Commissioner: Bilia Bah;
Curator: Carlo Stragapede;
Exhibitors: Francesco Tullio Altan, Paola Arrigoni, Bella Bah, Nino Barone, Stefania Basso, Emiliano Bazzanella, Giuliana Bellini, Milena Bellomo, Bluer (Lorenzo Viscidi), Alda Bòscaro, Alessandro Cadamuro, Carmine Calvanese, Carmela Candido, Giancarlo Caneva, Tommaso Cascella, Giancarlo Cazzaniga, Bruno Ceccobelli, Giorgio Celiberti, Giorgio Celiberti Jr., Maurizio Cervellati, Marco Ciani, Massimo Clemente, Bachir DiaIlo, Bruno Donzelli, Mauro Filigheddu, Mirko Filipuzzi, Pasquale Fraccalvieri, Ferruccio Franz, Carla Galli Morandi, Omar Galliani, Andrea Marco Ghia, King Emmanuel, Gianni Maglio, Paolo Marazzi, Rossella Marchesin, Marvin, Enzo Migneco (Togo), Zdravko Milić, Giampaolo Muliari, Lucia Paese, Bruno Paladin, Giorgio Pastres, Ottavio Pinarello, Giuseppina Pioli, Manuela Pittana, Adriano Piu, Stefano Pizzi, Claudia Raza, Rosaspina, Andrea Rossi Andrea, Marco Nereo Rotelli, Gernot Schmerlaib (BIX), Cesare e Noah Serafino, Alessio Serpetti, Leo Strozzieri, Sékou Oumar Thiam, Lucia Tomasi, Angelo Toppazzini, Maurizio Valdemarin, Andrea Vizzini, Luciana Zabarella, Marina Zambon, Tono Zancanaro, Leonardo Zanin;
Venue: Isola di San Servolo
Guinea (Republic of)
Le Son de l’Art: l’Écho de la Matière
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description
The Biennale Arte 2026 designates the theme In Minor Keys as a space for investigation into submerged narratives. This is the backdrop for the historic participation of the Republic of Guinea, presenting a national pavilion for the first time. Guinea goes well beyond mere exhibiting, and asserts its role in global intercultural dialogue, interpreting a modernity rooted in an ancestral spirituality.
Titled Le Son de l’Art: l’Écho de la Matière, the exhibition at San Servolo transforms the silence of the island into a resonance of souls, supported by an organisational structure that guarantees consistency between the institutional message and the protection of Guinean heritage, mediating the transition from ritual codes to the contemporary scene. Between evocative tapestries and sculptural works, the material echoes a nation that, despite navigating postcolonial complexities, projects its dignity towards the future. The pavilion thus becomes an immersive visual diary, where Guinea reveals itself as the steward of a universal memory and the protagonist of an unprecedented cultural rebirth.
