With the 61st Venice Art Biennale set to open its doors to the public on May 9, 2026, recent developments have reignited the debate intertwining art and politics. Ukraine has imposed sanctions on individuals associated with the Russian Pavilion, while the European Commission is considering suspending funding for the Biennale if Russia participates, a possibility first indicated in March.
Ukrainian President Volodymyr Zelenskyy has signed a decree introducing restrictive measures against five individuals involved in the Russian exhibition project: commissioner Anastasia Karneeva, former Minister of Culture and current representative for cultural exchanges Mikhail Shvydkoy, and artists Artem Nikolaev, Ilya Tatakov, and Valeria Oleinik. Kyiv authorities have labeled them “cultural propagandists” linked to the Russian political system, accusing them of contributing to the international legitimization of the war. The sanctions include asset freezes, entry bans into Ukraine, and the suspension of all forms of cultural cooperation.
Concurrently, the European Commission, through the Eacea agency, has notified the Biennale of a potential suspension or revocation of approximately two million euros in funding designated for film activities between 2025 and 2028. The notification suggests a potential violation of European sanctions regimes, linked to the reopening of the Russian pavilion as a “government delegation.” The Venetian institution has 30 days to present its counterarguments.
The response from the Biennale, chaired by Pietrangelo Buttafuoco, was swift. In an official statement, the organization reiterated that it has acted “in full compliance with current national and international laws” and has violated no regulations, reaffirming its stance: the Biennale as a space for dialogue, open and not subject to cultural exclusion.
This situation arises within an already highly polarized context. In recent days, the Ministers of Culture and Foreign Affairs from 22 European countries formally requested the halt of Russian participation. The Italian government, through its Minister of Culture Alessandro Giuli, has expressed a strongly critical position, while emphasizing the need to gather further information before making a final decision. Giuli has also requested documentation from the Biennale regarding its relations with Russian authorities, and the European Commission is awaiting an opinion from the Italian Ministry of Foreign Affairs.
According to Kyiv, Russia’s participation, suspended since 2022, represents an attempt at “normalization” and propaganda. Moscow, as stated by Shvydkoy himself, views it as an inalienable right to cultural expression. Meanwhile, the debate extends to the Italian art world and institutions. The Mayor of Venice, Luigi Brugnaro, has defended the Biennale’s approach as a venue for discussion, not censorship, while clarifying that any propagandistic deviations would lead to the pavilion’s closure. Similar positions have been expressed by figures such as Achille Bonito Oliva, who has reiterated the inherently free nature of art.
