The theme of earth’s biggest art extravaganza – spiritual rest – felt wildly wrong for our crisis-hit planet. Thank goodness for the pavilions, from fake babies to hi-tech sperm banks to a chocolate Russell Crowe
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t was almost over before it even started. This year’s Venice Biennale has been tearing itself apart for months: countries not showing up, artists getting fired, exhibitions being cancelled, funding getting pulled. There were petitions and protests months before a painting was on a wall. The jury quit in the days leading up to the opening, then Iran quit, then the European Commission quit. There were protests against Israel and Russia during the preview, artists went on strike and artworks were replaced with installations of Palestinian flags.
The whole thing was a massive mess of conflicting politics, personal tragedy and unresolvable ideological differences from the very beginning. And all this without even mentioning that the curator, Koyo Kouoh, died last year and wasn’t able to see her artistic vision through to completion. In a sense, the 2026 Venice Biennale never stood a chance.
Kouoh’s idea for her biennale was to chuck aside the ire and invective of outright political art, and focus on quiet, contemplation and healing. Titled In Minor Keys, this exhibition is about “spiritual and physical rest” in “oases” of art. It’s about “low notes” and “deep listening”. Seriously? I mean, the world is collapsing out there, wars are breaking out every few minutes, the far right is flourishing, the planet is dying, and AI is about to turn us all into batteries. But the biggest art exhibition on Earth wants us to relax? It’s a tough pill to swallow.
