Venice Biennale 2026: there is still time to discover or rediscover it!
The 61st International Art Exhibition of the Venice Biennale runs until 22 November 2026. From the national pavilions in the Giardini and the vast exhibition spaces of the Arsenale to numerous off-site exhibitions across the city, Venice once again establishes itself as an essential destination for contemporary art. The perfect place to explore in the more tranquil atmosphere of the late season.
Article written by Laurent Issaurat, Head of Art Banking at Societe Generale Private Banking
Seven reasons not to miss this edition
1. Historic. This edition holds special significance. For the first time, the artistic direction of the Biennale was entrusted to a woman of African origin, curator Koyo Kouoh. Following a career distinguished by her commitment to major international art institutions, she envisioned a Biennale centered on dialogue, poetry, and a deep engagement with the diverse narratives of the contemporary world. Her untimely passing in 2025 profoundly shaped the project, which was carried forward and completed by her curatorial team, making this edition a tribute to her vision.
2. Tragic. In 2024, Koyo Kouoh was appointed as the curator of the 61st Venice Biennale. She assembled a curatorial team comprising Gabe Beckhurst Feijoo, Siddhartha Mitter, Marie Hélène Pereira, Rasha Salto and Rory Tsapayi, collectively known as the “Koyo Squad.” Gathered in Dakar in April 2025 to refine the guiding principles of the exhibition, the team was struck a month later by the untimely death of Koyo Kouoh in Basel. The “Squad” subsequently carried the project forward and brought it to completion, resulting in a Biennale that today stands as a moving tribute to its late artistic director.
3. Poetic. Entitled “In Minor Keys,” this edition is conceived as an ode to poetry, subtlety and gentleness. The exhibitions, presented in the Central Pavilion of the Giardini and the Corderie of the Arsenale, are interwoven with texts that guide and enrich the visitor’s visual experience. Even before entering, visitors are invited to “take a deep breath, exhale, relax their shoulders, and close their eyes.” As Koyo Kouoh often remarked, “Everything begins with words. Words are bridges to others.”
4. Seamless. The curators’ priority was to select works that engage in a quiet and thoughtful dialogue with one another, offering visitors a serene experience punctuated by moments of wonder as well as contemplation. Moving through the exhibition spaces, masterfully designed and staged, feels less like a conventional visit and more like a meditative journey.
5. Spectacular. Each of the works presented by the 110 invited artists deserves careful attention and invites visitors to take the time to engage with the artworks and objects on display. Yet it is impossible not to mention some of the most spectacular installations and creations, which inevitably capture the eye: the climbing plants enveloping the columns of the Central Pavilion, conceived by Otobong Nkanga; the flamboyant monumental sculpture by Big Chief Demond Melacon; the gathering of animals created by Peruvian artist Celia Vasquez Hui; the vast canvases of Kaloki Nyamai; the altars of Guadalupe Maravilla; and Theo Eshetu’s musical and dancing olive tree.
6. Political. A showcase of nations, the Venice Biennale, often described as the “Olympics of the arts,” inherently reflects the international geopolitical dynamics to which many contemporary artists are particularly attuned. During the preview days of this 61st edition, several national pavilions were temporarily closed, and the members of the Golden Lion jury collectively resigned in protest against the opening of the Israeli and Russian pavilions.
7. Universal. Across the Giardini and the Arsenale, nearly fifty national pavilions bear witness to the diversity of contemporary artistic practices and concerns in this second quarter of the twenty-first century. Japan addresses the issue of declining birth rates with humour; India immerses visitors in a world where historical remnants meet the wonders of nature; Argentina offers a monitored journey through a salt desert; France explores colour theory; Germany reflects on reunification; the United Kingdom examines the condition of its minorities; Spain revisits its postcard-perfect landscapes; while Belgium and Austria, each in their own way, evoke the chaos of the contemporary world. The Venice Biennale thus emerges as a true artistic Tower of Babel, a unique crossroads of dialogue, perspectives and discovery, made all the more remarkable in this 61st edition.
Not to be missed beyond the main venues
While the Giardini and the Arsenale form the heart of the Biennale, the city of Venice itself becomes an artistic journey. Numerous national pavilions also take over historic palaces and some of the city’s most iconic venues. Among them, the Vatican Pavilion stands out with a sound installation presented in the gardens of the Carmelite Monastery of the Scalzi. Curated by Hans Ulrich Obrist, the project transforms the biometric rhythms of plants into immersive soundscapes, offering a poetic reflection on the relationship between humanity and the living world.
The official collateral exhibitions, which together form a remarkable “off” festival, are also among the highlights of this edition.
A few favourites include:
- At the Giorgio Cini Foundation, Georg Baselitz presents a monumental series of inverted figures set against backgrounds inspired by Byzantine icons.
- At Punta della Dogana, the Pinault Collection is staging Lorna Simpson’s most significant European retrospective in over a decade.
- At Palazzo Grassi, the paintings of Michael Armitage rank among the season’s must-see exhibitions.
- The Prada Foundation is hosting Helter Skelter, an artistic dialogue between Arthur Jafa and Richard Prince.
- The Pinchuk Foundation presents the socially engaged exhibition Still Joy, from Ukraine into the World.
- The San Marco Art Centre is dedicating an exhibition to Lee Ufan.
A flourishing landscape of new art centres and foundations
The Biennale also provides an opportunity to discover the new institutions that are further enhancing Venice’s cultural appeal. Among them are Palazzo Manfrin, home to a remarkable selection of works by Anish Kapoor; the Dries van Noten Foundation, housed in Palazzo Pisani Moretta; the AMA Collection and its exhibition Aura; the contemporary art centre Casa di San Lorenzo; Palazzina Masieri, transformed into a space dedicated to art and design; and the Wilmotte Foundation. Together, these venues contribute to the city’s dynamic cultural landscape and reaffirm Venice’s status as one of Europe’s leading centres for contemporary art.
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