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At the Venice Biennale, the Thrill of Victory, the Agony of Defeat

The article reports on the opening of the 61st Venice Biennale, highlighting the central exhibition "In Minor Keys" conceived by the late Koyo Kouoh, along with national pavilions and collateral events. It notes standout contributions from artists such as Alvaro Barrington, Kaloki Nyamai, Florentina Holzinger, Ei Arakawa-Nash, Li Yi-Fan, and Dries Verhoeven, while describing the American pavilion as lackluster and the overall commercial offerings as uneven. The text also covers performances and exhibitions featuring nudity and body horror, including Tino Sehgal's "The Kiss" and Maja Malou Lyse's video with the collective DIS.

At the Venice Biennale, protests, self-mutilation and rage against Israel and Russia. Is anyone left to talk about the art?

At the 61st Venice Biennale, protests and controversies have overshadowed the art itself. The Art Not Genocide Alliance (ANGA) demonstrated against the inclusion of Israel and Russia, while the Israeli Pavilion became a flashpoint. Artist Belu-Simion Fainaru, presenting his installation "Rose of Nothingness" in a temporary space, complained that he was forced to defend his art's right to exist amid questions about politics rather than his work. The Biennale also saw barricades, strikes, the resignation of the Golden Lion jury, Iran's last-minute withdrawal, and anger directed at the American pavilion over Trump administration policies. The central exhibition, "In Minor Keys," curated by the late Koyo Kouoh, was eclipsed by these events.