The article recounts the chaotic experience of the 61st Venice Biennale, titled "In Minor Keys" and curated by Koyo Kouoh. The author describes the overwhelming pre-opening week, marked by long queues, frantic scheduling, and a sense of masochistic preparation. A key highlight is Aline Bouvy's film "La Merde" (2026) at the Luxembourg Pavilion, which uses scatological humor as a satirical critique of shame and societal hypocrisy. The Biennale is also overshadowed by significant political turmoil: the international jury resigned en masse on April 30, refusing to consider countries whose leaders are charged with crimes against humanity (specifically Russia and Israel), leading to heightened security, Israel's relocation to the Arsenale, and a joint protest by Pussy Riot and Femen that forced the temporary closure of the Russian pavilion.
This matters because the 61st Venice Biennale, a premier global art event, has become a flashpoint for geopolitical tensions, with the jury's resignation and protests highlighting the art world's struggle to address human rights and international law. The juxtaposition of absurdist humor in works like Bouvy's with the real-world crises of loss, pain, and disappearance underscores how contemporary art is increasingly used as a platform for political commentary and resistance. The events signal a potential shift in how major art institutions navigate ethical boundaries and censorship, making this Biennale a landmark moment for art's role in society.