Venice Biennale Awards Jury Won’t Consider Russia and Israel

The international awards jury for the 61st Venice Biennale has announced it will not consider countries whose leaders are charged with crimes against humanity by the International Criminal Court (ICC) for prizes. The all-women jury, chaired by Solange Farkas, published a statement on e-flux declaring this policy, which implicitly targets Russia and Israel, whose leaders Vladimir Putin and Benjamin Netanyahu face ICC warrants. The jury is responsible for awarding Golden Lions for the best national pavilion and best artist in the central exhibition. A majority of artists in the main show issued an open letter supporting the decision, while the Biennale Foundation faces criticism for allowing both nations to participate in 2026.

"Hier darf laut gelacht werden"

During the opening week of the Venice Biennale, multiple reports detail controversies surrounding the Israeli and Russian pavilions. According to Hyperallergic, artist Belu-Simion Fainaru of the Israeli pavilion threatened legal action against the Biennale after the jury sought to exclude Israel and Russia from prizes over alleged human rights violations, citing antisemitism and nationality-based discrimination. This may have prompted the jury's sudden resignation. Meanwhile, taz reports that Russia's pavilion is a macabre 'dance of death' blending techno and political denial, while Israel's pavilion faces a 'silent boycott' and social ostracism. Zeit describes protests by Pussy Riot and Femen outside the Russian pavilion as a defining image, with activists chanting 'blood sticks to the art of this country.'

Seen in Venice, Bought in Venice

"In Venedig gesehen, in Venedig gekauft"

The article reports on multiple developments surrounding the Venice Biennale. Iran has withdrawn from the Biennale, citing political and economic crises, with logistical challenges such as no flights or postal service making participation nearly impossible. Artist Anish Kapoor has called for the exclusion of the United States from the Biennale, criticizing its "abhorrent policy of hate" and "ongoing warmongering." A memorial installation by Derrick Adams for the late curator Koyo Kouoh, who was set to lead the main exhibition, will be displayed near the Arsenale. Additionally, the Biennale faces a funding cut from the EU due to Russia's continued participation despite the Ukraine war, leading to the resignation of the jury and the culture minister's withdrawal.

"Eine Idee, die gut ist, kann fast alles verändern"

Henrike Naumann's final major artistic project, the German Pavilion at the Venice Biennale, is completed posthumously by friends after her death from cancer at age 41. Meanwhile, the sudden death of curator Koyo Kouoh at 57 has left her team to finish the central exhibition "In Minor Keys" for the Biennale, opening May 9. The US Pavilion is openly crowdfunding for its 2026 presentation by sculptor Alma Allen, citing opaque funding under the Trump administration. Israel's foreign ministry has accused the Venice Biennale jury of boycotting its artist Belu-Simion Fainaru by excluding countries whose leaders face International Criminal Court charges.

« No art washing ! » : à la Biennale de Venise, près de 3 000 manifestants réunis pour dénoncer la présence du pavillon israélien

On May 8, 2026, nearly 3,000 protesters gathered in Venice to demonstrate against the presence of the Israeli pavilion at the Venice Biennale. Led by the collective Art Not Genocide Alliance (Anga), the crowd included artists, curators, and cultural workers who chanted slogans such as "Stop al Padiglione genocidio" and called for a strike on the closing day of the professional previews. Dozens of national pavilions, including those of France, Belgium, Poland, Spain, the United Kingdom, Lebanon, and Ukraine, closed in solidarity. The protest followed a letter sent by Anga in March demanding Israel's exclusion, which went unanswered, and the self-dissolution of the awards jury on April 30 over the presence of both Israel and Russia.

Biennale de Venise 2026 : les saturnales éblouissantes d’Yto Barrada pour le pavillon français

Yto Barrada has been selected to represent France at the 61st Venice Biennale in 2026 with her exhibition "Comme Saturne" (Like Saturn) in the French Pavilion. The installation features rebellious stage curtains hiding wasp nests and a copper daguerreotype plate of a planet, a large rock, a Wheel of Fortune, and a nostalgic vanitas arrangement around a missing mirror frame. Curated by Myriam Ben Salah, the show explores textile and natural dyeing, with three cabinets addressing the transmission of know-how, migration of plants and people, postcolonial history, and Enlightenment imperialism. A central room displays 70 pieces forming a symmetrical frieze of red natural dyes, while a black monochrome patchwork highlights the difficulty of achieving black in dyeing. Barrada is the fifth woman to represent France at the Biennale.

Under pressure, the jury of the 61st Venice Biennale will exclude Russian and Israeli pavilions from the awards

Sous pression, le jury de la 61e Biennale de Venise exclura les pavillons russe et israélien du palmarès

The 61st Venice Biennale, titled "In Minor Keys" and running from May 9 to November 22, 2026, has been embroiled in political controversy after organizers decided to reinstate the Russian pavilion, which had been excluded since Russia's 2022 invasion of Ukraine. Under pressure from the European Commission, which threatened to suspend a €2 million grant, the jury announced it will exclude artists from the Russian and Israeli pavilions from winning prizes, citing that leaders Vladimir Putin and Benjamin Netanyahu face International Criminal Court charges for crimes against humanity. The Russian pavilion will remain closed to the public but open for VIP press previews, while the Israeli pavilion stays open to the public. Italian Culture Minister Alessandro Giuli has refused to attend the opening ceremony in protest.

For the 61st Venice Biennale, a quest for beauty despite a troubled world

Pour la 61e Biennale de Venise, une quête de beauté malgré un monde troublé

Koyo Kouoh, the Swiss-Cameroonian curator who was set to become the first African woman to direct the Venice Biennale, died suddenly on May 10, 2025, at age 57, just weeks before the opening of the 61st edition she had conceived. Titled "In Minor Keys," the exhibition at the Giardini and Arsenale will proceed posthumously based on her detailed directives, featuring 111 artists including Laurie Anderson, Wangechi Mutu, and Kader Attia, with a focus on beauty, resilience, and radical emotional connection amid global turmoil.

6 Artworks That Define the 2026 Venice Biennale’s Main Exhibition

The 2026 Venice Biennale's main exhibition opens this week, curated by Koyo Kouoh—the first African woman to hold the role—who was announced in 2024 but passed away suddenly in 2025. The article highlights six artworks that define her curatorial vision, which connected the international art world to artists and institutions from Africa and the Global South.

Venice Biennale’s Visitor Lions Face Artist Boycott

Dozens of Pavilions Close During Strike at 61st Venice Biennale

On May 8, 2026, a 24-hour strike organized by the Art Not Genocide Alliance (ANGA) and several Italian activist groups brought the 61st Venice Biennale to a standstill. Approximately 27 of the 100 national pavilions closed fully or partially in solidarity with protesters demanding Israel’s exclusion from the event, including those of Austria, Belgium, France, Great Britain, Japan, South Korea, and Ukraine. Over 3,500 people marched through Venice, with speakers including artist Gabrielle Goliath and curator Caroline Dumalin. The main exhibition, "In Minor Keys," curated by the late Koyo Kouoh, closed by late afternoon, and riot police were stationed outside the Arsenale. The Israeli pavilion, already shuttered during previews, remained closed.

Protests and Shutdowns Engulf 61st Venice Biennale Opening

The 61st Venice Biennale preview week, opening to press and professionals ahead of its May 9 public launch, has been engulfed by protests and institutional crises. On May 5, around 60 artists from Koyo Kouoh's exhibition “In Minor Keys” staged a Solidarity Drone Chorus outside the Giardini, drawing on Gazan composer Ahmed Muin's Drone Song (2025) to highlight victims of warfare. On May 6, the Art Not Genocide Alliance (ANGA) organized protests outside Israel's pavilion at the Arsenale, leading to a security-enforced closure, while Pussy Riot and FEMEN demonstrated outside the Russian pavilion. The jury resigned on April 30 after controversy over award eligibility tied to ICC arrest warrants, prompting the Biennale to scrap Golden Lions and transfer prize voting to the public. Iran withdrew its pavilion on May 4, and Russia's will close on May 9, with only exterior video projections remaining. ANGA and Italian unions have announced a 24-hour strike on May 8.

The Bahamian Pavilion Brings Junkanoo to Venice in a Biennale Standout

After a thirteen-year hiatus, the Bahamian Pavilion has returned to the Venice Biennale with an exhibition titled "In Another Man's Yard," featuring the late master John Beadle and his former student Lavar Munroe. The pavilion, housed in the San Trovaso Art Space in Dorsoduro, centers on Junkanoo—the vibrant, crepe-costumed procession that is a defining cultural tradition of the Bahamas. Munroe's large-scale sculptural works incorporate strips of discarded Junkanoo costumes, while paintings and installations commemorate Beadle, who died in 2024. The presentation was revived with support from Baha Mar, a resort company, after government funding was withdrawn in 2014.

Dozens of Venice Biennale Artists Stage ‘Drone’ Perfomance in Protest of Israel’s Participation

On the opening day of the Venice Biennale, around 60 artists and dozens of other participants staged a protest titled “Solidarity Drone Chorus” at the Giardini entrance, humming a viral song by Gazan composer Ahmed “Muin” Abu Amsha to sonically occupy the space. The action, organized by artists in the main exhibition over several months, protested Israel’s participation in the Biennale and expressed support for Palestine, with participants wearing T-shirts bearing the names and artworks of Gazan and Palestinian artists, many of whom have been killed. The protest follows an open letter from the Art Not Genocide Alliance demanding Israel’s exclusion.

Khaled Sabsabi is finally at the Venice Biennale: ‘Being here is already a win’

Khaled Sabsabi has opened his exhibition 'conference of one’s self' at the Australian Pavilion of the 61st Venice Biennale, alongside a second installation 'Khalil' in the Arsenale. This follows a tumultuous period in which Creative Australia rescinded his appointment as Australia’s representative in February 2025, sparking widespread backlash from the art community. After being reappointed in July 2025, Sabsabi presents two monumental multimedia works inspired by Sufi practice, created in Bangkok and described as 'one body with two limbs'.

Dries Verhoeven on Representing the Netherlands at the 61st Venice Biennale

Dries Verhoeven will represent the Netherlands at the 61st Venice Biennale (2026) with a new work titled *The Fortress*, installed in the Dutch Rietveld Pavilion in the Giardini. The 25-minute performance piece transforms the sunlit pavilion into a darkened bunker, featuring a raw vocal composition using only false vocal cords. Verhoeven describes the work as a meditation on transition and self-preservation, reflecting a Western society caught between its enlightened self-image and a dark vision of the future. The piece responds to geopolitical unrest outside the Biennale grounds and is designed to be melancholic and confrontational, contrasting with the main exhibition's theme, *In Minor Keys*.

Sung Tieu on Representing Germany at the 61st Venice Biennale

Sung Tieu, who is co-representing Germany at the 61st Venice Biennale alongside Henrike Naumann, responds to a questionnaire from ArtReview about her plans for the German Pavilion. She describes her inspiration as her mother and childhood home, a site built for foreign contract workers in the GDR that later became a refuge for the diaspora. Tieu states that her work relates to the Biennale theme "In Minor Keys" through the lens of Gehrenseestrasse, a concrete record of collective memory. She also expresses skepticism about the Biennale's importance, noting that the German Pavilion's fascist architecture compels artists to work against it, and that national pavilions reveal how much work remains in undoing nationalism.

Miet Warlop on Representing Belgium at the 61st Venice Biennale

Miet Warlop, the artist representing Belgium at the 61st Venice Biennale (2026), discusses her plans for the Belgian Pavilion in the Giardini in an interview with ArtReview. Her installation, inspired by the Belgian motto 'L'union fait la force' ('unity makes strength'), aims to create a space between a workspace, exhibition, and performance that brings people together in introspection. She cites time spent with Venice's artistic communities, including students at the Accademia, as influential, and notes that her work engages with the Biennale's theme 'In Minor Keys' by incorporating minor-key music to evoke nuanced, introspective emotions.

Margaret Whyte on Representing Uruguay at the 61st Venice Biennale

Margaret Whyte, an artist from Uruguay, is set to represent her country at the 61st Venice Biennale in 2026, with her pavilion located in the Giardini. In an interview with ArtReview, Whyte discusses her exhibition, which builds on her earlier show "Tiempo de Escuchar" at the National Museum of Visual Arts in Uruguay, curated by Patricia Bentancur. Her work is inspired by Nassim N. Taleb's book "Antifragile" (2012), exploring themes of chaos, uncertainty, and resilience. She sees her antifragile approach as complementary to the Biennale's theme, "In Minor Keys," curated by Koyo Kouoh, emphasizing emotional depth, silence, and healing.

Pavel Brǎila on Representing Moldova at the 61st Venice Biennale

Pavel Brǎila is representing Moldova at the 61st Venice Biennale with an installation titled "Echoes of Harmony and Silent Cries" (2026), featuring flying carpets that fill the pavilion space at Santa Veneranda. In an interview with ArtReview, Brǎila explains that the work was driven by the constant presence of war in the news—Ukraine, Israel and Gaza, and other conflicts—and evolved into a sound installation as the propellers of the carpets created a minor-key resonance. He describes his first visit to the Biennale 25 years ago as a festive art festival, but now sees the platform as a crucial opportunity to represent his country's voice and express his urgent feelings about the world.

Bugarin + Castle on Representing Scotland at the 61st Venice Biennale

ArtReview published a questionnaire response from Bugarin + Castle, the artist duo representing Scotland at the 61st Venice Biennale (2026). Their exhibition, titled "Shame Parade" and curated by Mount Stuart Trust, explores charivari—medieval public shaming rituals involving sound, costume, and cross-dressing. The work draws on the artists' research into how noise and music have been used as tools of control, with particular attention to the Filipino legal definition of charivari as a punishable public disturbance. The exhibition includes sculpture, print, moving image, and a musical score created with Manila-based band Kalye Teresa, and is housed at the Olivolo, Castello pavilion.

Nilbar Güreş on Representing Turkey at the 61st Venice Biennale

Nilbar Güreş, the artist representing Turkey at the 61st Venice Biennale (2026), responds to a questionnaire from ArtReview about her upcoming exhibition. She expresses exhaustion with having to explain herself to Western audiences and critiques the white, male-dominated art world. Her inspiration for the pavilion comes from this disgust and fatigue, and she states that the Biennale's theme, "In Minor Keys," did not guide her preparation. Güreş also voices disillusionment with the art world's silence on humanitarian crises, particularly the bombing of hospitals and children in Palestine, and notes that artists speaking out on Palestine face censorship and exclusion.

Watch: Khaled Sabsabi and Michael Dagostino in Conversation

Artist Khaled Sabsabi and curator Michael Dagostino discuss their project 'conference of one’s self' for the Australia Pavilion at the 61st Venice Biennale. Sabsabi explains how the work draws on the twelfth-century Sufi poem 'The Conference of the Birds' by Farīd al-Dīn ʿAṭṭār, mapping its seven spiritual valleys and adding an eighth level of 'wholeness and completeness'. He also reflects on his childhood in Lebanon, migration to Australia, and how his return to Lebanon in 2002 reconnected him with his Sufi lineage, which informs his artistic practice focused on memory, displacement, and social justice.

Marina Xenofontos on Representing Cyprus at the 61st Venice Biennale

Artist Marina Xenofontos will represent Cyprus at the 61st Venice Biennale in 2026. Her exhibition, centered on an animatronic sparrow titled 'Passer' and incorporating folk songs recorded by her grandmother and great-aunts, explores themes of memory, endurance, and the quiet persistence of culture.

‘In Minor Keys’ Review: Its Best Moments Live in the Institutions Koyo Kouoh Built

Andrew Durbin reviews the national pavilions at the 2026 Venice Biennale, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The review highlights how the best moments of the exhibition live in the institutions built by curator Koyo Kouoh, who organized the Biennale's main exhibition.

The Ukrainian Pavilion’s Deer Seen Around the World

Zhanna Kadyrova's concrete sculpture "The Origami Deer" (2019) is prominently displayed at the entrance to the Giardini during the 61st Venice Biennale, part of her project "Security Guarantees" in the Ukrainian Pavilion. Originally installed in Pokrovsk, eastern Ukraine, the work was removed in 2024 as Russian forces advanced, then traveled through Vienna, Warsaw, Prague, Berlin, and Paris before reaching Venice—a journey mirroring the displacement of millions of Ukrainians. The sculpture, shaped like a deer and evoking folded paper, references the 1994 Budapest Memorandum, in which Russia, the UK, and US guaranteed Ukraine's security in exchange for its nuclear disarmament—guarantees that proved worthless after Russia's invasions.

The 10 best pavilions to see at the 2026 Venice Art Biennale. Artribune's top ten

I 10 migliori padiglioni da vedere alla Biennale d’Arte di Venezia 2026. La top ten di Artribune

Artribune presents its top ten must-see national pavilions at the 2026 Venice Biennale, which features a record 100 participating countries. The article highlights standout projects including Greece's escape room by Andreas Angelidakis critiquing nationalist populism, Belgium's participatory dance installation by Miet Warloop, and Canada's greenhouse-like pavilion by Abbas Akhavan exploring colonial botany. The Biennale, curated by Koyo Kouoh under the theme "In Minor Keys," is marked by last-minute jury resignations leading to public voting for the Golden Lions, as well as protests over the participation of Russia and Israel.

At the Venice Biennale, the Armenian Pavilion Transforms into an Artist's Workshop: Works Are Born in Front of the Public

Alla Biennale di Venezia il Padiglione dell’Armenia si trasforma in bottega d’artista: le opere nascono di fronte al pubblico

The Armenian Pavilion at the 2026 Venice Biennale will transform into a functioning artist's studio, where sculptor Zadik Zadikian will create works in real time before the public. Titled "The Studio," the project is curated by gallerist Tony Shafrazi and curator Tina Chakarian, and will operate daily from May 6 to November 22 at the Tesa 41 of the Arsenale. Zadikian, born in Yerevan in 1948 and now based in the US, will work with traditional Armenian plaster techniques alongside his son Aram and studio assistants, emphasizing the process of making over the finished object.

Trace the making of Fermata: Hong Kong in Venice through complete artwork reveals and installation photography

The article details the making of 'Fermata: Hong Kong in Venice,' a collateral event at the 61st Venice Biennale curated by the Hong Kong Museum of Art (HKMoA). The exhibition features two Hong Kong-based artists—established media artist Ng and emerging artist Angel Hui—whose works explore the poetic rhythms of everyday life in Hong Kong, engaging with the Biennale's theme 'In Minor Keys' by Koyo Kouoh. The selection process involved nominations from local tertiary institutions and professional art organizations, with over 200 artists considered before Ng and Hui were chosen.

Meet the artists representing Hong Kong and Macao at the Venice Biennale

Hong Kong artists Angel Hui and Kingsley Ng, along with Macao artists Eric Fok Hoi Seng, Veronica Lei Fong Ieng, and O Chi Wai, will represent the Greater Bay Area at the 61st Venice Biennale, running from 9 May to 22 November 2026. Hong Kong's exhibition, titled 'Fermata: Hong Kong in Venice,' marks a shift from a solo to a duo format for the first time, co-organized and curated by the Hong Kong Museum of Art (HKMoA). Hui presents installations featuring embroidered plastic bags and aluminum window grilles inspired by local Hong Kong motifs, while Ng creates site-specific works referencing hanging laundry. Macao's showcase, 'Jacone's Polyphony,' features the three Macao artists. The biennale, curated by the late Koyo Kouoh, is themed 'In Minor Keys' and includes 110 artists, 100 national participations, and 31 collateral events.