The Venice Biennale and Eurovision Song Contest are being overshadowed by political controversies rather than artistic merit. At the Venice Biennale, the Russian pavilion opened for press previews for the first time since the Ukraine invasion, a decision that may cost the festival €2m in EU funds. The Israeli pavilion will open despite protests from 200 artists and curators, while the South African pavilion will remain empty after its government blocked an artist's tribute to a Palestinian poet. The Iranian pavilion is also shut, and the awarding jury has resigned en masse, meaning no Golden or Silver Lion awards will be given for the first time in 40 years. Similarly, Eurovision's 70th anniversary is dominated by five countries boycotting over Israel's participation, with little focus on the music.
This matters because these major cultural events are increasingly becoming arenas for geopolitical conflict, raising questions about whether art can remain apolitical in a polarized world. The controversies at Venice and Eurovision highlight how national representation in cultural competitions amplifies political tensions, potentially undermining the very purpose of these festivals—to celebrate artistic achievement. The contrast with the Cannes Film Festival, which has so far avoided major political furore, suggests that the structure of an event (national pavilions vs. a global marketplace) may influence how politics intrudes. The article underscores a growing crisis in international cultural diplomacy, where the line between art and activism is becoming blurred.