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Somali Artists Take Issue With Nation's First-Ever Venice Biennale Pavilion

Somalia's first-ever national pavilion at the 61st Venice Biennale has sparked controversy, with local cultural organizations accusing organizers of excluding Somalia-based artists. The pavilion, titled SADDEXLEEY, features only diaspora artists—Somali-Swedish painter Ayan Farfah, Somali-Danish poet Asmaa Jama, and Somali-British poet Warsan Shire—while the Somalia Arts Foundation (SAF) and queer collective Warbixinta Cidda have denounced the appointment of Italian co-curator Fabio Scrivanti, citing colonial tensions. SAF founder Sagal Ali and others allege that artists in Somalia were not meaningfully consulted, and that organizers used intimidation tactics against critics. The pavilion's organizers claim it includes Mogadishu-based painter 4C and will host accompanying events, but details remain unconfirmed.

Somali Cultural Organizations Unhappy With Somalia Pavilion at the Venice Biennale

Somali artists and cultural organizations are protesting the Somalia pavilion at the 2024 Venice Biennale, arguing it excludes artists based in Somalia and relies on diaspora figures and an Italian co-curator, which they view as colonial. The Somali Arts Foundation issued a statement condemning the lack of consultation, while the queer arts collective Warbixinta Cidda criticized the appointment of Italian curator Fabio Scrivanti. Somali American poet Ladan Osman boycotted the pavilion, calling it "anti-indigenous."

On the Somalia Pavillion

At the 2026 Venice Biennale, Somalia has established its first-ever national pavilion, commissioned by the Somali government to showcase the richness of Somali culture through the theme of Saddaxleey, a triadic form of Somali poetry and proverbs. The pavilion features works by Somali Swedish artist Ayan Farah, UK-based Somali Danish multidisciplinary artist Asmaa Jama, and Somali British poet Warsan Shire. However, a collective of queer Somali artists, curators, and culture workers called Warbixinta Cidda has publicly criticized the pavilion for overrepresenting the diaspora, selecting an all-male advisory board, and appointing an Italian co-curator instead of Somali curators, raising concerns about representation and neocolonialism.