Australia at Venice Biennale 2026: Khaled Sabsabi’s ‘Nurturing’ Spirituality & Migration Works
Venice, Italy – After a period of significant upheaval, Australian artist Khaled Sabsabi is poised to make a historic mark at the 61st International Art Exhibition – La Biennale di Venezia. Sabsabi will be the first Australian artist to simultaneously exhibit work in both the Australia Pavilion and the Biennale’s main exhibition, In Minor Keys.
The artist’s journey to this moment has been anything but straightforward. Sabsabi and curator Michael Dagostino were initially appointed as Australia’s representatives, then controversially removed from their positions following criticism of Sabsabi’s earlier work. Following an independent review that identified “missteps” in the initial decision, Creative Australia reinstated the pair in July of 2025. The reinstatement followed a backlash from the arts community and acknowledgement from Creative Australia chair Wesley Enoch that Sabsabi’s work had been “mischaracterised.”
Sabsabi’s presentation promises a “nurturing experience” designed to foster connection, particularly poignant given the recent turbulence surrounding his appointment and the broader cultural climate. The work in the Australia Pavilion, titled conference of one’s self
, is described as a multisensory invitation for people of all backgrounds to contemplate shared humanity. It draws inspiration from the 12th-century Sufi poem, The Conference of the Birds, a narrative centered on a quest for spiritual enlightenment.
Beyond the Australia Pavilion, Sabsabi will also present a work within In Minor Keys, curated by the late Koyo Kouoh. Kouoh, who passed away in May 2025, extended the invitation to Sabsabi and Dagostino after their initial dismissal by Creative Australia. This inclusion represents a significant vote of confidence in the artist’s vision and a powerful statement about the importance of artistic freedom.
Sabsabi’s artistic practice, spanning over 35 years, is deeply informed by his experiences as a Sufi Muslim, a migrant, and a witness to the Lebanese Civil War. His work frequently explores themes of spirituality, migration, displacement, and social justice. He and Dagostino have a long-standing collaborative relationship, rooted in their shared experiences as migrants in Western Sydney, a region known for its cultural diversity.
The presentation at the Australia Pavilion will incorporate audio and visual elements, with a particular emphasis on the interplay of light and space. Sabsabi describes the intention to create moments where light “shimmers off and bounces and refracts within the space to reveal other components of the work.” The two works, while distinct, are closely connected, reflecting the core Tasawwuf concept of the interconnected inner and outer self – the zahir and batin, the seen and unseen.
According to Sabsabi, the overarching aim is to promote respect and acknowledgment of all faiths, seeking common ground rather than division. It’s an invitation for all people, regardless of faith, ethnic, ethnicity, religion, to come in and have these moments of reflection,”
he said. And I hope that they walk away with some curiosity.”
Creative Australia CEO Adrian Collette acknowledged the challenging period leading up to the Biennale, stating that the organization is proud
to present Sabsabi’s work. He emphasized that the presentation offers a timely and critical opportunity to showcase an optimistic vision of Australian identity on the world stage.
The Biennale will run from to , 2026. Sabsabi’s participation follows Archie Moore’s acclaimed 2024 installation, kith and kin, which earned Australia the prestigious Golden Lion at the previous Biennale. The success of Moore’s work sets a high bar, but Sabsabi’s unique perspective and deeply personal artistic vision suggest he is well-equipped to continue Australia’s momentum on the international art stage.
Dagostino affirmed that the initial vision for the Biennale presentation remains intact, despite the intervening controversy. The original intent has not changed. The work has grown, as [all] works grow, but it hasn’t changed that much. It’s just evolved in a very natural way.
he stated.
Sabsabi himself moved to Western Sydney from Tripoli at the age of 12. His art consistently reflects on his experiences fleeing civil war, navigating life as a migrant, and confronting the challenges faced by Muslims in Australia. His work aims to challenge stereotypes and offer a nuanced understanding of diverse lived experiences.