{"id":1913815,"date":"2026-05-01T15:22:44","date_gmt":"2026-05-01T12:22:44","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=1913815"},"modified":"2026-05-01T15:22:44","modified_gmt":"2026-05-01T12:22:44","slug":"2026-venice-biennale-national-pavilions-see-every-countrys-artist","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=1913815","title":{"rendered":"2026 Venice Biennale National Pavilions: See Every Country’s Artist"},"content":{"rendered":"
\n\tThe central attraction at the Venice Biennale is its main exhibition, a curated show meant to pinpoint a dominant theme in art as it stands right now. But all around it are pavilions staged by countries, with each nation selecting one or more artists to mount their own show or installation. These national pavilions have contributed to the common conception of the Biennale as the art world\u2019s Olympics: a place where stars are born and nations flex their might. <\/p>\n
\n\tThe national pavilions often tend to remain in flux until the very end. In 2024, the wars in Ukraine and Gaza upended several nations\u2019 plans to exhibit at the Biennale. In 2026, those conflicts have once again roiled this area of the Biennale, with Australia canceling and then reinstating its selected artist and the inclusion of Israel and Russia. Uncertainty within a given country can also affect their planned participation, as was the case with the government shutdown delaying the announcement of the US Pavilion.<\/p>\n
\n\tIn March, the Biennale announced the list of 100 official pavilions, as well as 31 collateral events (some of which are for countries and territories that do not official diplomatic relations with Italy), for the 2026 Venice Biennale, whose main exhibition will take the title \u201cIn Minor Keys.\u201d While not a requirement, a number of countries often align their picks to resonate with the theme of the main exhibition. <\/p>\n
\n\tThe full list, particularly Russia\u2019s inclusion, has generated controversy both within the art world and EU politics, with some politicians charging that a Russian Pavilion is a violation of EU sanctions against the country as part of its ongoing war in Ukraine. In March, in response to these claims, the Biennale has said that it cannot reject any country that submits a pavilion and has diplomatic relations with Italy, adding that \u201cLa Biennale di Venezia rejects any form of exclusion or censorship of culture and art.\u201d The Biennale has not issued any further statements regarding the matter. <\/p>\n
\n\tHowever, shortly after the jury that was to decide the Golden Lion for Best National Participation was announced, its five members issued a statement that any countries who have been pending charges of crimes against humanity from the International Criminal Court will not be considered, which includes Russia and Israel. \u201cAs members of the jury, we also have a responsibility towards the historical role of the Biennale as a platform that connects art to the urgencies of its time,\u201d their statement reads, in part. \u201cAt this edition of the Biennale, we wish to set out our intention\u2014to express our commitment to the defense of human rights and to the spirit of Koyo Kouoh\u2019s curatorial project.\u201d On April 30, days before the previews for the Biennale are to set, the jury resigned en masse, with the Biennale later saying that no Golden Lions will be issued this year, awarding instead \u201cVisitors\u2019 Lions,\u201d decided by public vote.<\/p>\n
\n\tKoyo Kouoh, the former executive director and chief curator of Zeitz Museum of Contemporary Art Africa in Cape Town, South Africa, was selected as the main exhibition\u2019s curator in late 2024. She died unexpectedly on May 10, 2025, just weeks before her theme was to be announced. The Biennale has made the decision to proceed with Kouoh\u2019s vision for the exhibition, \u201cwith the full support\u201d of Kouoh\u2019s family, and a team of five curatorial advisers will realize the show. <\/p>\n
\n\tBelow, a guide to the 2026 Venice Biennale\u2019s national pavilion, as well as collateral events that act as pavilions for countries without diplomatic ties to Italy.<\/p>\n
\n\tWhile Genti Korini<\/strong>\u2019s paintings and sculptures may sometimes resemble the fashionable kind of figurations seen in commercial galleries across the globe, his work is rooted in heady ideas about Eastern Europe\u2019s past, present, and future. He\u2019ll return to those ideas with his Albanian Pavilion, titled \u201cA Place in the Sun,\u201d which will feature pieces that draw on both Albanian history and Polish experimental theater traditions. Ma\u0142gorzata Ludwisiak<\/strong> will curate.<\/p>\n
Argentina<\/h2>\n\n\t\t\t\t\tImage Credit: Courtesy Casa Tri\u00e2ngulo\t\t\t\t<\/figcaption><\/figure>\n
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\n\tYou\u2019ll want to watch your step at Mat\u00edas Duville<\/strong>\u2019s Argentine Pavilion, since the entire floor will be covered by a drawing made using charcoal and salt. Such a gesture may not be exactly unexpected for those familiar with Duville, who often works with burnt wood to create images of scorched landscapes. His latest outing will be titled \u201cMonitor Yin Yang\u201d and will be curated by Josefina Barcia<\/strong>.<\/p>\n
Armenia<\/h2>\n\n\t\t\t\t\tImage Credit: Sean Drakes\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n
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\n\tThis year\u2019s Armenian Pavilion may offer the rare case where one of its curators is better known than its artist representative. That curator is Tony Shafrazi<\/strong>, who is best known as a dealer of the 1980s New York scene; he will co-organize the pavilion with Tina Shakarian<\/strong>. Together, they are spotlighting artist Zadik Zadikian<\/strong>, who acted as an assistant to Richard Serra early in his career and has since produced an array of abstract sculptures, including a monument to Armenian soldiers killed in the 2020 war in Nagorno-Karabakh. At the Independent 20th Century fair this past fall, Shafrazi, who had not participated in an art fair since 2012, showed Pop-inflected work by Zadikian and a sculpture of gold bricks revisiting one of his pieces from the \u201970s.<\/p>\n
Venue: Fondamenta Case Nuove 2738\/C, Castello, Tesa 41, Arsenale Militare<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n
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Australia<\/h2>\n\n\t\t\t\t\tImage Credit: Anna Kucera\t\t\t\t<\/figcaption><\/figure>\n
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\n\tAlready, no pavilion at the 2026 Biennale has proven more controversial than Australia\u2019s, which is being done by artist Khaled Sabsabi<\/strong>, who is working in tandem with curator Michael Dagostino<\/strong>. Not long after its initial announcement, in February 2025, Sabsabi\u2019s pavilion was canceled by its organizer, Creative Australia, which raised concerns over prior works by the Lebanese-born artist, including one that featured images of a Hezbollah leader. Creative Australia said that \u201ca prolonged and divisive debate\u201d would pose a \u201crisk\u201d to the pavilion; Sabsabi and Dagostino said they were being censored. But the cancelation ended up itself provoking a divisive debate that saw Creative Australia board members resign and open letters issued, and eventually, five months later, Sabsabi was reinstated as Australia\u2019s representative. He and Dagostino said the reinstatement provided them with \u201ca sense of resolution.\u201d<\/p>\n
\n\tContinuing an emphasis on dance seen at Anna Jermolaewa\u2019s 2024 pavilion, Austria\u2019s 2026 pavilion will be given over to the choreographer Florentina Holzinger<\/strong>. Holzinger has quickly risen as one of the most in-demand choreographers worldwide for pieces that are often sexually charged and sometimes tough to watch. Sancta<\/em>, her opera featuring nuns who roller-skated in the nude and a lesbian priest, was bitterly critiqued in her home country upon its premiere in 2022, with religious figures condemning her. When it traveled in 2024 to Germany, it raised controversy anew after audience members complained of severe nausea while watching a scene involving a piercing. Her project for the Biennale, titled \u201cSeaworld Venice\u201d and curated by Nora-Swantje Almes<\/strong>, has the potential to be no more pleasant.<\/p>\n
Azerbaijan<\/h2>\n\n\t\t\t\t\tImage Credit: Aslan Alikhanov\/Courtesy Faig Ahmed Studio\t\t\t\t<\/figcaption><\/figure>\n
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\n\tBest known for his installations in which traditional Central Asian rugs hang on the wall as they dissolve into pools of melted colors, Faig Ahmed <\/strong>will represent Azerbaijan for the second time, having participated in a group show for the country\u2019s 2007 pavilion. His solo outing, curated by Gwendolyn Colla\u00e7o<\/strong>, will take the title \u201cThe Attention\u201d and aim to serve as \u201ca space where external noise and anxiety recede, with the convergence of sound, material presence, and rhythm inviting visitors into a meditative mode of perception,\u201d according to a release. Drawing on the work of the Hurufi poet Imadaddin Nasimi, he will produce a site-specific project titled I Can Contain Both Worlds but I Do Not Fit Into This One<\/em> (2026), which will span all the rooms of the exhibition space.<\/p>\n
Venue: Campo della Tana, Castello 2124\/A, Castello 2125\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n
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The Bahamas<\/h2>\n\n\t\t\t\t\tImage Credit: Roy Cox\t\t\t\t<\/figcaption><\/figure>\n
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\n\tParticipating for a second time in the Venice Biennale more than a decade after its debut, The Bahamas has chosen both a living artist and a dead one as its representatives. The pavilion will serve in part as a tribute to John Beadle<\/strong>, who died in 2024, leaving behind an oeuvre that explores how traumatic histories of enslavement and colonialism linger on. His work will be shown alongside that of Lavar Munroe<\/strong>, whose paintings and installations explore how individuals are shaped by local traditions. Art historian Krista Thompson<\/strong> will curate.<\/p>\n
Venue: San Trovaso Art Space, Dorsoduro 947<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n
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Belarus<\/h2>\n\n\t\t\t\t\tImage Credit: Photo Francesco Barasciutti\t\t\t\t<\/figcaption><\/figure>\n
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\n\tBelarus last participated in the Biennale in 2019, though the country won\u2019t be participating in this year\u2019s festival in an official capacity either. Instead, the Belarus Free Theatre, which has been in exile in 2020, will present a collateral event title \u201cOfficial. Unofficial. Belarus.\u201d The presentation will feature works, including site-specific paintings, large-scale sculptures, and a sound installation, that look at how art is \u201cmade, censored, and experienced under authoritarian power and constant surveillance,\u201d per a release. <\/p>\n
\n\t\u201dMost of the pavilions are state pavilions that represent governments, and what governments want to represent varies enormously across nations,\u201d Daniella Kaliada, the pavilion\u2019s curator and the theater\u2019s cofounding artistic director, told ARTnews<\/em>. \u201cWe position ourselves entirely outside of that. The Biennale is allowing us to make that distinction visible, allowing unofficial narratives to re-enter a space that has long been reserved only for what official governments want to say.\u201d<\/p>\n
Venue: Chiesa di San Giovanni Evangelista, San Polo 2454<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n
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Belgium<\/h2>\n\n\t\t\t\t\tImage Credit: \u00a9Shahrear Kabir Heemel\/Courtesy the artist, MORPHO, and KANAL-Centre Pompidou\t\t\t\t<\/figcaption><\/figure>\n
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\n\tBelgium has selected Miet Warlop<\/strong>, who is known for her performances that combine the visual arts with theater, as its representative for the 2026 Biennale. Supported by MORPHO in Antwerp and Kanal\u2013Centre Pompidou in Brussels, her pavilion will take the title \u201cIT NEVER SSST\u201d and is to be curated by Caroline Dumalin<\/strong>. Warlop\u2019s performances have been staged at S.M.A.K. in Ghent, the KW Institute for Contemporary Art in Berlin, and the Palais de Tokyo in Paris, as well as at the 2012 Baltic Triennale in Vilnius, Lithuania, and the 2024 Venice International Theatre Festival.<\/p>\n
Bosnia and Herzegovina<\/h2>\n\n\t\t\t\t\tImage Credit: NurPhoto via Getty Images\t\t\t\t<\/figcaption><\/figure>\n
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\n\tBosnia and Herzegovina will be represented by Mladen Bundalo<\/strong>, a Bosnian artist who is now based in Brussels. Curated by Isidora \u017divkovi\u0107<\/strong> of the Museum of Contemporary Art of Republika Srpska, the pavilion will be titled \u201cDomus Diasporica\u201d and focus on the artist\u2019s long-term concerns around the idea of home while being in diaspora, drawing on his own experience of growing up in Bosnia and Herzegovina during the \u201990s.<\/p>\n
Venue: Palazzo Malipiero, San Marco 3198<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n
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Brazil<\/h2>\n\n\t\t\t\t\tImage Credit: Wallace Domingues, Rodrigo Ladeira and Tinko Czetwertynski\/Courtesy Funda\u00e7\u00e3o Bienal de S\u00e3o Paulo\t\t\t\t<\/figcaption><\/figure>\n
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\n\tIn Portuguese, the phrase \u201cComigo ningu\u00e9m pode\u201d can act as a saying that translates to \u201cNobody can beat me\u201d or as the colloquial name for a plant known as dumbcane. It lends its name to this year\u2019s Brazilian Pavilion, which will be done by artists Rosana Paulino<\/strong> and Adriana Varej\u00e3o<\/strong>, both of whom are well-known internationally\u2014the former for installations that attest to histories of enslavement that continue to afflict the Afro-Brazilian community, the latter for lush paintings and installations that allude to violence more obliquely. They are set to work with Diane Lima<\/strong>, who recently organized the Panorama of Brazilian Art in S\u00e3o Paulo. Can the pavilion live up to its name and win the Biennale\u2019s top honors? Time will tell.<\/p>\n
Bulgaria<\/h2>\n\n\t\t\t\t\tImage Credit: Courtesy Studio Gabbro and Bianca Koleva\t\t\t\t<\/figcaption><\/figure>\n
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\n\tThe Bulgarian Pavilion will this year be known as \u201cThe Federation of Minor Practices,\u201d operating as \u201cthe headquarters of afictional research lab operating within a care oriented political imagination\u201d that is also \u201cconceived as an interactive environment based on a computer game,\u201d according to a release. Four artists\u2014Gery Georgieva<\/strong>, Maria Nalbantova<\/strong>, Rayna Teneva<\/strong>, and Veneta Androva<\/strong>\u2014have been commissioned to make new films for the pavilion. In a statement, pavilion curator Martina Yordanova <\/strong>said, \u201cThe Pavilion does not propose a future. It sustains the conditions through which futures begin to take form collectively, attentively, and through care.\u201d<\/p>\n
Venue: Sala Tiziano at the Centro Culturale Don Orione Artigianelli, Fondamenta Delle Zattere Ai Gesuiti 919<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n
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Catalonia<\/h2>\n\n\t\t\t\t\tImage Credit: Courtesy of the artist\t\t\t\t<\/figcaption><\/figure>\n
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\n\tCatalonia, an autonomous region of Spain, will have a presence at the Biennale via a collateral event that will be staged at the Docks Cantieri Cucchini (between the Arsenale and Giardini). For \u201cPaper Tears,\u201d artist Claudia Pag\u00e8s Rabal<\/strong> will create work that engages with a selection of 15th-century watermarks drawn from the Museu Mol\u00ed Paperer de Capellades, as a way to think through the historic links between Venice and Catalonia, particularly via extractive colonial transit routes. The show, according to an exhibition description, is structured as a waltz, its circular steps mimicking the watermark, with performers \u201cdressed as contemporary jesters\u201d and a script that frames our present reality\u2014marked by \u201cboycotts, exclusion, exhaustion, and universal violence\u201d\u2014as a tragicomedy. Who the joke is remains to be seen.<\/p>\n
Cameroon<\/h2>\n\n\t\t\t\t\tImage Credit: NurPhoto via Getty Images\t\t\t\t<\/figcaption><\/figure>\n
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\n\tCameroon will be represented by six artists and collectives: Jail Time Records<\/strong>, Sylvie Njobati<\/strong>, Bienvenue Fotso<\/strong>, Zora<\/strong>Snake<\/strong>, Neals Niat<\/strong>, and Beya Gille Gacha<\/strong>, the latter of whom will also serve as the pavilion\u2019s curator. Few details for the pavilion have been publicly revealed beside its name, \u201cNZENDA: The Path Home.\u201d A site for the pavilion bills it as \u201can experimental immersive temple for healing rooted in ancestral Cameroonian cosmologies.\u201d On Instagram, Niat, one of the participating artists, said the pavilion \u201calso honors the legacy of Cameroonian curator Koyo Kouoh, whose vision continues to resonate across the contemporary African art scene and beyond.\u201d<\/p>\n
Canada<\/h2>\n\n\t\t\t\t\tImage Credit: Photo Alex de Brabant\t\t\t\t<\/figcaption><\/figure>\n
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\n\tIn Canada, Abbas Akhavan<\/strong> has steadily racked up accolades, appearing in the Toronto Biennial of Art, winning the Sobey Art Award for Canadian artists, and staging shows at well-regarded institutions. He is set to receive a new level of fame in the country he now calls home with this pavilion, which will continue his fascination with how national histories become embedded in material objects. Born in Tehran and now based between Montreal and Berlin, Akhavan has gradually gained international recognition as well. In 2026, Minneapolis\u2019s Walker Art Center will survey his work. Titled \u201cEntre chien et loup\u201d (Between dog and wolf), the pavilion will be curated by Kim Nguyen<\/strong>, director of programs at the Ruth Foundation for the Arts in Milwaukee. <\/p>\n
Chile<\/h2>\n\n\t\t\t\t\tImage Credit: Courtesy the artist\t\t\t\t<\/figcaption><\/figure>\n
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Norton Maza<\/strong> has kept his Chilean Pavilion, titled \u201cInter-Reality,\u201d cloaked in mystery. He has teased the immersive installation, which will involve water and sound, as being akin to a \u201ccanal of life; you travel through different levels of water and their intensities\u201d\u2014a fitting gesture for Venice. Marisa Caichiolo<\/strong> will organize the installation.<\/p>\n
China<\/h2>\n\n\t\t\t\t\tImage Credit: Courtesy UCCA Center for Contemporary Art\t\t\t\t<\/figcaption><\/figure>\n
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\n\tTitled \u201cDream Stream,\u201d China\u2019s participation at the 2026 Venice Biennale will be curated by Yu Xuhong <\/strong>and feature more than three dozen participants, including Yang Fudong<\/strong>, Method Scenography Group<\/strong>, and Crude_Castin<\/strong>. The full list of participants is as follows: Game Science, Feng Ji, Yang Qi, Liu Chenglong, Wang Yixin + Wang Yu, Weng Jie, Lin Zhe, Zhou Haosong, Fei Si, Huang Chengxi, Yang Tingmu + Yang Hancheng + Xie Xianhui, Team of China Academy of Art and Zhejiang Lab,\u00a0Xu Jiang, Wang Dongling, Yang Fudong, Lining Yao+Guanyun Wang+Danli Luo, Method Scenography Group (Mou Sen, Ma Yuanchi, Xin Ge, Mei Yuezi, Zhao Da), Wu Ziyang + Crude_Castin (Xu Jing, Zou Nan, Ye Qi, Yan Zhenghao), Nie Shichang, Jiang Suxuan + Yu Jiangfan, Hu Yueming + Lin Yuxin + Ji Huanhuan, Zhang Zhoujie.<\/p>\n
Dubravka Lo\u0161i\u0107<\/strong> will take over the Croatian Pavilion with an exhibition titled \u201cCompelled by Fright and Beauty.\u201d Branko Franceschi<\/strong>, the director of the National Museum of Modern Art in Zagreb, will serve as the pavilion\u2019s curator. Featuring paintings and sculptures from several different bodies of work, Lo\u0161i\u0107\u2019s exhibition will evoke \u201cthe interplay between containment and flow: the works are wrapped, compressed, protected \u2014 yet something always escapes,\u201d per a description.<\/p>\n
Cuba<\/h2>\n\n\t\t\t\t\tImage Credit: \u00a9Estudio Diago\/Courtesy the artist\t\t\t\t<\/figcaption><\/figure>\n
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\n\tFor the Cuban Pavilion, Juan Roberto Diago Durruthy <\/strong>will present works from \u201cHombres Libres \/ Free Men,\u201d his series of large-scale busts made from wood, metal, plastic, and other salvaged materials. The Havana-based artist previously represented his home country at the Biennale in 1997 and 2017. His forthcoming pavilion is curated by Nelson Ramirez de Arellano<\/strong>, the director of the Centro de Arte Contempor\u00e1neo Wifredo Lam, which organizes the Havana Biennial. According to a release, \u201cRoberto Diago\u2019s work stands as a perpetual reminder that freedom is not given, it is conquered; it is not a passive state, but a continuous practice\u2014a constant tension that demands keeping memory sharp and dignity intact.\u201d<\/p>\n
Venue: Il Giardino Bianco \u2013 Art Space, Via Giuseppe Garibaldi, Castello 1814<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n
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Cyprus<\/h2>\n\n\t\t\t\t\tImage Credit: Courtesy the artist and Hot Wheels, Athens and London\t\t\t\t<\/figcaption><\/figure>\n
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\n\tSculptor Marina Xenofontos<\/strong> will represent Cyprus at this Biennale, and she\u2019s given her pavilion the lush name of \u201cIt rests to the bones\u201d\u2014a poetic evocation of her interest in traditions of the past that are not so dead after all. Kyle Dancewicz<\/strong>, who formerly showed Xenofontos\u2019s work at SculptureCenter, the New York art space where he is deputy director, will organize her pavilion.<\/p>\n
Czech Republic and Slovakia<\/h2>\n\n\t\t\t\t\tImage Credit: Shotby.Us\t\t\t\t<\/figcaption><\/figure>\n
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\n\tWhereas in 2024 the Czech Republic and Slovakia mounted separate presentations, they will, in 2026, stage a combined pavilion entitled \u201cThe Silence of Mr. Mole.\u201d Jakub Jansa<\/strong> and Selmeci Kocka Jusko<\/strong> (a duo composed of Alex Selmeci and Tom\u00e1\u0161 Kocka Jusko) will work together on the pavilion, whose titular protagonist \u201chas turned into a mascot of cultural diplomacy, a licensed commodity, and a nostalgic myth, a symbol of stolen fantasy,\u201d according to the pavilion\u2019s description. \u201cSent to represent the Czech Republic and Slovak Republic as a diplomatically acceptable, politically neutral figure, the mole also embodies reproach, silence, and a confused identity.\u201d Peter Sit<\/strong>, a curator who serves as art director of e-flux<\/em>, will organize their presentation.<\/p>\n
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