Pre verejnosť sa otvoril 61. ročník Benátskeho bienále – TERAZ.sk

The 61st edition of the Venice Biennale opened to the public on May 9, 2026, in Venice, Italy. The commencement of the prestigious international art exhibition was marked by significant civil unrest, with thousands of demonstrators gathering to protest the participation of pavilions representing Israel, and Russia.

The opening events were characterized by high tension as activists targeted the Israeli pavilion. According to reporting from Aktuality, thousands of people participated in protests against Israel’s presence at the Biennale, reflecting broader geopolitical conflicts and bringing a climate of instability to the start of the exhibition.

Parallel demonstrations targeted the Russian pavilion, which was described by HNonline as a controversial addition to the event. Hundreds of protesters gathered to criticize Russia’s participation, with activists specifically calling out the Russian government’s actions on the international stage. Reporting from Noviny.sk confirmed that these protests were a consistent accompaniment to the opening ceremonies.

Beyond the political demonstrations, the condition of the Russian pavilion became a point of contention. Denník N reported that Russian authorities had been unable to properly maintain their pavilion for several decades, leaving the structure in a state of neglect. This lack of institutional care for the national space added a layer of criticism to the existing political protests surrounding the pavilion’s opening.

The Venice Biennale is one of the most influential contemporary art exhibitions in the world, occurring every two years. It is structured around a central exhibition and a series of national pavilions, where participating countries are granted space to showcase artists and cultural works. Because of this structure, the Biennale often serves as a mirror for international diplomacy and global political relations.

The presence of national pavilions allows states to exercise soft power, using art to project a specific national identity or cultural narrative. However, as seen during the May 9, 2026, opening, these spaces frequently become flashpoints for protest when the participating states are involved in active military conflicts or international legal disputes.

The scale of the protests in Venice indicates a growing trend of activists utilizing high-visibility cultural events to challenge the legitimacy of certain national representations. The contrast between the thousands of protesters opposing the Israeli pavilion and the hundreds opposing the Russian pavilion reflects the diverse and intense nature of the current geopolitical grievances being aired in the city.

The 61st Biennale continues to operate amid these tensions, as the city of Venice manages the flow of international visitors and the continued presence of activist groups. The events of May 9, 2026, highlight the increasing difficulty for international cultural institutions to maintain a separation between artistic expression and the political realities of the nations that fund and occupy the pavilions.

While the exhibition aims to foster global dialogue through art, the opening day demonstrated that the pavilions themselves are often viewed by the public not merely as galleries, but as political symbols of the states they represent.