At the 61st Biennale, Amoako Boafo blends the past and the present in a masterful exhibition that examines the place of Black bodies in European history. In doing so, he creates a unique dialogue between his vibrant paintings and the Renaissance architecture of the Museo di Palazzo Grimani.
A timeless encounter
In Venice, Amoako Boafo takes over a spectacular setting that contrasts with his usual references. His arrival at the Museo di Palazzo Grimani for the 61st Biennale offers much more than a simple exhibition: it is a true collision of time periods. The exhibition, titled It Doesn't Have to Always Make Sense, marks his first major monographic exhibition in Italy. Presented by the Gagosian Gallery, it will run from May 6 to November 22, 2026.
The choice of this palace is no accident. Its Renaissance-style salons, punctuated by frescoed ceilings and architecture of great solemnity, create a dizzying visual experience. Boafo responds by creating new works, conceived specifically for this space. The museum thus transcends its status as a traditional showcase to become a full-fledged partner in the exhibition.
The presence of the figures in the Venetian setting
The Ghanaian artist has made a name for himself on the international scene through his portraits of Black figures, captured with an almost frontal intimacy. His unique technique, which involves applying oil paint with his fingers, generates rich, sensual textures whose visual magnetism is immediate. As Initially and Venezia News point out, these canvases engage with the palace’s heritage without ever dissolving into it.
The true significance of this exhibition design lies not in mere aesthetic dissonance, but in the space finally granted to bodies that have been excluded for too long from the grand narratives of European museums. From this perspective, Boafo’s painting seeks neither provocation nor confrontation. It establishes a presence that is both serene and unshakable, of timeless elegance.
A Redefinition of the Rules of Visibility
This exhibition is part of a broader institutional trend. More and more European museums are opening their doors to contemporary African artists, driven by a desire to revisit their own heritage. While this approach sometimes borders on the symbolic or superficial, Venice—a city built upon layers of culture—offers here a fertile ground of rare complexity.
Presented in collaboration with Gagosian and the Museo di Palazzo Grimani, the exhibition strikes a subtle balance between the majesty of heritage and the acuity of the contemporary gaze. While the concept may seem straightforward, it is precisely within these formal certainties that the deepest questions of our time lie: who is looking, who is being looked at, and according to which paradigms of visibility?