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.
This dispute matters because it highlights ongoing tensions around representation, authorship, and decolonization in global art institutions, particularly as nations with colonial histories debut at prestigious events like the Venice Biennale. The controversy raises questions about who gets to speak for a nation's culture and whether diaspora voices can adequately represent a country's contemporary art scene without input from local practitioners. It also underscores broader criticisms of the Biennale's handling of political issues, including the erasure of Palestine, as noted by Somali-American poet Ladan Osman.