Naked jetskiers, giant bells and a celebrity seagull! Venice Biennale’s wildest moments – in pictures

The Guardian presents a photo essay capturing the most eccentric and memorable moments from the 61st Venice Biennale, running until 22 November 2026. Photographer David Levene documents installations including a concrete 'Origami Deer' evacuated from war-torn Pokrovsk, Ukraine, by artist Zhanna Kadyrova; a seagull that became a minor celebrity after nesting outside the Polish pavilion; and the Holy See pavilion's immersive sound installation curated by Hans Ulrich Obrist and Ben Vickers. Other highlights include the Egyptian pavilion's touch-and-smell 'Silence Pavilion' and a Polish pavilion film featuring deaf and hearing singers.

The art of chaos

The 61st Venice International Art Biennale has opened in Venice, running until November, amid unprecedented turmoil. The main exhibition, "In Minor Keys," was curated by Koyo Kouoh, who died of cancer shortly after presenting her vision featuring 111 artists including Carsten Höller, Alvaro Barrington, and Laurie Anderson. Her death has eliminated the Lifetime Achievement Award this year. Additionally, the Biennale faces a funding crisis as the EU threatens to withdraw its €2 million subsidy over Russia's participation with 38 artists following the invasion of Ukraine. Iran, Nigeria, and Israel are absent from their pavilions, while the US Pavilion, now organized by the American Arts Conservancy under inexperienced leadership, features self-taught artist Alma Allen.

Venice Biennale: A Silent US Pavilion

Biennale de Venise : un Pavillon US silencieux

The US Pavilion at the 2026 Venice Biennale, featuring artist Alma Allen, opened to sparse crowds despite a 10% overall attendance increase at the Biennale. The pavilion was embroiled in controversy before opening: Allen was selected by the American Arts Conservancy (AAC), a private entity created in 2025 at the initiative of Donald Trump after the dissolution of the federal committee that previously oversaw the pavilion. AAC head Jenni Parido, a former pet food executive, chose the self-taught, little-known artist who had never had a solo museum exhibition. Major funders the Ford and Mellon Foundations withdrew, forcing the AAC to launch a public donation appeal. The exhibition features 25 abstract bronze, stone, and burl-wood sculptures that the artist describes as biomorphic landscapes, but critics find them pleasant yet silent, lacking the promised political or visceral resonance.