Venice Biennale opens under shadow of protests over Russia and Israel

Lead

The 61st Venice Biennale, one of the world's most prestigious contemporary art exhibitions, opened this week under a cloud of political controversy as protests and boycotts overshadowed the artworks on display. The event, which runs from May 9 to November 22 in Venice, is facing scrutiny over the participation of Russia and Israel, with the international jury resigning en masse and the European Union threatening to withdraw €2 million in funding.

Coverage Comparison

Coverage across outlets highlights the event's fraught atmosphere. The Guardian noted that “political tension, parties and protest dominated proceedings,” with the Russian pavilion pumping techno music and serving prosecco during press previews, despite calls for Russia to be barred. RFI reported that Ukrainian feminist collective Femen and Russian punk band Pussy Riot staged a protest outside the Russian pavilion, using smoke flares and slogans to denounce Russia's return. Africa News focused on the protest against Russia's participation, describing tensions between artistic openness and political responsibility. TASS, the Russian state news agency, framed Russia's presence as a commitment to cultural dialogue, quoting Ambassador Alexey Paramonov as saying it demonstrates readiness for a “normal, mutually respectful, and equal exchange of ideas.”

Key Claims

• Russia's return to the Biennale: Russia is participating for the first time since its full-scale invasion of Ukraine in 2022, despite pressure from the EU and calls from 22 European countries to reconsider. The pavilion, which opened for invitation-only performances on May 5, will remain closed to the general public until May 9, after which visitors can access project documentation and video content. (Reported by multiple sources, including The Guardian, RFI, and TASS.)

• Protests and disruptions: Pro-Ukrainian activists, including members of Femen and Pussy Riot, protested outside the Russian pavilion on May 6. Eyewitnesses reported that smoke bombs in Ukrainian flag colors were ignited, but performances proceeded unaffected. Femen activist Inna Shevchenko told reporters, “The only Russian culture, the only Russian art today is blood. This pavilion stands on Ukrainian mass graves.” (Reported by RFI and TASS.)

• International jury resignation: The international jury, which selects the Golden Lion prizes, resigned last month, stating they would not consider entries from countries whose leaders are subject to International Criminal Court arrest warrants—namely Russia and Israel. (Reported by multiple sources, including The Guardian and RFI.)

• EU funding threat: EU foreign policy chief Kaja Kallas called Russia's participation “morally wrong” and said the EU was considering cutting €2 million in funding to the Biennale. The European Commission had already sent official letters demanding Russia's exclusion and canceled a grant. The Biennale president, Pietrangelo Buttafuoco, defended the decision, describing art as a “neutral space.” (Reported by RFI, TASS, and others.)

• Israeli pavilion remains open: Despite protests from over 200 participating artists, curators, and art workers who called for a boycott, the Israeli pavilion will be open to the public. Critics say allowing it platforms a state engaged in genocide and cultural erasure. (Reported by The Guardian.)

• Iran's pavilion closed: Iran announced it would not open a pavilion at the Biennale, without citing a reason, though observers assume it is related to its conflicts with the US and Israel. (Reported by The Guardian.)

Perspectives

Ukrainian officials and European critics argue that Russia's participation legitimizes a country accused of war crimes, with culture minister Tetyana Berezhna saying the pavilion's closure is a “meaningful step” but that its “symbolic presence” is still powerful. Russian officials, meanwhile, frame the participation as a stand against what they call “unacceptable pressure” from EU bureaucrats, who they accuse of seeking to lower an Iron Curtain. The Biennale's organizers maintain that art should remain a neutral space and that the pavilion, owned by Russia since 1914, cannot be excluded. The protestors, including Ukrainian curator Ksenia Malykh, say that “art is beyond politics” is a false claim, insisting that Russia is using art as a weapon in a hybrid war.

The controversy reflects broader tensions in the art world about how to respond to geopolitical crises, with some calling for a boycott of countries accused of human rights abuses and others defending the autonomy of cultural institutions. As the Biennale opens to the public, the artworks will compete with the political noise, and the question of whether cultural platforms can remain neutral—or should—remains unresolved.