The 61st edition of the Venice Biennale has opened in one of the most politically charged atmospheres in the history of the exhibition. Under the title In Minor Keys, the 2026 edition was initially conceived by the late Cameroonian curator Koyo Kouoh as a reflective and poetic exhibition focused on subtle narratives, memory, ecological fragility and non-dominant voices. Instead, before the public opening even began, the Biennale became overwhelmed by protests, resignations, diplomatic tensions and accusations surrounding the participation of Russia and Israel.
Held across the historic spaces of the Giardini and the Arsenale in Venice, the exhibition was meant to continue the Biennale’s long tradition as a meeting point for international contemporary art. Yet this year, global conflicts entered the exhibition halls more directly than ever, transforming the Biennale into a mirror of geopolitical fractures rather than simply an artistic event.
The controversy surrounding Russia’s return
One of the main flashpoints of the 2026 Biennale was the return of the Russian Pavilion after its absence from the 2022 and 2024 editions following the invasion of Ukraine. The decision immediately sparked criticism from artists, curators, European institutions and Ukrainian representatives, who viewed Russia’s participation as incompatible with the ongoing war.
The Biennale’s president, Pietrangelo Buttafuoco, defended the choice by arguing that the Biennale should remain a place of dialogue rather than exclusion. However, the decision triggered a wave of backlash. The European Commission reportedly threatened to withdraw funding, while the Italian Ministry of Culture publicly distanced itself from the inclusion of the Russian Pavilion.
Although the Russian Pavilion remained mostly closed to the public during the exhibition, its symbolic presence became one of the central debates of the Biennale. Ukrainian artists and activists organized protests throughout the opening days, accusing the institution of allowing cultural normalization during wartime.
Israel, Gaza and international protests
At the same time, Israel’s participation generated another major controversy linked to the ongoing war in Gaza. More than 200 artists and cultural figures associated with the Biennale signed open letters criticizing the inclusion of the Israeli Pavilion. Demonstrations took place throughout Venice during preview days, with activists accusing the Biennale of remaining neutral in the face of humanitarian violence.
The tensions escalated after the Biennale jury announced that artists representing countries whose political leaders face International Criminal Court accusations would not be eligible for awards. While the statement never explicitly named countries, it was widely interpreted as referring to Russia and Israel.
Israeli representatives strongly criticized the decision, calling it discriminatory and politically motivated. The situation eventually led to one of the most unprecedented moments in Biennale history: the resignation of the entire international jury.
The resignation of the Biennale jury
Only days before the official opening, all five members of the Biennale jury stepped down from their roles. The resignation effectively left the exhibition without its traditional award structure, forcing organizers to postpone the Golden Lion ceremony and replace part of the system with public voting.
The resignation exposed a broader institutional crisis inside the Biennale. For many critics, the situation raised questions about whether the traditional national pavilion model still makes sense in a deeply polarized geopolitical climate. Others argued that art institutions cannot claim neutrality while operating inside global conflicts and systems of power.
The controversy quickly overshadowed many of the artworks themselves, with international media focusing less on exhibitions and more on protests, diplomacy and institutional instability.
Strikes, closed pavilions and activist actions
The atmosphere intensified further during the opening week when several national pavilions temporarily closed as part of artist-led strikes connected to protests against Israel’s participation. Countries including France, Belgium, Austria, Japan, the Netherlands and South Korea reportedly joined actions organized by activist groups such as the Art Not Genocide Alliance.
Meanwhile, performances and demonstrations unfolded across the Giardini and the Arsenale. Protesters clashed with police during some demonstrations, while Ukrainian and Palestinian activists used the Biennale as a platform to amplify political messages to an international audience gathered in Venice.
This atmosphere created a Biennale unlike previous editions: less centered around spectacle and market dynamics, and more around the role of art institutions during moments of global crisis.
“In Minor Keys” and the legacy of Koyo Kouoh
Lost amid the controversy was the curatorial vision of In Minor Keys, the exhibition conceived by Koyo Kouoh before her death in 2025. Kouoh imagined a quieter exhibition focused on listening, memory, spirituality and overlooked narratives rather than monumental gestures or spectacle.
Many artists in the central exhibition addressed themes connected to ecological repair, colonial histories, displacement and collective memory. Several national pavilions also explored trauma, identity and resilience through installations that contrasted sharply with the surrounding political tensions.
In many ways, the 2026 Biennale became defined by a contradiction: an exhibition curated around subtle and intimate frequencies suddenly transformed into one of the loudest and most divisive editions in recent memory.
A Biennale reflecting the state of the world
The 61st edition of the Venice Biennale may ultimately be remembered less for a single artwork or pavilion and more for the institutional and political debates it exposed. Questions surrounding censorship, neutrality, cultural diplomacy and the responsibilities of international art institutions dominated conversations throughout the opening days.
At a moment when wars, protests and political polarization continue to shape public life globally, the Biennale demonstrated how impossible it has become for contemporary art to exist outside political realities. Rather than functioning as a temporary escape from the world, Venice in 2026 became a condensed portrait of it.
Useful Information
Dates:
The 61st International Art Exhibition of the Venice Biennale runs from May 9 to November 22, 2026.
Opening Hours:
Tuesday to Sunday, 11:00 AM – 7:00 PM
Closed on Mondays (except holidays).
Main Locations:
Giardini della Biennale
Arsenale di Venezia
Official Website:
La Biennale di Venezia
Tickets:
Tickets and passes are available on the official ticket platform:
Buy Venice Biennale Tickets
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