More Than 6,000 Individuals Sign Letter Opposing Russia’s Pavilion at Venice Biennale
**Artists and Activists Raise Alarm Over Russia’s Participation in the 61st Venice Biennale**
The upcoming 61st edition of the Venice Biennale, set to open on May 9, 2026, has sparked significant controversy following the inclusion of Russia after its absence in prior years. This decision comes amid ongoing geopolitical tensions, particularly Russia’s actions in Ukraine, leading to a substantial backlash from various sectors of the arts and culture community.
A petition by the Arts Against Aggression International Movement has been launched, garnering support from over 6,000 signatories including artists, academics, curators, journalists, and political figures. The open letter urges Biennale leaders to reassess Russia’s participation, arguing it contradicts the event’s previous stance of severing ties with Russian entities as long as the conflict in Ukraine persists.
Russia’s previous withdrawal from the 2022 and 2024 Biennales was marked by the exit of artists Kirill Savchenkov and Alexandra Sukhareva due to the invasion. The pavilion stood unused in 2024 until it was temporarily lent to Bolivia. This year, however, Russia returns with the exhibition “The Tree Is Rooted in the Sky,” featuring 38 artists and musicians. Mikhail Shvydkoy, President Putin’s cultural envoy, claims that Russia’s presence demonstrates the failure of efforts to isolate its culture.
Critics, including Pussy Riot’s Nadya Tolokonnikova, argue that Russia’s participation normalizes war crimes through art and reflects poorly on Europe’s security, asserting that culture is used by Russia as a tool of political aggression and hybrid warfare. Statements from Pussy Riot highlight the use of cultural “soft power” as part of Russia’s military strategy.
Tolokonnikova and others question the Biennale’s integrity, pressing for art to illuminate truth and resist being used by oppressive regimes. Similar controversies have arisen concerning other nations, such as Israel, further highlighting the intertwining of cultural platforms and global politics. The Italian government has clarified that Russia’s inclusion was a decision made independently by the Biennale Foundation, despite opposition.
As the petition continues to gain traction, the debate underscores a pivotal question: Can cultural events remain neutral sanctuaries of free expression, or do they risk serving as instruments for political objectives? The art world watches closely as this unfolds, determining the future dynamics of cultural diplomacy in conflicted times.