The artist and curators representing Israel at this year’s Venice Biennale made a notable announcement on April 16: they would not open the Israeli pavilion exhibit until there is a cease-fire in Gaza and an agreement to release hostages.
In a joint statement, the curators and the artist expressed deep concern for the suffering of Palestinians in Gaza and the families of hostages in Israel. They emphasized that while art can wait, the urgent plight of women, children, and others enduring extreme hardship cannot be ignored.
Their decision, described as courageous by the festival’s main curator, was publicly posted on a sign in the window of the Israeli national pavilion during media previews, just days before the Biennale contemporary art fair’s opening on Saturday.
Israel is one of 88 countries participating in the 60th Venice Biennale, scheduled from April 20 to November 24. The exhibition planned for the Israeli pavilion, titled “(M)otherland,” was created by artist Ruth Patir.
Even before the official preview, thousands of artists, curators, and critics had signed an open letter urging the Biennale to exclude the Israeli national pavilion from this year’s show as a protest against Israel’s actions in Gaza. Those opposed to Israel’s participation had also pledged to protest on-site.
Italy’s culture minister had strongly supported Israel’s involvement, and the fair was opening amid heightened security measures.
The announcement of the Israeli pavilion’s delayed opening was written in English and stated, “The artist and curators of the Israeli pavilion will open the exhibition when a ceasefire and hostage release agreement is reached.” Nearby, two Italian soldiers stood guard.
In a statement, Ruth Patir expressed solidarity with the families of hostages and the broader community in Israel advocating for change. Patir acknowledged the complexity of presenting art that speaks to the vulnerability of life amidst profound disregard for it.
Patir, present in Venice on Tuesday, declined further comment, as did the Biennale organizers.
Adriano Pedrosa, the Brazilian curator of the Biennale’s main show, commended the artist and curators for their decision, calling it courageous and wise given the challenging context.
The national pavilions at the Venice Biennale operate independently from the main show, with each country determining its own exhibit, which may or may not align with the curator’s overarching vision.
In addition to the Israeli pavilion, Palestinian artists are participating in collateral events in Venice, and works by three Palestinian artists will feature in Pedrosa’s main show, titled “Stranieri Ovunque – Foreigners Everywhere,” which showcases a majority of artists from the global south.
Pedrosa noted that one of the Palestinian artists, Khaled Jarrar based in New York, was unable to physically attend the Biennale due to visa issues.
The curators of the Israeli pavilion, Mira Lapidot and Tamar Margalit, explained that they were postponing the exhibit’s opening due to the ongoing “horrific war” in Gaza, expressing hope for improved conditions that would allow the exhibition to open to the public.
“There is no end in sight, only the promise of more pain, loss, and devastation. The exhibition is up and the pavilion is waiting to be opened,” they stated. Currently, a video work by Ruth Patir can be viewed through the pavilion window.
Geopolitical issues have historically intersected with the Venice Biennale. The festival previously discouraged and later banned South Africa’s participation during apartheid. In 2022, Russian artists withdrew their participation in protest against the Kremlin’s actions in Ukraine, and Russia did not seek to participate in this year’s edition.