Reflections on the Venice Biennale: Art Amidst Absurdity

I've been thinking about sharing some standout moments from this year's Venice Biennale, but it's been a rollercoaster. I've always loved diving into art fairs, but this time around, it's different.

On one hand, there's the temptation to immerse myself in celebrating beautiful art and culture. On the other, it's hard to shake off the uneasy feeling of attending an art fair while the world is grappling with genocide, and in a city that is drowning. I wasn’t there in person, but am following the fair and the feedback quite closely. Kathy Acker's words hit close to home: "The only reaction against an unbearable society is equally unbearable nonsense." Some installations fully embraced this notion, diving headfirst into chaos and extravagance, almost as if to confront the sheer absurdity.

That said, there is still an abundance of great artists and works, but what stands out to me the most, is the realization that Palestinian artists should have received support from the Biennale and had their pavilion. Most pavilions explore the intricacies of national identity, so naturally, there is now a spotlight on the Biennale's rigid organization. It begs the question: Is it time for a new model that prioritizes global interconnectedness and dialogue over national introspection? From the ongoing Israel-Palestine conflict to the crisis in Sudan, it's clear that art can only do so much in the face of such immense suffering and maddening injustice.

So, my friends, while we can still revel in the joy of art and art fairs, let's hope that the dissent felt this year will spark meaningful challenges to the status quo, paving the way for a much-needed shift towards a more inclusive art world and a free Palestine.