As the 61st Venice Biennale kicks off, the atmosphere is anything but celebratory. Grey clouds loom over the city, reflecting the political unrest that has overshadowed this year’s event. Amidst protests, resignations, and significant absences, the art world grapples with the consequences of geopolitical tensions as it gathers for one of its most prestigious showcases.
Political Underpinnings
The opening day on 5 May 2026 was greeted with dismal weather, but it was the political climate that truly dampened spirits. Artists and visitors alike found themselves navigating a landscape fraught with controversy. Lubaina Himid, the British representative known for her critical engagement with colonial history, unveiled her exhibition at the UK pavilion, presenting large-scale paintings and sound collages reminiscent of an idyllic British summer—a stark contrast to the tumultuous backdrop of the event.
Just a stone’s throw away, the Russian pavilion pulsated with the beats of techno music, an unexpected celebration amid calls for the country’s exclusion due to its ongoing conflict in Ukraine. Russia’s participation, although heavily scrutinised, marked its return to the Biennale after being absent for the last two editions. Outside, crates of prosecco piled up, a surreal scene reflecting the dichotomy of festivity and protest.
Jurors Resign in Protest
In a significant turn of events, the jury responsible for awarding the coveted Golden Lion prizes resigned en masse prior to the Biennale’s official opening, citing their refusal to evaluate entries from nations whose leaders face international arrest warrants, notably Russia and Israel. This mass resignation underscores the deepening rifts within the art community over ethical representation at such a globally influential platform.
The Italian Ministry of Culture subsequently announced that the Russian pavilion would remain closed to the public, although the artworks, consisting of elaborate flower sculptures, would still be visible through the windows. Tetyana Berezhna, Ukraine’s Minister of Culture, expressed that while the closure was a “meaningful step,” the mere existence of the Russian pavilion held substantial symbolic weight. “Cultural platforms shape global perception,” she asserted, highlighting the significance of how art can influence narratives and amplify voices.
A Stage for Solidarity
The Biennale is not only a showcase of artistic talent but also a stage for political expression. During the preview, a protest led by artists associated with the In Minor Keys exhibition gathered momentum in the giardini, where around 60 participants performed the Solidarity Drone Chorus—an evocative piece aimed at denouncing Israel’s participation. This protest, alongside an open letter signed by over 200 artists including Himid and Alfredo Jaar, called for the cancellation of the Israeli pavilion, reflecting a growing sentiment within the artistic community against the backdrop of ongoing global conflicts.
Meanwhile, the Iranian pavilion unexpectedly withdrew from the event without explanation, signalling a further fracture in international relations amid a fragile ceasefire agreement between Iran and the United States.
Remembering Koyo Kouoh
This year’s Biennale bears a poignant absence—the late Koyo Kouoh, the Cameroonian-Swiss curator who passed away in May 2025. Her curatorial team, which includes Marie Hélène Pereira, Rasha Salti, Gabe Beckhurst Feijoo, Rory Tsapayi, and Siddhartha Mitter, stepped in to deliver the event in line with her vision. Artworks paying homage to Kouoh are dotted throughout the Biennale, including a striking mural by Derrick Adams positioned at the entrance to the Arsenale, serving as a tribute to her enduring legacy.
While Mitter acknowledged the jury’s stance on the inclusion of contentious nations, he refrained from commenting on the validity of their decision. Salti offered a reflective perspective, noting, “We come from a complex world, and our experiences of global conflicts inevitably shape our consciousness,” suggesting that the political turmoil cannot be entirely separated from the artistic expressions on display.
Art Amidst the Chaos
The opening day saw a remarkable turnout at the Austrian pavilion, where choreographer Florentina Holzinger’s Seaworld Venice performance captivated audiences. Holzinger swung from a bell suspended by a crane, embodying a juxtaposition of grace and discomfort. Inside the pavilion, installations included a jet ski racing through water-filled chambers and an artist submerged in a tank filled with what appeared to be purified urine, pushing the boundaries of both art and audience reaction.
Adding a lighter note to the otherwise heavy atmosphere, a nesting seagull outside Poland’s pavilion captured the attention of attendees, with staff having cordoned off the bird, inadvertently creating a spectacle that some mistook for an art installation.
Why it Matters
The Venice Biennale serves as a critical barometer for the state of global arts and politics. This year’s edition, rife with protests, resignations, and poignant absences, reflects the increasingly interconnected nature of art and geopolitical currents. As artists and curators navigate these tumultuous waters, the Biennale not only showcases creativity but also amplifies pressing social issues, challenging observers to consider the role of art in shaping collective consciousness in a world fraught with division.