
The problem with the Venice Biennale stems from the fact that the art world has become the space within which politics acquires its exhibition value
« Le problème de la Biennale de Venise provient du fait que le monde de l’art est devenu l’espace au sein duquel la politique acquiert sa valeur d’exposition »
Just days before the official opening of the Venice Biennale on May 9, the exhibition's jury collectively resigned in protest over the reopening of the Russian national pavilion. This echoes the 2022 resignation of Documenta's committee amid antisemitism accusations tied to the Israeli-Palestinian conflict. The article argues that both incidents reveal a deeper syndrome: the art world has been reduced to a stage for political display. It criticizes the selective outrage that targets Israel's pavilion while ignoring Russian airstrikes on civilians, China's erasure of Tibetan culture, or Senegal's anti-LGBTQ+ laws, and questions why artists are expected to represent their governments rather than themselves.


