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    Venice Biennale 2026 Will Realize Koyo Kouoh’s Vision After Her Death

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    Koyo Kouoh had spent nearly seven months preparing the art event’s main exhibition before she died this month. Her team will complete the work and open the show in May 2026.The organizers of the Venice Biennale announced on Tuesday that next year’s edition would go ahead as planned, despite the sudden death this month of Koyo Kouoh, the curator who was overseeing its main exhibition.Kouoh died of cancer on May 10, just days before she was scheduled to reveal the title and theme of the event.Cristiana Costanzo, a Biennale spokeswoman, told reporters at a news conference in Venice that next year’s edition would run from May 9 through Nov. 22, and that a team of curators, art historians and editors who had been working with Kouoh would deliver her exhibition “as she conceived and defined it.”Kouoh had been preparing the exhibition for almost seven months, Costanzo said: Working with a five-member team, she had selected some of the participating artists and artworks, and given it a title, “In Minor Keys.”During Tuesday’s news conference, members of the team used Kouoh’s words to present her plan.Gabe Beckhurst Feijoo, an art historian from the team, said that Kouoh had wanted her Biennale to be “neither a litany of commentary on world events, nor an inattention or escape from compounding and continuously intersecting crises.” Instead, Beckhurst Feijoo said, Kouoh had wanted to present “a radical reconnection with art’s natural habitat and role in society — that is the emotional, the visual, the sensory, the affective, the subjective.”The central pavilion of the Venice Biennale, which usually hosts part of the main exhibition.Matteo de Mayda for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Can Shoplifting Be Justified? This Artist Wants You to Decide.

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      Dries Verhoeven has constructed a replica grocery store for his latest provocative performance.Between two aisles of a grocery store, a woman is having a destructive meltdown. She opens a jar of applesauce, spits in it and returns it to the shelf. She squirts a tube of mayonnaise onto the floor, then smears tomato sauce from a container on her chest.Climbing the shelves, she recites a soliloquy on the joys of shoplifting. “Why call it stealing?” she says, with surprising calm. “I call it a love affair.”All of this takes place within a giant glass box on the stage of the International Theater Amsterdam as part of the six-hour performance installation “Everything Must Go,” by the Dutch artist Dries Verhoeven. Through Thursday, spectators can enter and exit the theater during the performance to peek into the box or can watch the performer unravel on TV monitors displaying CCTV footage.It is the latest disquieting offering from Verhoeven, 49, who combines elements of theater and visual art to create performances that are engineered to leave the audience trembling.“I’m quite a nervous person, and I like this feeling of nervousness, because it means there’s something at stake,” he said, while the glass box was being assembled at the theater earlier this week. “When we’re nervous, we are activated.”The installation takes place over six hours …Ilvy Njiokiktjien for The New York Times… and features disquieting elements to unsettle the audience.Ilvy Njiokiktjien for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Koyo Kouoh, Prominent Art World Figure, Is Dead at 57

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      She had recently been named to oversee next year’s Venice Biennale. She died just days before she was scheduled to announce its theme and title.Koyo Kouoh in 2023. As the curator and executive director of Zeitz MOCAA, one of Africa’s largest contemporary art museums, she had built a global reputation as a torchbearer for artists of color.Tsele Nthane for The New York TimesKoyo Kouoh, one of the global art world’s most prominent figures, who had been slated to become the first African woman to curate the Venice Biennale, died on Saturday in Switzerland. She was 57.Her death was confirmed by the biennale’s organizers. The announcement did not cite a cause or say where in Switzerland she had died.The biennale said that Ms. Kouoh’s “sudden and untimely” death came just days before she was scheduled to announce the title and theme of next year’s event. The statement added that her death “leaves an immense void in the world of contemporary art.”The Venice Biennale is arguably the art world’s most important event. Staged every two years since 1895, it always includes a large-scale group show, organized by the curator, alongside dozens of national pavilions, organized independently.A spokeswoman for the biennale did not immediately respond to a request for comment on what Ms. Kouoh’s death would mean for next year’s exhibition, which is scheduled to run from May 9 through Nov. 22.As the curator and executive director of Zeitz MOCAA, one of Africa’s largest contemporary art museums, Ms. Kouoh built a global reputation as a torchbearer for artists of color from Africa and elsewhere, although her interests were global in reach. “I’m an international curator,” she said last December in an interview with the The New York Times.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Jewish Museum Acquires Never-Shown Entry to Venice Biennale

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      Ruth Patir refused to display her video installation at the Israel pavilion until a cease-fire and hostage agreement was reached. “(M)otherland” will debut in Tel Aviv.The Jewish Museum in New York has acquired a video installation by the artist Ruth Patir that was commissioned for the Venice Biennale. It was never displayed, since Patir and the curators insisted that Israel’s pavilion not open until an agreement was reached for the return of hostages taken in the Hamas-led attack on Oct. 7, 2023 and for a cease-fire in the Gaza war.Patir’s “(M)otherland” will debut in March at the Tel Aviv Museum of Art, the Jewish Museum announced Monday, and then will travel to New York after the Jewish Museum’s collection galleries are reinstalled later next year.The museum declined to disclose the price it paid for “(M)otherland,” which comprises five videos, one made in reaction to the Gaza war and offering a personal view of global tragedy. Four video pieces use ancient female figurines retrieved by archaeologists from the eastern Mediterranean to dramatize Patir’s decision to freeze her eggs after learning that she carries the BRCA gene mutation — an odyssey through an Israeli social system that encourages childbearing and aggressively funds fertility procedures. The small figurines, blown up to life-size dimensions and digitally animated, walk the halls of Israeli clinics, check their iPhones in the waiting rooms, and inject themselves with hormones.The exhibit also includes a fifth video piece, “Keening,” in which the figurines — some now shattered — are reimagined as participants in a display of public mourning following last year’s attack.Still from Ruth Patir’s video “Intake,” 2024.Ruth Patir; via Braverman Gallery, Tel AvivRuth Patir, “Petach Tikva (Waiting),” 2024, video still.Ruth Patir; via Braverman Gallery, Tel AvivStill from Ruth Patir’s video, ”(M)otherland,” 2024.Ruth Patir; via Braverman Gallery, Tel AvivWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Qatar Aims to Increase its Influence in the Realms of Art and Film

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      The Art for Tomorrow conference in Venice provides an opportunity for the Middle East at large to change how it’s portrayed.The future of art is very much the theme of “Your Ghosts Are Mine: Expanded Cinema, Amplified Voices,” a film and video installation that coincides with this year’s Venice Biennale. Organized by Qatar Museums and featuring some 40 artists from the region, it speaks to the emergence of the Middle East as a force in various art forms, not to mention a force in changing the narrative on how the region is portrayed in film and art.The future is on the mind of Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani, the chairwoman of Qatar Museums and the Doha Film Institute. Al Mayassa sees this year’s Art for Tomorrow conference in Venice, convened by the Democracy & Culture Foundation, with panels moderated by New York Times journalists, as a chance to improve the profile of artists from her home country of Qatar and beyond. Among the events at the conference is a tour of the installation at the ACP Palazzo Franchetti, a Biennale venue.The installation “Your Ghosts Are Mine: Expanded Cinema, Amplified Voices” includes excerpts from movies and videos in 10 galleries in the palazzo from more than 40 artists from around the world.David Levene/Qatar Museums“In Qatar, we’ve been working for years to support the work of filmmakers and video artists from the Arab world and others from the Middle East, North Africa and South Asia,” Al Mayassa said in a recent interview. “This exhibition continues our work of bringing their ideas from the margins of the international conversation to the center.”The installation, which runs through Nov. 24, also plays into the Biennale’s theme of “Foreigners Everywhere” with excerpts from movies and videos in 10 galleries in the palazzo from more than 40 artists from around the world. Each gallery has a theme, ranging from deserts as cradles of civilization and places of rebirth to borders as the lines between both free and forbidden places.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Archie Moore, Australian Artist, Wins Top Prize at Venice Biennale

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      Moore, an Indigenous Australian artist, won the Golden Lion for “kith and kin,” which draws on what he says is 65,000 years of family history.Archie Moore, an Indigenous Australian artist who has created an installation including a monumental family tree, won the top prize at the Venice Biennale on Saturday.Moore, 54, took the Golden Lion, the prize for the best national participation at the Biennale, the world’s oldest and most high-profile international art exhibition. He beat out artists representing 85 other countries to become the first Australian winner.For his installation, “kith and kin,” Moore has drawn a family tree in chalk on the walls and ceiling of the Australia Pavilion. The web of names encompasses 3,484 people and Moore says it stretches back 65,000 years, although he has smudged some details so that they are hard to read. In the center of the room is a huge table covered with stacks of government documents relating to the deaths of Indigenous Australians in police custody.Julia Bryan-Wilson, the chair of this year’s Biennale jury and a professor of contemporary art at Columbia University, said during the prize announcement that Moore’s installation was “a mournful archive” that “stands out for its strong aesthetic, its lyricism and its invocation of shared loss for occluded pasts.”Before Saturday’s ceremony, which was streamed online, Moore’s pavilion had already been a critical hit. Julia Halperin, writing in The New York Times, said that the installation was one no Biennale visitor should miss. Moore’s hand-drawn family tree was so dense at points it was impossible to make out the names. “The implication is clear: expand the aperture wide enough and we are all related,” Halperin said. “It’s a concept that could feel trite if it weren’t rendered with such poetry, rigor and specificity.”A detail of Moore’s family tree in the pavilion.Matteo de Mayda for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      At Venice Biennale, Israel’s Show Is Halted, but Protests Go On

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      The country’s exhibition was already closed after its artist refused to exhibit her work until there was a cease-fire and hostage deal in Gaza. But that didn’t calm the discontent.The Israel pavilion at the Venice Biennale is closed this year, since its creative team decided not to exhibit work until there was a cease-fire and hostage deal in Gaza, but it was nonetheless the site of a large demonstration on Wednesday that drew more than 100 protesters.“Viva, viva Palestina!” the protesters chanted as they marched through the gardens where much of the Biennale takes place. The protest was organized by a mix of artists involved in the Biennale and activists not affiliated with the event. “We gather as arts workers to refuse silence,” one demonstrator shouted to a crowd of onlookers.Tensions surfaced in February, when activist groups began calling on the Biennale to ban Israel from the event over its conduct of the war in Gaza. Since the Oct. 7 Hamas-led attacks in Israel, in which Israeli officials said about 1,200 people were killed and 240 taken hostage, and Israel’s campaign in Gaza, which the authorities there say has killed more than 33,000 people, protests have rippled through the art world.The Biennale’s organizers and Italy’s government affirmed Israel’s right to participate this year, but when the media preview began on Tuesday, visitors to the pavilion found the doors locked. Ruth Patir, the artist chosen to represent Israel at the Biennale, had refused to open her exhibition, posting a sign on the window that the pavilion would remain shut until “a cease-fire and hostage release agreement is reached.”But Patir’s action was not enough to calm the discontent among many artists at the event, which opens to the public on Saturday. During the preview week, attendance is restricted to art world figures, including artists, curators, gallerists and critics.“I think it is the right place to make a protest,” said Maj Hasager, the rector of the Malmo Art Academy in Sweden, who watched the protest. “We need to lay out the different positions, and there is no Palestine pavilion,” she added.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Jeffrey Gibson: Representing the U.S., and Critiquing It, in a Psychedelic Rainbow

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      People in Venice might hear the jingle dress dancers before they see them. On April 18, some 26 intertribal Native American dancers and singers from Oklahoma and Colorado will make their way through the winding streets and canals of the Italian city. Wearing brightly colored shawls, beaded yokes and dresses decorated with the metal cones that give the dance its distinctive cshh cshh rattling sound, they’ll make their way to the Giardini, one of the primary sites of the Venice Biennale. There, they’ll climb atop and surround a large red sculpture composed of pedestals of different heights and perform.The jingle dress dance, which originated with the Ojibwe people of North America in the early 20th century, typically takes place at powwows. In Venice, it will inaugurate the exhibition in the United States Pavilion on April 20. Titled “the space in which to place me,” the show is a mini-survey of the rapturous art of the queer Choctaw and Cherokee artist Jeffrey Gibson. Flags, paintings, sculptures and a video envelop and fill the stately building with proliferating geometric patterns, intricate beadwork, evocative text, a psychedelic overdose of color and political references to Indigenous and broader American histories.“How do I relate to the United States?” mused Gibson, 52, who in conversation slips effortlessly between earnestness and flashes of playful, dry wit. It was late December, and we were sitting in a room in his upstate New York studio whose nondescript furniture was dotted with evidence of ongoing work on Venice: a maquette here, paint samples there, a test flag folded loosely in a chair. The deadline for finishing nearly two dozen artworks was about a month away, but Gibson was calm — at least outwardly so — as he showed me images and the pieces in progress.“I have a complicated relationship with the United States,” he said. His ancestors were among the Native Americans forcibly displaced by the federal government. Both his parents came from poverty and went to boarding schools, where Native children were frequently abused. As his studio manager zoomed in on a digital image of a painting, I could see a large block of text surrounded by angular, radiating lines. Gibson read the title: “The returned male student far too frequently goes back to the reservation and falls into the old custom of letting his hair grow long.”The chilling line came from a 1902 letter written by the Commissioner of Indian Affairs to a school superintendent in California about the need to assimilate Native students returning home from boarding schools. Once he found it, Gibson decided that all three busts he was working on for the Biennale should have prominent hair: a beaded mullet; long, flowing locks made from ribbon; and an elaborately-styled shawl-fringe “do.” The choice represents one of his artistic strengths: taking a point of pain and turning it into a kind of celebration, without losing its critical edge.Installation view of Gibson’s works at the U.S. Pavilion, from left: “The Returned Male Student Far Too Frequently Goes Back to the Reservation and Falls Into the Old Custom of Letting His Hair Grow Long,” which references a letter by the Commissioner of Indian Affairs; “I’m a Natural Man”: “Liberty, When It Begins to Take Root, Is a Plant of Rapid Growth,” which cites a letter from George Washington to James Madison.Brian BarlowWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Indigenous Artists Are the Heart of the Venice Biennale

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      Here are highlights of the range of work produced by Native artists in the pavilions and a central exhibition that proudly calls itself “Foreigners Everywhere.”Before visitors step into any gallery at the 2024 Venice Biennale, which opens April 20, Indigenous artists will have made their presence known.A collective of painters from the Brazilian Amazon, MAHKU (Movimento dos Artistas Huni Kuin), will cover the facade of the central exhibition hall with an intricate mural. Inuuteq Storch, the first Greenlandic and Inuk artist to represent Denmark at the international art festival, will erect a sign reading “Kalaallit Nunaat,” or “Greenland” above the pavilion’s entrance. (Greenland has been a self-governing country within the Danish Realm since 1979. )The Brazil Pavilion nearby has been renamed the Hãhãwpuá Pavilion — one of many terms that Indigenous people use to describe the territory that, after colonization, became Brazil. “There is a very political aspect to the Indigenous presence in an artistic space like the Venice Biennale,” said Denilson Baniwa, the Hãhãwpuá Pavilion’s co-curator. “Our aim is to rewrite history and add a new chapter to art history.”Beyond the United States Pavilion, which features the art of Jeffrey Gibson, the Venice Biennale offers a taste of the wide range of work produced by Indigenous, First Nations and Native artists around the globe. Here are some highlights.The Central ExhibitionMataaho Collective’s “Takapau” (2022), made of polyester tie-downs and stainless steel buckles. The first gallery at the Arsenale will host the monumental installation by a group of four Maori women known for making large fiber sculptures. Maarten Holl, via Te PapaIndigenous artists are at the heart of “Foreigners Everywhere,” the Venice Biennale’s central exhibition. As the Brazilian curator Adriano Pedrosa, artistic director of this year’s Biennale, sees it, the Indigenous artist is “frequently treated as a foreigner in his or her own land.” The first gallery at the Arsenale, Venice’s former shipyard complex, will host a monumental installation by the Mataaho Collective, a group of four Maori women known for making large-scale fiber sculptures. The 331-artist lineup also includes the Native American artists Kay WalkingStick and Emmi Whitehorse; the Brazilian Yanomani artists Joseca Mokahesi and André Taniki; Indigenous Australian artists Marlene Gilson and Naminapu Maymuru-White; and Maori artists Sandy Adsett and Selwyn Wilson, considered one of the founders of Maori Modernism, who died in 2002.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More