Venice Biennale 2026 review: 'full of contrasts and bold statements'

The 61st Venice Biennale, *In Minor Keys*, opened under scrutiny after protests and a jury resignation over its inclusion of Russian and Israeli artists. Preview week was marked by controversy, though the exhibition itself invites visitors to ‘breathe deep’ and engage with art as a space of reflection. Curated by Koyo Kouoh’s team following her sudden death last year, the show features 110 artists across the Giardini and Arsenale venues, alongside 99 national pavilions and parallel exhibitions. The central theme emphasizes ‘quiet tones’ and ‘lower frequencies,’ yet the exhibition feels fragmented, balancing moments of calm with bold statements. Otobong Nkanga’s plant-covered pavilion contrasts with Big Chief Demond Melancon’s *Amistad Takeover*, a feathered costume referencing a slave rebellion. Works like Seyni Awa Camara’s clay statues and Celia Vasquez Yui’s *Council of the Mother Spirits* challenge Western artistic dominance, while Marcel Duchamp’s influence looms as a disruptive force. The Giardini highlights craftsmanship, from Wardha Shabbir’s Pakistani miniature-inspired art to Pio Abad’s lockdown ink drawings blending Benin bronzes with personal objects. Mohammed Joha’s Gaza collages and Sohrab Hura’s *Things Felt But Never Quiet Explained* series explore everyday life and trauma. The Arsenale expands these themes with larger-scale installations, including Daniel Lind-Ramos’ *Guardaverde* and Guadalupe Maravilla’s *Disease Throwers*, totemic figures built from found materials. Land rights and historical narratives dominate the Arsenale, alongside expanded film screenings. The Biennale’s sprawling scope—nearly a million visitors expected—reflects both its ambition and the tensions of its time. Despite its conceptual contradictions, the show offers a mix of political urgency and artistic innovation, leaving visitors to navigate its contrasts.