The lineup of artists for the Holy See Pavilion at the upcoming 2026 Venice Art Biennale, running from May 9th to November 22nd, has been revealed. The exhibition, spread across the Mystical Garden of the Discalced Carmelites in Cannaregio and the Santa Maria Ausiliatrice Complex in Castello, draws inspiration from the pivotal 12th-century Benedictine nun, mystic, composer, and theologian, Hildegard of Bingen. Declared a saint and Doctor of the Church in 2012, her influence forms the core of the pavilion. However, the exhibition inevitably also reflects the complex geopolitical climate surrounding this edition of the lagoon city’s major event.
Titled The Ear is the Eye of the Soul, the Holy See Pavilion’s exhibition project at the 2026 Biennale will explore the connection between vision and hearing, sensory experience and the transcendental dimension. This concept is translated into a profound ‘sound prayer,’ as described in the curatorial project. The pavilion is curated by Hans Ulrich Obrist and Ben Vickers, with the collaboration of Soundwalk Collective, an entity known for its experimental work bridging sound, space, and environment. Cardinal José Tolentino de Mendonça serves as the Commissioner of the Pavilion.
The selected artists represent a commitment to interdisciplinary experimentation. Among the announced names are Brian Eno, the legendary ambient music composer and a significant figure in contemporary visual culture; FKA Twigs, the British singer-songwriter, musician, and dancer; and Patti Smith, a recurring presence in contexts that blend art and spirituality. They will be joined by filmmaker Jim Jarmusch, organist and composer Kali Malone, and visual artists Otobong Nkanga and Precious Okoyomon, whose work navigates themes of ecology and poetry.
This convergence of figures from diverse fields—visual arts, music, cinema, poetry—defines the project’s unique character. In the Mystical Garden, visitors will be invited to wander through the space wearing headphones, engaging with specially composed sound installations and an instrument designed to ‘listen’ to the garden in real-time. At the Santa Maria Ausiliatrice Complex, the experience will be structured around three main areas: an archive compiled with Sister Maura Zátonyi and the Academy of Saint Hildegard, featuring texts, research, and materials related to the Saint; a sonic liturgy by the nuns of Eibingen, intimately connected to Hildegard’s musical and spiritual legacy; and the final work of the recently deceased director Alexander Kluge (who passed away on March 25, 2026, at 94 and also authored the Pavilion’s title). This will be a monumental installation of film and images, presented in 12 stations across three rooms, aligning with the ongoing restoration of the building.
While the pavilion’s curatorial direction appears to continue the trajectory established in recent years—recalling the 2024 edition held in the women’s prison on Giudecca, which focused on marginalization—this new proposal cannot be viewed in isolation from the political tensions shaping the international landscape and impacting the Biennale’s organization. From sanctions against the Russian Pavilion and pressures concerning Israel’s participation to recent friction between Pope Leo and Donald Trump, the context for the Vatican’s project is anything but neutral.
