Sands and Rituals from the Antipodes: To Be Discovered in a Former Church in Venice

Sabbie e riti dagli antipodi. Da scoprire in una ex chiesa di Venezia

The Church of San Lorenzo in Venice, home to Ocean Space, is hosting "Tide of Returns," an exhibition by the Repatriates Collective. The installation transforms the historic nave with sand dunes populated by thousands of decorated shells known as Dadikwakwa-kwa, or shell dolls, from the Anindilyakwa people of Australia. The show also features a tripartite installation of video, textiles, and braids by German-Bolivian artist Verena Melgarejo Weinandt, exploring themes of ancestral connection and the universal significance of water.

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Adriano Pedrosa, the first Latin American and openly queer curator of the Venice Biennale, has unveiled a record-breaking artist list for the 60th edition titled "Foreigners Everywhere." Featuring 331 artists, the main exhibition is the largest in the event's history and introduces a "nucleo storico" designed to provide belated recognition to overlooked figures from the Global South and marginalized communities. Pedrosa’s selection process intentionally challenges the Western-centric traditions of the art world by focusing on themes of displacement and the "stranger."

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The 61st Venice Biennale is taking shape as national pavilions announce their participants and curatorial themes for the 2026 edition. Russia has confirmed its return to the Giardini with a multidisciplinary exhibition titled “The Tree is Rooted in the Sky,” following its 2022 withdrawal and the 2024 loan of its pavilion to Bolivia. The upcoming edition, themed “In Minor Keys,” will proceed under the vision of the late curator Koyo Kouoh, who passed away in 2025 after becoming the first African woman appointed to helm the prestigious event.

Venice Biennale Russia Pavilion Return Controversy

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The Venice Biennale is facing intense backlash following the announcement that Russia will return with a national pavilion for the 2026 edition, marking its first official participation since the 2022 invasion of Ukraine. Ukrainian Foreign Minister Andrii Sybiha and various international activists have called for Russia's exclusion, arguing that the platform is being used to whitewash war crimes and exert political influence. In response, the Biennale leadership has maintained a policy of non-exclusion, stating that any country recognized by Italy has an autonomous right to participate.

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Russia has announced it will reopen its national pavilion at the 2026 Venice Biennale after a four-year hiatus following the invasion of Ukraine. The pavilion, which remained closed in 2022 and was loaned to Bolivia in 2024, will host an exhibition titled "The Tree is Rooted in the Sky" featuring a "musical festival" with over 50 participants from Russia and countries including Argentina, Brazil, Mali, and Mexico.

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Artnet News has compiled a selection of artworks created in anticipation of Pope Francis's first visit to the United States. The works include Anthony VanArsdale's portrait for the North American College in Rome, a new addition to the 'Franks' mural at Philadelphia's Dirty Franks bar, a massive photo-realistic mural by Van Hecht-Nielsen overlooking Madison Square Garden in New York, a large-scale mural by Caesar Viveros for the Philadelphia Mural Arts Program, and a controversial, officially licensed portrait by Perry Milou. Other featured pieces include an illustration by Omkar Shivaprasad and a vandalized mural in Bolivia by William Luna and Guillermo Rodriguez.

MACLA, Montalvo Arts Center partner on new exhibition in San Jose

A new exhibition titled “From Their Hands to Ours” has opened at MACLA’s downtown San Jose gallery, running from December 5 through March 8. The show is a collaboration between MACLA and the Montalvo Arts Center in Saratoga, co-curated by Alyssarhaye Graciano and Olivia Esparza. It features works by artists rafa esparza, Estefania Ajcip, Miguel Arzabe, Edra Soto, and Arleene Correa Valencia, with a notable installation by rafa esparza that includes an adobe floor made from mud, straw, and manure, incorporating the artist’s own shoes. Each piece explores themes of identity, place, and ancestral heritage, drawing on traditions such as Chicano adobe-making, Puerto Rican fences, and Bolivian textile art.