Titled “otras montañas, las que andan sueltas bajo el agua” (Other Mountains, Adrift Beneath the Waves), this exhibition transforms the historic former church of San Lorenzo in Venice into a vast immersive space where landbound logic is challenged and the ocean becomes a metaphor for alternative ways of being. The show is part of The Current IV: Caribbean research project and emphasizes the aesthetic strategy of improvisation ~freestyle as a means to transcend binary frameworks of land/sea, human/non-human, extractive/non-extractive.

"Helter Skelter: Arthur Jafa and Richard Prince" brings together the work of two artists whose practices interrogate the production, circulation, and meaning of images in contemporary society. Curated by Nancy Spector, the exhibition is conceived as a dialogue that juxtaposes Jafa’s immersive, time-based works with Prince’s appropriation-driven practice, revealing both shared concerns and critical divergences. Arthur Jafa’s work, particularly his video installations, is known for its rhythmic structure, emotional intensity, and deep engagement with Black cultural production, history, and lived experience. Through montage, sound, and image sequencing, Jafa constructs powerful visual narratives that explore identity, memory, and the politics of representation. In contrast, Richard Prince’s practice engages with appropriation and recontextualization, drawing from mass media, advertising, and vernacular imagery. By reframing existing images, Prince questions authorship, originality, and the mechanisms through which meaning is produced and consumed. Presented at Ca’ Corner della Regina in Venice, Helter Skelter positions these two practices in direct conversation, highlighting how both artists engage with visual culture as a site of power and interpretation. The exhibition examines how images circulate across contexts and how meaning is constructed, contested, and transformed. Through this pairing, the exhibition offers a layered exploration of contemporary image-making and its cultural implications.

Simba Moto! Seize the fire! Saisis le feu! is the Democratic Republic of Congo’s pavilion for the 2026 Venice Biennale. Curated by Nadia Yala Kisukidi and commissioned by Cindy Makiana, the exhibition includes work by Sammy Baloji, Arlette Bashizi, Patrick Bongoy, Damso, Gosette Lubondo, Nelson Makengo, Aimé Mpané, Léonard Pongo, and Géraldine Tobé. Antico Refettorio – Scuola Grande di San Marco, Castello 6777, 30122 Venice, Italy. May 9, 2026 — Runs May 9 through November 22, 2026. The pavilion is described as a multivocal presentation by artists from the DRC and its diaspora, with the trilingual title itself signaling a layered and expansive sense of Congolese voice. Based on the participating artists’ established practices, the exhibition spans multiple mediums and approaches while foregrounding contemporary Congolese cultural production in an international setting.

Denniston Hill’s presentation in In Minor Keys includes work by Xaviera Simmons, Sanford Biggers, and Kalup Linzy as part of the 61st International Art Exhibition of La Biennale di Venezia. Based on the announcement you shared, Simmons is represented through photography, Biggers through works connected to his cloud motifs, and Linzy through work drawn from his long-running performance practice and family-character narratives. Giardini della Biennale, Sestiere Castello, 30122 Venice, Italy. May 9, 2026 — Runs through November 22, 2026. Officially, In Minor Keys is the title of the 61st International Art Exhibition of La Biennale di Venezia, and it runs across the Giardini, the Arsenale, and other Venice locations. The Giardini is one of the exhibition’s principal sites and the historic home of the Biennale’s national pavilions and international presentations.