The entire international jury of the Venice Biennale resigned on Thursday in the latest escalation of a months-long political fight over Russia’s return to the exhibition.
The exodus marks one of the most dramatic moves yet in a dispute that has pitted members of the jury, the Biennale Foundation and the Italian government against one another. At the heart of the conflict is a controversial decision to reopen the Russian pavilion, which has been closed since Moscow launched its invasion of Ukraine in 2022.
In their resignation letter, the jury said the move was motivated by their refusal to engage with “those countries whose leaders are currently charged with crimes against humanity by the International Criminal Court” — in other words, Russia and Israel.
After announcing he would boycott the Biennale’s opening, Italian Culture Minister Alessandro Giuli this week sent ministry inspectors to investigate if Russia’s participation is “compatible with the existing sanctions regime.” The decision drew praise from EU Culture Commissioner Glenn Micallef, who cheered the minister’s “principled position.”
Earlier this month EU foreign policy chief Kaja Kallas announced the European Commission would cut funding to the Biennale as a result of its decision to admit Russian artists to its 2026 edition.
Following the jury’s resignation, the Biennale on Friday announced it will revamp its awards procedures and allow visitors to decide who takes home the prestigious Golden Lion prizes. Only two will be awarded: one for best international participant and another for best national artist. Any ticket holder who visits at least two exhibition sites can participate in the vote.
In what organizers described as a response to the “exceptional geopolitical situation,” the prizes will be awarded on the final day of the exhibition in November, rather than at its opening.
The shift means visitors will be able to vote for artists from all participating countries, including Russia and Israel. The Biennale defended its decision as consistent with its founding principles of openness and dialogue, calling the exhibition “a place of truce in the name of art, culture and artistic freedom.”
