Koyo Kouoh developed the curatorial project, establishing the theoretical framework, selecting the artists and works, appointing the catalogue contributors, and determining the exhibition’s graphic identity and the architecture of the exhibition spaces. As stated in Kouoh’s curatorial text, the title he chose for the 61st International Art Exhibition was In Minor Keys. To structure the exhibition, motifs and foundational themes were identified, with productive practices inviting magic, sowing, collaboration and collectives being highlighted as the underlying organic concepts and issues. Throughout this process, the exhibition took shape through an intense, multi-layered and deeply shared process, enriched by the curatorial team’s efforts towards its collective construction.The pages of the book In Minor Keys, which Kouoh prepared and submitted to the Biennale’s management, offer a striking perspective on curatorial practice and present a crystal-clear vision of his own approach to exhibitions. Kouoh presents this concept to us through the idea of sowing seeds. This is an exhibition imbued with spirit and sacredness; it places humanity, existence, and everything back at the heart of all things, rediscovering the meaning of being in the world by regaining a sense of proportion whilst respecting all earthly elements, and by looking up at the sky once more. It invites us to see that small things can be, at the same time, things of such magnitude that they become the measure of everything. It also offers us keys that bring us back to the earth, to our bodies and to our senses.