Enjoy the Show. Ignore the War: Venice Biennale Under Fire for Hosting Russia

Enjoy the show Ignore the war – The Venice Biennale, a global art event often likened to the “Olympics” of the arts, has become a focal point of controversy after reintroducing Russia to its lineup for the first time since the full-scale invasion of Ukraine. This year’s edition has seen the nation’s pavilion draw sharp criticism, with protesters from Pussy Riot and Femen making bold statements in the gardens of the exhibition. Dressed in black and adorned with fluorescent pink balaclavas, the activists disrupted the event, shouting slogans like “Russia kills! Biennale exhibits!” as security personnel scrambled to secure the Russian booth. The protest highlighted a growing tension between the artistic prestige of the Biennale and the geopolitical realities it now faces.

Art as a Battlefield

According to Nadya Tolokonnikova, a member of the Russian punk collective Pussy Riot, Russia’s return to the Biennale is part of its broader strategy to exert influence through cultural means. “They’re sipping vodka and champagne in their pavilion, while the blood of Ukrainian children stains the ground,” she said during an interview, accusing the event of enabling Russia’s hybrid warfare tactics. The group’s actions underscored a belief that art and culture are being weaponized to legitimize Russia’s actions in Ukraine. One protester’s sign read: “Curated by Putin, dead bodies included.”

The Biennale’s decision to invite Russia back has sparked widespread debate, particularly in Europe. The European Commission, which funds the event, has “strongly condemned” the move, threatening to withdraw €2 million in support. The commission argues that allowing the “aggressor” to showcase its culture on such a prestigious platform violates ethical standards tied to the grant. This stance has put pressure on Italy, which hosts the Russian pavilion, to justify its participation. Despite the controversy, Italy’s culture minister has announced plans to skip the opening ceremony, signaling a cautious stance.

Boycott or Inclusion?

Italy’s deputy Prime Minister, Matteo Salvini, has defended the Biennale’s inclusion of Russia, claiming it would be unfair to exclude any nation. “No pavilion should be excluded,” he asserted, drawing criticism from Brussels observers who believe Italy’s response is inconsistent. Salvini’s past support for Putin, including a 2014 visit to Red Square in a Putin T-shirt, has made his position a point of contention among critics.

The backlash extends beyond Russia’s return. Last week, the Biennale’s international jury resigned in protest, citing a statement that mentioned countries with leaders wanted by the International Criminal Court for alleged war crimes. The group specifically named Russia and Israel, accusing the event of politicizing its judging process. This resignation has intensified the debate over whether the Biennale should prioritize artistic merit or political alignment.

Protests Targeting Israel

Meanwhile, Israeli artists have also found themselves at the center of controversy. On Wednesday, a new wave of demonstrators gathered outside the Israeli exhibit, leaving rain-soaked leaflets on the floor. The materials condemned the display as a “Genocide Pavilion,” reflecting ongoing tensions between the Biennale and Israel. The Israeli foreign ministry has previously criticized the event for fostering anti-Israeli bias, calling it a “political indoctrination” hub. Critics, however, argue that the Biennale has become a stage for ideological clashes.

Amid the rising tensions, the Biennale’s president has remained largely silent, refusing to grant interviews. This has allowed other voices to amplify the controversy. One of them is Pietrangelo Buttafuoco, a right-wing journalist and former media personality who has praised Vladimir Putin in the past. On the day of the Biennale’s opening, he accused critics of creating a “laboratory of intolerance,” condemning the calls to ban Russia and Israel as censorship. “If the Biennale begins to select not works but affiliations, not visions but passports, it would cease to be the world’s gathering place,” he declared before exiting the press conference without answering further questions.

Artists’ Voices in the Invisible Pavilion

Protesters have taken to the streets of Venice with posters advertising an “Invisible Pavilion,” a hypothetical exhibition of Ukrainian artists and writers. Among them is Volodymyr Vakulenko, a poet who was killed by Russian forces when they occupied his village. The posters, stamped with “Cancelled. Because the author was killed by Russia,” symbolize the artists’ frustration with the Biennale’s decision to host Russian works. These signs suggest that the event is not only a platform for art but also a battleground for historical memory and political expression.

Russia’s Soft Power Gambit

The Russian pavilion, located in the canal-side gardens of the Biennale, has become a prime example of the nation’s efforts to reassert its cultural influence. While the 2022 edition saw Russian curators withdraw in protest over the invasion, this year’s display features an upside-down tree and experimental sound installations. The creative choices aim to evoke a sense of inversion or disorientation, mirroring the chaos of the war in Ukraine. Anastasia Karneeva, the official commissioner for the Russian pavilion, dismissed concerns about the country’s presence, stating, “I don’t think about the protests. I am very busy.” Her comments reflect a pragmatic approach, prioritizing the event’s visibility over political scrutiny.

Karneeva’s own background adds another layer to the controversy. Her father holds a senior role at Rostec, Russia’s state-owned weapons manufacturer, which has been targeted by sanctions. Yet, she has avoided discussing this connection, choosing instead to redirect attention away from her family’s ties to the war effort. “Can we stop this conversation? Thank you,” she said, emphasizing the need to focus on the art rather than its political implications.

Russia’s reentry into the Biennale is not entirely smooth. While the country has secured a presence, its participation remains partial, with the pavilion’s selection limited to a few works. This has led some to view the Biennale as a compromised space, where artistic freedom clashes with political pressures. As the event continues, the question remains: can it remain a neutral forum for global art, or has it become a reflection of the war it seeks to overshadow?

Legacy and Challenges

The Biennale’s history as a cultural melting pot is now under strain. For decades, it has served as a platform for artistic innovation and international dialogue. But in 2024, that legacy is being tested by the inclusion of Russia and the subsequent protests. While some see this as a necessary step to maintain the event’s global reach, others argue that it risks aligning with a regime responsible for atrocities. The challenge lies in balancing artistic integrity with political accountability, a task that has become increasingly complex in the shadow of the ongoing conflict.

As the Biennale opens to the public, its reputation as an impartial art space hangs in the balance. The protests, the resignations, and the conflicting opinions of its leaders all point to a deeper divide. The question of whether the Biennale can continue to thrive as a symbol of unity or if it has become a stage for ideological battles is one that will shape its future. For now, the event is a testament to the power of art to provoke, inspire, and divide in equal measure.