The 61st edition of the Venice Biennale commenced on Tuesday amidst overcast skies and sporadic rain, with political tensions, festivities, and protests significantly shaping the atmosphere at this prominent art event.
Lubaina Himid, representing the UK, showcased her extensive body of work focused on addressing her nation’s colonial history at the British pavilion. Her display featured large-scale paintings and a sound collage that evokes the essence of a “perfect British summer’s day.”
Meanwhile, just a short distance from the British pavilion, the Russian pavilion was alive with techno music and the clinking of glasses, as crates of prosecco were stacked outside, indicating a lively celebration within. This festivity came as a surprise, given that Russia had faced increasing calls for exclusion from the event but still managed to participate after being absent from the previous two editions due to backlash over its actions in Ukraine.
Prior to the biennale’s opening, the jury responsible for awarding the prestigious Golden Lion prizes collectively resigned, citing their refusal to consider submissions from nations whose leaders are internationally wanted for arrest, effectively excluding Russia and Israel.
The Italian culture ministry announced on Monday that the Russian pavilion would not be accessible to the public starting May 9, although flower sculptures inside would still be visible through the windows. Ukrainian Culture Minister Tetyana Berezhna remarked that the decision to keep the pavilion closed to the public marked a “significant step,” yet acknowledged that Russia’s “symbolic presence” remained impactful. “Cultural platforms influence global perceptions,” she stated. “They shape what is deemed acceptable and amplify certain voices. In this regard, every instance of representation holds significance.”
Geopolitical undercurrents were evident elsewhere throughout the event, as Iran’s participation was abruptly withdrawn without explanation amid the deteriorating ceasefire between the US and Iran.
In the giardini, the historic garden where national pavilions are located, approximately 60 artists participated in a protest organized by the In Minor Keys exhibition. They performed a “Solidarity Drone Chorus,” slowly marching through the garden while humming a song in opposition to Israel’s involvement in the biennale.
A collective of over 200 artists, including Lubaina Himid and Alfredo Jaar, signed an open letter calling for the cancellation of the Israeli pavilion, which officially opened on Tuesday.
This year’s biennale is notable for the absence of curator Koyo Kouoh, the Cameroonian-Swiss art leader who passed away in May 2025. The curatorial team she appointed—comprising Marie Hélène Pereira, Rasha Salti, Gabe Beckhurst Feijoo, Rory Tsapayi, and Siddhartha Mitter—has proceeded with the event according to her vision.
Several artworks referencing Kouoh are present, including a mural by Derrick Adams located at the entrance of the Arsenale, another key venue for the exhibition.
When questioned about the jury’s resignation in light of the inclusion of Israel and Russia, Mitter expressed complete respect for the jury’s decision but refrained from commenting on its appropriateness. “This exhibition does not serve as a commentary on global politics,” Salti noted, who has family in Beirut. “Yet, our backgrounds and the impact of global conflicts on our consciousness are evident in the exhibition.”
“The rise of right-wing politics has certainly heightened sensitivities,” she added.
On the preview’s first day, the Austrian pavilion attracted significant attention, particularly for choreographer Florentina Holzinger’s performance titled Seaworld Venice. Once every hour, she hung from a bell suspended from a crane above the pavilion, creating a captivating display as she swayed back and forth while ringing it.
Inside the pavilion, several chambers filled with water featured a jet ski being driven at increasing speed, while outside, an artist was submerged in a tank filled with what appeared to be purified urine, and another tank showcased an explosive sewage spill.
Adjacent to the Austrian pavilion, another highlight of the biennale was a seagull nesting on the ground, surrounded by a wooden fence set up by staff, which some attendees amusingly mistook for an art installation in its own right.
