Vittorio Sgarbi Returns to Public Life With Reflections on Art and Mortality

Vittorio Sgarbi returned to the public eye on May 2, 2026, following a five-month period of silence. The art critic and public figure used his return to address themes of mortality, the nature of the afterlife, and the political utility of art in times of global conflict.

Speaking on his absence and his perspective on the end of life, Sgarbi stated that he does not fear death. He described a universal internal struggle, suggesting that everyone has within them a scream of anguish and doubts.

I imagine paradise as white and without colors, because we are the colors of paradise.

Vittorio Sgarbi

Sgarbi linked these existential reflections to the history of art, specifically referencing the work of Edvard Munch. He identified the famous painting The Scream as an emblem of the human condition, connecting the artistic representation of anxiety to the internal doubts he believes all individuals carry.

Art and Political Control at the Biennale

Beyond his philosophical reflections, Sgarbi commented on the current state of international art, specifically regarding the presence of Russian and Ukrainian works at the Venice Biennale. He argued that the inclusion of both nations is a necessary and useful occurrence.

At the Biennale, seeing Russia and Ukraine is useful. Art escapes the control of regimes.

Vittorio Sgarbi

Sgarbi’s assertion emphasizes the role of artistic expression as a medium that can transcend the restrictions and narratives imposed by political governments. By framing art as a force that escapes control, he positioned the Biennale as a space where geopolitical tensions are processed outside the direct mandates of state regimes.

The return of Sgarbi to the public discourse marks a shift back into active cultural commentary after his five-month hiatus, focusing on the intersection of personal mortality and the enduring autonomy of the arts.