The 61st Venice Biennale in the Shadow of the War in Ukraine

Pawilon-Polski-w-Wenecji-pap_20150507_0QX.jpg, default, The Polish Pavilion at the 56th Venice Biennale, photo: Maciej Kulczyński / PAP

#photography & visual arts

Despite official protests – including those from Marta Cienkowska, the Polish Minister of Culture – the organisers of the 61st Venice Biennale decided against barring Russia’s participation in the event. The most significant art show in the world begins on 9th May 2026 in the shadow of war.

At the beginning of March, Poland’s Minister of Culture, Marta Cienkowska, together with the ministers of culture and foreign affairs from other countries, signed a protest against Russia’s participation in the 61st Venice Biennale. On 10th March, on X, she wrote:

An artist who kowtows to a criminal becomes an accomplice to his crimes. A culture that remains silent in the face of murder becomes a culture of death and terror. […] We Poles, in particular, have a duty to protest against any presence of representatives of a thuggish state in places whose status might lend legitimacy to their criminal activities.

A month later, in an interview with Onet, Minister Cienkowska explained why, in her view, Russia’s participation in such an important cultural event is scandalous:

Culture is political; culture has a voice, and the voice of artists resonates very strongly. That is why silencing it in the name of criminal interests and using people obedient to the regime as a human shield deserves nothing but condemnation, not participation in a prestigious event. Is Russia, which is not only murdering people in Ukraine, but also has the clear aim of completely destroying the culture of this free, European country, supposed to have the right to do this? It is beyond comprehension.

Following the launch of its full-scale invasion of Ukraine, Russia did not take part in the Biennale in 2022 or 2024 – its invitation to this year’s edition sparked widespread controversy. The organisers explained, however, that its participation did not contravene the sanctions imposed on Russia following its invasion of Ukraine.

In response to this, on 30th April – just before the event was due to begin – the entire jury of the Biennale resigned. Although no official statement was issued to explain the decision, it is understood to be a gesture of protest. Even before resigning, the jury had announced that it would exclude Russia and Israel from the awards, as the leaders of both countries are accused by the International Criminal Court of crimes against humanity. The Italian Minister of Culture has also announced that, contrary to custom, he will not attend the Biennale’s opening ceremony.

Art critic Stach Szabłowski, who is now in Venice, said:

The Venice Biennale, like no other event in the art world, reflects contemporary tensions and conflicts. It doesn’t resolve them, but rather reveals them, like a grand modern allegory. The art world is no more moral than the world at large, but ethical conflicts are more visible within it and discussed more vociferously, which, in my view, is perfectly illustrated by the current situation. I flew to this year’s Biennale feeling disappointed by the attitude of its organisers, but not by the attitude of the art world in general. We can see that it’s partially corrupt, but there is also a section that resists and speaks out.

Despite the scandalous decision made by the Biennale organisers, Poland has decided to take part in the event, and the Polish Pavilion, featuring Bogna Burska and Daniel Kotowski’s project Liquid Tongues, will open as planned.

In a statement sent to the Polish Press Agency (PAP) on 4th May, Minister Cienkowska wrote:

We will be at the Biennale precisely because I cannot imagine a scenario in which we give way to Russia. We have a wonderful project by an outstanding artistic team. ‘Liquid Tongues’ is bold and very contemporary. It conveys a powerful message that effective communication requires goodwill on both sides, and that imposing conditions is a negation of dialogue, which in turn is the foundation of art.

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