Two Canadian artists add names to Venice Biennale letter protesting inclusion in awards ballot

Two Canadian artists exhibiting at the Venice Biennale have joined an open letter protesting their inclusion in the event’s visitors’ choice awards. The letter, signed by over 100 artists and groups, demands removal from the ballot for the new Golden and Silver lions awards, introduced after the original jury resigned in May. The resignation followed the jury’s decision to exclude countries accused of war crimes by the International Criminal Court, specifically citing Russia and Israel’s participation in the Biennale. The artists argue the new voting system is an attempt to undermine the jury’s dissent. Toronto-based Bonnie Devine stated in an email that she refuses to participate in what she sees as a ‘cover up and erasure’ of the jury’s stance. The Biennale’s administration responded in a May 28 email, confirming artists would not be considered for prizes but refusing to remove their names from the ballot to preserve ‘freedom of expression.’ So far, 70 individual artists and 39 national pavilions have requested removal from the awards process. The Biennale’s main exhibition features 110 artists and groups, with 96 national pavilions eligible for competition. Devine and Alexa Kumiko Hatanaka, both part of the main exhibition *In Minor Keys*, are among those protesting, while other Canadian participants like Abbas Akhavan (Canada Pavilion) and Lotus L. Kang (Bulgari-hosted pavilion) are not included in the dispute. The controversy stems from the Biennale’s decision to replace the jury’s awards with a public vote after the jury’s resignation. The original jury had excluded Russia and Israel in 2022 and 2024, respectively, over war crimes concerns. This year, Russia’s pavilion opened only during preview week, and protests occurred outside Israel’s temporary pavilion in the Arsenale. The Biennale’s administration has not altered its position despite the artists’ threats of legal action. The dispute highlights broader tensions between artistic integrity and institutional responses to geopolitical conflicts at one of the world’s most prestigious art events.