The Guardian presents a photo essay capturing the most eccentric and memorable moments from the 61st Venice Biennale, running until 22 November 2026. Photographer David Levene documents installations including a concrete 'Origami Deer' evacuated from war-torn Pokrovsk, Ukraine, by artist Zhanna Kadyrova; a seagull that became a minor celebrity after nesting outside the Polish pavilion; and the Holy See pavilion's immersive sound installation curated by Hans Ulrich Obrist and Ben Vickers. Other highlights include the Egyptian pavilion's touch-and-smell 'Silence Pavilion' and a Polish pavilion film featuring deaf and hearing singers.
The article matters because it captures the Venice Biennale's unique ability to blend high art with spontaneous, human moments—from geopolitical commentary (the Ukrainian sculpture rescued from Russian-occupied territory) to absurdist charm (a protected seagull attracting crowds). The photo essay underscores how the world's most prestigious contemporary art exhibition remains a platform for both serious political statements and playful, unexpected encounters, reinforcing its role as a barometer of global cultural and social currents.