Biennale of Venice, final touches on pavilions: letter against the Golden Lion Sokurov

The Venice Biennale, a globally recognized platform for contemporary art, is currently abuzz with activity as pavilions are finalized and installations prepared. However, beneath the surface of artistic creation, a significant controversy is brewing, particularly concerning the participation of the Russian pavilion. This year's theme, 'In Minor Keys,' sets a somber tone, but the real discord stems from political tensions and ethical debates surrounding Russia's involvement.

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behind the scenes — every detail is fundamental to tune the Gardens, the Arsenal and Venice to the 'minor keys' frequencies

A prominent 'open letter' has been submitted to the Biennale's president, Pietrangelo Buttafuoco, by a group including Pussy Riot founder Nadia Tolokonnikova, Oscar-winning director Pavel Talankin, and representatives from Memorial Italia. The letter vehemently protests the Russian pavilion's reopening after a four-year hiatus and criticizes the accompanying program, 'Dissent and Peace.' Signatories argue that the Biennale's approach reduces dissent to a mere 'cocktail' and constitutes a superficial performance, failing to genuinely engage with the realities faced by persecuted individuals.

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We urge you to open the initiative to those who are truly persecuted for their dissent and to honor the legacy of 1977 (the year of the Biennale of Dissent).

The core of the protest lies in the plight of Russian artists who are currently detained or have died in prison. The letter lists twenty-six detained artists, including a film director sentenced to eight years and a photographer to sixteen, as well as five who have died in custody. The signatories implore the Biennale to open its initiative to these genuinely persecuted individuals and to honor the legacy of past dissent, particularly referencing the 1977 'Biennale of Dissent.' They argue that a Biennale claiming to foster dialogue cannot proceed with a program that excludes and ignores those who are truly paying the price.

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At a time when the news of the Russian Pavilion has been met with strong opposition from the international community, the Minister of Culture sends his inspectors, Europe withdraws its funds and the jury resigns, a Biennale that claims to want dialogue cannot continue to reduce it to a superficial performance, it cannot become another cover, an event staged on invitation while those who pay the price are kept out and ignored.

This situation presents a complex dilemma for the Biennale, caught between its artistic mission and the geopolitical realities of the world. While the Italian Ministry of Culture has stated there is no intention to place the Biennale under commission, the controversy highlights the challenges of navigating international cultural exchange in times of conflict. From an Italian perspective, the Biennale is a jewel in our cultural crown, but its international standing requires a careful balance. The debate over the Russian pavilion forces a confrontation with the uncomfortable truth that art cannot always exist in a vacuum, and that platforms like the Biennale have a responsibility to consider the broader ethical implications of their programming choices, especially when dealing with nations involved in international conflict and human rights concerns.

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Don't reduce dissent to a cocktail.