The 61st Venice Biennale has commenced under a veil of political tension, casting a shadow over the art world’s most prestigious gathering. Amidst rain-soaked celebrations and fervent protests, the event has become a focal point for international criticism, particularly concerning the participation of nations like Russia and Israel. As the art scene grapples with its conscience, the absence of key figures and the resignation of a juried committee underscore the complexities of political representation in contemporary art.
A Rainy Start to a Contentious Event
The opening day of the Biennale unfolded beneath grey skies and intermittent showers, setting a somber tone for what is usually a jubilant occasion. British artist Lubaina Himid showcased her work in the UK pavilion, presenting large-scale paintings and a sound collage that nostalgically evokes a “perfect British summer’s day.” Yet, just a stone’s throw away, the Russian pavilion was a contrasting spectacle, filled with celebratory techno beats and crates of prosecco, despite widespread calls for its exclusion due to the ongoing conflict in Ukraine.
The Russian pavilion, having been absent from the last two editions of the Biennale, has officially been confirmed as closed to the public for this event. The Italian Ministry of Culture announced that while the pavilion will remain shuttered, its floral sculptures can still be glimpsed through the windows, a bittersweet reminder of the geopolitical undercurrents that permeate the proceedings.
Resignations and Protests: An Art World Divided
The jury responsible for awarding the Golden Lion prizes made headlines prior to the Biennale’s opening by resigning en masse. Their departure came after a declaration that they would not consider entries from nations with leaders facing international arrest warrants, effectively sidelining both Russia and Israel from contention. This move has sparked heated discussions about the role of art in political discourse and the responsibilities of cultural institutions in times of global crisis.
Amidst these tensions, Tetyana Berezhna, Ukraine’s Minister of Culture, remarked on the significance of not permitting the Russian pavilion to operate fully. “Cultural platforms shape global perception,” she argued, highlighting how representation in art curates narratives that can either amplify or silence voices.
Adding fuel to the fire, protests erupted within the Giardini, the historic gardens hosting national pavilions. Approximately 60 artists participated in the “Solidarity Drone Chorus,” a procession designed to voice dissent against Israel’s involvement in the Biennale, underscoring the art community’s growing restlessness over political complicity.
A Tribute to a Visionary Curator
This year’s Biennale is particularly poignant, marking the first since the death of Koyo Kouoh, the visionary curator whose influence was felt throughout the event’s planning. Kouoh, a prominent figure in the global arts community, passed away in May 2025, leaving behind a curatorial team that has worked tirelessly to honour her legacy. Among the tributes is a striking mural by Derrick Adams, prominently displayed at the Arsenale’s entrance, symbolising both her impact and the ongoing struggles faced by the art world.
The curatorial team, composed of Marie Hélène Pereira, Rasha Salti, Gabe Beckhurst Feijoo, Rory Tsapayi, and Siddhartha Mitter, has expressed their commitment to uphold Kouoh’s vision, even as they navigate the complex web of geopolitical implications. Salti, whose family hails from Beirut, commented on the exhibition’s inherent reflection of global conflicts, noting, “It’s not an exhibition that is a commentary on world affairs or geopolitics… but our principles are tangible and manifest in the exhibition.”
Unexpected Moments of Levity
Despite the seriousness of the political climate, moments of unexpected levity punctuated the event. The Austrian pavilion drew significant crowds for its performance art, where choreographer Florentina Holzinger swung from a bell suspended high above the pavilion. Inside, surreal installations made waves, including a jet ski racing through water chambers, while an artist submerged in a tank inadvertently drew comparisons to environmental crises.
On a lighter note, a nesting seagull outside the Polish pavilion captured the attention of attendees, with staff cordoning off the area as if it were an art installation. This whimsical moment provided a brief respite from the heavier themes dominating the Biennale.
Why it Matters
This year’s Venice Biennale serves not only as a showcase for artistic brilliance but as a stark reminder of the intersection between art and global politics. As nations grapple with their identities on the world stage, the Biennale’s platform becomes an essential arena for dialogue and protest. The absence of artists and the outcry against controversial participants reveal an art community increasingly unwilling to remain silent in the face of injustice. As the event unfolds, it will be crucial to watch how these tensions shape the narrative of contemporary art and its role in reflecting, challenging, and potentially transforming societal norms.
