Venice – A political and cultural earthquake is shaking the very foundations of the Venice La Biennale. The international art world watches in astonishment at what appears to be an irreparable breaking point between the Meloni Government and the Biennale’s leadership, just as the institution seeks to honor the legacy of its prematurely deceased curator.
The Minister’s Ultimatum: "Russia Out"
The Minister of Culture, Alessandro Giuli, has broken the silence with an official note: "The Ministry is following the Foundation’s choices with extreme attention and concern. The participation of the Russian Federation is a decision made in total autonomy by the Biennale, despite the clearly contrary stance of the Italian Government. Italy is committed to protecting Ukrainian heritage and cannot endorse the presence of those who are destroying that heritage."
Foreign Affairs from 22 EU countries have urged La Biennale di Venezia to "reconsider the participation of the Russian Federation". EU said it is considering cutting funding to Biennale.
Foreign Affairs from 22 EU countries have urged La Biennale di Venezia to "reconsider the participation of the Russian Federation". EU said it is considering cutting funding to Biennale.
The Response from Biennale President Buttafuoco: "Art is a Truce"
The response from President Pietrangelo Buttafuoco was swift, asserting the institution's independence and the diplomatic function of culture: "The Biennale is, by its nature, a place of truce. No artist will be excluded because of their passport. In a world on fire, Venice must remain the space where warring peoples meet, not where new walls are raised. We will not allow art to become an appendix to geopolitical propaganda."
Vague internal rumors describe Buttafuoco as being "cornered," ready to submit his resignation should the Ministry attempt to seize control of artistic choices or cut funding as a form of retaliation.
An Edition Marked by Mourning: The Case of Koyo Kouoh
Adding to the somber atmosphere is the tragic absence of Koyo Kouoh, the curator designated for this 61st edition, who passed away suddenly in mid-2025. Despite the immense void left by the first African woman to lead the exhibition, the Biennale has decided to move forward by faithfully following her project, titled "In Minor Keys."
The exhibition will thus unfold as an act of intellectual resistance, carrying forward Kouoh’s vision centered on the "radicality of joy" and listening to the subtlest frequencies of existence, even as the clamor of a power struggle erupts above it.
The Legal Anomaly: A Foundation Teetering Between Private and Public
What makes the clash between Giuli and Buttafuoco an institutional paradox is the very nature of the Venice Biennale. Since 2004, the entity has no longer been a public economic body but a private law Foundation, albeit one with a profound public significance. This hybrid configuration is at the heart of the conflict: on one hand, the Biennale enjoys managerial and artistic autonomy that should shield it from shifting government winds; on the other, the Ministry of Culture remains the primary financier and the authority that appoints its President. Pietrangelo Buttafuoco was appointed by Giuli’s predecessor, the former Minister of Culture Gennaro Sangiuliano.
The Biennale’s statutes are clear: its mission is the promotion of contemporary artistic activities within a framework of freedom of expression. If the Ministry were to force its hand regarding the Russian presence, it would not merely be exercising political pressure; it would be undermining the legal architecture that ensures Venice remains the "world capital of art" rather than a branch office of the current government. In this delicate balance, Buttafuoco’s resignation would not be just a personal gesture, but a signal of the collapse of a cultural governance model that has stood for twenty years. (www.agenziaomniapress.com - 10.3.2026)