraction that produces inequality and environmental degradation and it attempts to imagine a new relation between architecture and geology”.

The British pavilion exhibitions have been commissioned by the British Council since 1937 and this year intervention is the result of an open call, launched in November 2023, for innovative proposals for a collaborative exhibition. It is actually a key part of the British Council’s UK-Kenya Season 2025: a year of cultural exchange and a partnership which celebrates the connections between the two countries. Entitled GBR – Geology of Britannic Repair, the exhibition is curated by a collaborative team based between the UK and Kenya, including Kabage Karanja and Stella Mutegi of Nairobi-based architecture studio Cave_bureau, and it investigates how architecture can reverse the destructive impacts of colonial systems of geological extraction.

The exhibition’s geographical, geological and conceptual focus stems from the British Pavilion’s pivotal alignment along an axis that runs between Britain to the north-west, and the Great Rift Valley to the south-east. Emerging from the “rift”, which runs from southern Turkey through Palestine, the Red Sea to Ethiopia, Kenya and Mozambique, the exhibition comprises a series of installations by Cave_bureau, Mae-ling Lokko and Gustavo Crembil, Thandi Loewenson, and the Palestine Regeneration Team / PART.

The central gallery of the pavilion becomes, for instance, an Earth Compass: the space is crowned by an image of the night sky above Nairobi on 12 December 1963, the day of Kenya’s independence from British control, paired at the centre with a pulsating “oil drum” that unsettles the corresponding depiction of the sky above London on the same date. On the surrounding walls is a cartography of the carbon emissions brought about by geologic empires, with the keloid “scars” creating an inverted index of cumulative national carbon emissions from 1750–2023. Visitors can then experience The Baboon Parliament emerging both from a reproduction of the rift valley’s caves and the brick structure of the pavilion itself, before approaching Objects of Repair. An installation exploring fracture and repair in the architectures and geologies of Palestine.

A moving series of graphite drawings by Thandi Loewenson is hung on the walls of a crimson piece amongst bits of poetries. It is inspired by the technofossils orbiting around our planet, which testifies the history of imperialist expansion above the heart. He chooses to re-write the scenes of exploitation and extraction the extra-terrestrial ambition facilitated on the ground depicting Njiwa, the sixth rocket developed by the experimental aerospace company Développement Tous Azimuts based in Democratic Republic of Congo; Cyclops 1, the inaugural prototype of the 1964 Zambian Space Programme, launched by “space girl” and liberation combatant Matha Mwamba; and a mission data-gathering cube developed by the Mars Society of Kenya. In his works, recyclers, ‘artisanal miners’ and waste-workers recuperate discarded sites and resources, forging new collectives between people and the planet and become the architects of our possible future.

The British exhibition ends with Vena Cava, a timber frame reproducing the Palm House at Kew Gardens in West London, the beating heart of the British botanical empire and the world’s first large-scale greenhouse, the focus and destination for a vast system of extraction and circulation of plants, minerals, energy, labour, and knowledge. From the frame are hung patterned panels of fly ash, biomass, bioplastics, and fungi – emerging twenty-first century material streams that herald a shift away from thin mineral-based building envelopes dependent on mechanical environmental regulation, which the Palm House pioneered.

Just below the British pavilion, the French pavilion’s renovation site has been transformed into adaptive architecture and an exhibition space. Among the approximately 50 showcased projects exploring the theme of Vivre avec / Living with, selected by architects Jakob and MacFarlane in association with Martin Duplantier and Éric Daniel-Lacombe, several have a connection to Africa or were designed by its architects. Such as MycoHab, a pilot project in Namibia born from a collaboration between the MIT, Standard Bank Group and Cleveland-based Redhouse studio and a peculiar example of regenerative architecture. MycoHab is actually a house made entirely of bricks produced locally, using only agricultural waste products and the natural process of mycelium growth. Namibian bush is used as the substrate to grow gourmet mushrooms, and the waste of the cultivation can be used to make carbon-storing structural materials. We can also mention the Pedagogic complex of Timenkar, in Morocco, by the aforementioned Salima Naji. Or the reconstruction of the big Central Market of Kinshasa, imagined by the French studio Think Tank following the principles of tropical brutalism.

The African School of Architecture and Urban Planning Professions (Togo) and the Ain Shams University (Egypt) both presented their studies and propositions, respectively, on the issue of marine submersion in the Ivorian city of Grand-Bassam and the noise pollution in Cairo. While the French University of Egypt showcased Siwian House: a contemporary vision responding to the aspects of extreme heat and the threat of salinization.

Yet another demonstration, if needed, that African architecture has potential. Even if it is often easier to showcase it abroad or capitalize on it when working on projects involving transnational teams, than to get the recognition it deserves in one’s own country.
It is another paradigm, that of mentalities, that it’s definitely time to change.

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WAAU at ARCOlisboa 2025: WAAU Association Presentation

Maria Costa — Thu, 26 Jun 2025 08:12:00 +0000

WAAU – World African Artists United – had the pleasure of presenting the association’s mission and vision during ARCOlisboa 2025. This private session introduced our newly formalised structure, grounded in decolonial thinking and collective commitment to reshaping global cultural narratives.

Bringing together artists, curators, and cultural practitioners from African and Afro-diasporic contexts, we reflected on WAAU’s recent projects, its role in fostering visibility and access, and its efforts toward building transnational networks rooted in epistemic justice and artistic autonomy.

We are truly grateful to everyone who attended and engaged with us during this important moment. Here we share some highlights from the presentation and thank all who contributed to this collective reflection on art, power, and transformation.

📍Cordoaria Nacional, Avenida da Índia, 1300-342 Lisbon, Portugal.

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WAAU at ARCOlisboa 2025: Elson Angélico Interview

Maria Costa — Wed, 25 Jun 2025 08:00:00 +0000

At ARCOlisboa 2025, WAAU spoke with its president and founder, Elson Angélico, for an insightful exchange on art, cultural infrastructure, and narrative change. The conversation took place, fittingly, at the WAAU booth and exhibitional space, which continue to serve each year as vital meeting points within the fair.
Angélico shared reflections on his personal and professional journey, shaped by a sustained engagement with contemporary African and diasporic art. He recalled founding NOT A MUSEUM, an experimental art lab located in a central Lisbon district, which hosted some of the city’s most resonant Afrocentric artistic initiatives.
He also discussed MEXTO, the company he co-founded, which today plays a dual role as patron of WAAU and official sponsor of ARCOlisboa, a significant alignment between business, cultural advocacy, and structural support for the arts.
Looking forward, Angélico spoke about WAAU’s ambition to be present at the 2026 Venice Biennale, its ongoing work to reframe narratives—including in educational systems, and its role in bringing critical voices and dialogues to ARCOlisboa each year.

📍Cordoaria Nacional, Avenida da Índia, 1300-342 Lisbon, Portugal.

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WAAU at ARCOlisboa 2025: Christophe Person Interview

Maria Costa — Tue, 24 Jun 2025 08:00:00 +0000

WAAU – World African Artists United is pleased to share an interview with Christophe Person, director of the eponymous gallery dedicated to contemporary African art.
In this conversation, Person reflects on the development of his gallery, from its foundation in Paris to the recent opening of a new space in Brussels. He offers thoughtful insights into the current landscape of African contemporary art and its evolving reception across the globe.
The gallery’s participation in ARCOlisboa 2025, within the curated section ‘The Shapes of the Ocean’ further underscores this growing visibility and the ongoing dialogue between artists, curators, and institutions across continents.
We are very grateful to Christophe Person for taking the time to speak with us and share his perspective.

📍Cordoaria Nacional, Avenida da Índia, 1300-342 Lisbon, Portugal.

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WAAU at ARCOlisboa 2025: Paula Nascimento Interview

Maria Costa — Mon, 23 Jun 2025 08:00:00 +0000

At ARCOlisboa 2025, WAAU – World African Artists United had the honour of interviewing the award-winning architect and curator Paula Nascimento, member of the WAAU Association, and co-curator of the fair’s section “The Shapes of the Ocean”, together with curator Igor Simões.

In this conversation, Nascimento expands on the conceptual and methodological foundations of ‘The Shapes of the Ocean’, a section that convenes galleries representing artists from the African continent and its multiple diasporas. Anchored in the ocean as both metaphor and epistemological framework, the section interrogates histories of forced and voluntary displacement, colonial violence, and the enduring legacies of the transoceanic circulation of bodies, cultures, and knowledge systems. At the same time, it foregrounds the ocean as a space of recomposition, creative resilience, and relationality.

Nascimento underscores the significance of the intertextual and trans geographic dialogues made possible through this curatorial programme.

We are deeply grateful for her insight, presence, and participation in our talk on the same day.

📍Cordoaria Nacional, Avenida da Índia, 1300-342 Lisbon, Portugal.

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WAAU at ARCOlisboa 2025

Maria Costa — Fri, 20 Jun 2025 08:00:00 +0000

At ARCOlisboa 2025, WAAU – World African Artists United engaged in a dynamic program dedicated to centering African and Afro-diasporic voices within contemporary art discourse. Our presence at the fair reflected a clear commitment to decolonial practices, transnational collaboration, and the reconfiguration of global cultural narratives.

Through talks, exchanges, and active participation, we created space for critical reflection on memory, representation, and structural transformation. WAAU brought together artists, curators, and thinkers whose work challenges dominant frameworks and proposes new forms of artistic and cultural solidarity.

Our mission at the fair was to affirm the urgency of building sustainable networks that support access, equity, and epistemic justice in the art world. We are grateful to all who engaged with our programming, joined the conversation, and shared in our collective vision.

WAAU remains committed to fostering visibility, dialogue, and meaningful connection across Afro-Atlantic geographies and beyond.

📍Cordoaria Nacional, Avenida da Índia, 1300-342 Lisbon, Portugal.

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WAAU at the Opening of ARCOlisboa 2025

Maria Costa — Thu, 19 Jun 2025 08:36:00 +0000

WAAU – World African Artists United – was honored to participate in the opening of ARCOlisboa 2025, reinforcing our commitment to amplifying contemporary African and Afro-diasporic voices within the global art scene.

The inauguration provided a vibrant space for exchange, where we connected with fellow artists, curators, cultural leaders, diplomats, and politicians. We also took the opportunity to share information about our platform and association, highlighting our mission and ongoing initiatives.

Thank you to all who visited our stand and joined us in celebrating art, memory, and transnational cultural dialogue.

📍Cordoaria Nacional, Avenida da Índia, 1300-342 Lisbon, Portugal.

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Adjei Tawiah

codehaha — Wed, 19 Mar 2025 08:00:00 +0000

Ghanaian artist Adjei Tawiah highlights themes of community, family, and influential public figures in his art. He employs a unique technique known as “Sponge Martial,” which uses nylon sponges to represent cleansing and regeneration. His colorful and dynamic works capture the sense of light and energy that follows challenging times.

Could you tell us more about your background and professional path?

My professional journey has been a dynamic and inspiring experience, with each day bringing new opportunities for growth and exploration. By embracing a fluid creative process, I’ve allowed myself to evolve and adapt, continually expanding my skills and knowledge through experimentation and innovation.

In your work you use unconventional materials such as nylon sponges, could you elaborate on this method employed in your practice?

The incorporation of woven net-patterned sponges into my art has been a game-changer. Their flexibility, varied hues, and textured patterns enable me to create dynamic, flowing pieces that bring my subjects to life. Initially, I utilized these sponges to add depth to my subjects’ costumes, but as I continued to experiment and draw inspiration from the world around me, I began to apply them directly to my subjects. This shift has allowed me to convey my intended message to viewers with greater clarity.

The process of layering the sponges has also had a profound impact on my perspective. It’s taught me to appreciate the intricacies of life and fostered a deeper respect for nature’s beauty and complexity.

What can you tell us about the artworks on display at 1-54 Marrakech?

As I mentioned earlier, my fascination with life’s intricacies sparked the creation of these art pieces. Through my work, I aim to honour the resilience of individuals who have overcome adversity and found joy amidst challenges. Their stories inspire me to appreciate the beauty in perseverance. Additionally, my painting of a man resting after a long day’s work serves as a poignant reminder of the importance of rest and self-care in our lives. It’s a celebration of the human need for balance and rejuvenation.

Can you share any of your future projects?

As I gaze into the future, I eagerly anticipate the opportunity to collaborate with established artists, sharing knowledge, inspiration, and creativity. I remain optimistic and excited about the prospects that lie ahead, and I look forward to seeing the incredible possibilities that unfold.

We would like to express our gratitude to Adjei Tawiah for generously gifting us his time, as well as So Art Gallery for helping us coordinate the interview.

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