The 2026 Venice Biennale has been plagued by turmoil long before its opening, with countries pulling out, artists fired, exhibitions cancelled, and funding withdrawn. The jury resigned days before the preview, followed by Iran and the European Commission. Protests against Israel and Russia erupted, artists went on strike, and artworks were replaced with Palestinian flags. The curator, Koyo Kouoh, died last year, leaving her vision incomplete.
Kouoh’s theme, 'In Minor Keys', aimed for spiritual and physical rest in 'oases' of art, focusing on quiet contemplation. But critics argue this feels wildly inappropriate for a world facing wars, far-right surges, climate crisis, and AI threats. The exhibition, curated by a committee of five, is described as a vast, incoherent mess with poorly contextualised art from the global south.
The central shows in the Giardini and Arsenale lack clear connections between works, with an overabundance of ceramics, textiles, rocks, and serene forest videos. Politics and conflict are notably absent, making the Biennale feel safe and irrelevant. Some standout pieces include Seyni Awa Camara’s animal-human hybrid pots, Celia Vásquez Yui’s glazed creatures, and Mohammed Z Rahman’s matchbox images of queer heartbreak.
Other highlights include Tammy Nguyen’s canvases linking the cold war to Vietnam, Wardha Shabbir’s maximalist miniature paintings, and works from the Nairobi Contemporary Art Institute featuring eerie, aggressive paintings. The Arsenale offers bigger, weirder installations like Guadalupe Maravilla’s giant trashy throne, but overall the exhibition is disjointed and aimless.
