Nilbar Güreş, the artist representing Turkey at the 61st Venice Biennale (2026), responds to a questionnaire from ArtReview about her upcoming exhibition. She expresses exhaustion with having to explain herself to Western audiences and critiques the white, male-dominated art world. Her inspiration for the pavilion comes from this disgust and fatigue, and she states that the Biennale's theme, "In Minor Keys," did not guide her preparation. Güreş also voices disillusionment with the art world's silence on humanitarian crises, particularly the bombing of hospitals and children in Palestine, and notes that artists speaking out on Palestine face censorship and exclusion.
This interview matters because it captures a prominent artist's critical perspective on national pavilions, biennial culture, and the art world's political responsibilities at a moment of rising nationalism and global conflict. Güreş's frank comments about censorship, colonial pressures, and the loss of enthusiasm for art reflect broader tensions within the contemporary art scene, especially regarding the role of institutions in addressing humanitarian crises. Her stance challenges the Venice Biennale's relevance and the expectations placed on artists representing their countries.