The Russian protest collective Pussy Riot and the Ukrainian-founded Femen staged a joint demonstration at the Venice Biennale, disrupting the return of Russia to the prestigious international art exhibition for the first time since its full-scale invasion of Ukraine.
The activists moved through the Biennale gardens dressed in black, wearing fluorescent pink balaclavas, before gathering outside the Russian pavilion. Security intervened as they shouted slogans including “Russia kills! Biennale exhibits!” while setting off smoke flares and raising protest signs.
One banner read: “Curated by Putin, dead bodies included,” underscoring their criticism of Russia’s participation in the event amid the ongoing war in Ukraine.
Pussy Riot member Nadya Tolokonnikova accused Russia of using cultural platforms as part of broader political influence efforts. She argued that the country’s presence at the Biennale was an attempt to normalize its international image despite the conflict.
“They’re drinking vodka and champagne in their pavilion, soaked in the blood of Ukrainian children,” she said, describing the return as part of what she called “hybrid warfare” that extends beyond military action into culture and art.
Russia’s participation has triggered diplomatic controversy. The European Commission condemned the decision and threatened to withdraw funding from the Biennale, arguing that allowing Russia to showcase its work undermines ethical standards tied to its support.
Italy’s culture minister has opted not to attend the opening of the event, while other political figures in the country have defended Russia’s inclusion, arguing that no country should be excluded from cultural forums.
Tensions have also surrounded other pavilions. The Biennale’s international jury reportedly resigned after disputes over statements referencing countries whose leaders are subject to International Criminal Court warrants. Meanwhile, protests have also targeted the Israeli pavilion, reflecting wider geopolitical divisions being expressed within the exhibition.
The Biennale president has rejected calls for exclusion of participating countries, arguing that the event should remain open to all artistic expression regardless of political context. Critics, however, accuse the institution of ignoring the realities of war and occupation.
Inside the Russian pavilion, official representatives defended their participation and dismissed the protests, saying the exhibition space is a legitimate cultural platform. The display features experimental installations and sound works.
Russia’s return to the Biennale is expected to be limited in duration, with parts of the pavilion closing after early events, though performances are being recorded for later public screening.
Nearby, the Ukrainian pavilion presents a contrasting narrative focused on loss and displacement. One installation features an artwork originally created in eastern Ukraine, evacuated from a war zone as fighting intensified.
Ukrainian artist Zhanna Kadyrova, whose work is included in the exhibition, described her piece as a reflection on destroyed cities and cultural heritage lost during the war. She said many works and historical artifacts from affected regions may never be recovered.
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