Biennale's National Pavilions vs. Transnational Curatorial Vision: A Structural Contradiction

The 61st Venice Biennale, curated by Koyo Kouoh, highlights a deepening contradiction between its historical national pavilion system and the transnational, post-identity approach of the international exhibition 'In Minor Keys'. The return of the Russian Pavilion after a hiatus underscores the geopolitical weight of national representation amid global conflicts. Kouoh's curatorial stance explicitly rejects national taxonomy, selecting artists based on poetic affinities, historical resonances, and political urgencies rather than provenance. This has sparked controversy over the absence of Italian artists in the main show, questioning whether a Biennale hosted in Italy should guarantee national quotas. The article argues that while pavilions are remnants of 19th-century universal expositions and imperialist geography, they can still function critically as spaces for dissent and hospitality rather than state propaganda. The Biennale's dual structure—simultaneously upholding nation-based representation and a curatorial vision that transcends borders—remains unresolved. The exhibition runs until November 22, 2026, at Giardini and Arsenale.