The 61st Biennale d'Arte in Venice opened in early May. A stirring and controversial edition, not only because of the unexpected death of curator Koyo Kouoh, who hailed from Cameroon and Switzerland, a year before the opening. Her team continued her plans and ideas, and her input into the biennial was palpable. It's hard to describe where that came from, but it will be a combination of the choice of artists (most of them from parts of the world other than the West) and the way the art was presented: there was a lot of space for the work, the pedestals were cardboard (very good quality though) and there was a great variety of form.
It would be much more controversial if there were no politics at all in this event, at this time.
Besides being stirring, it is a controversial edition, because it is more of a political biennial than before. Of course, you can't escape that either; it would cause much more controversy if there were no politics at all in this event, at this time.
The presence of both Israel and Russia was criticized and literally fought against (during the opening days). The Russian Pussy Riot and the Ukrainian FEMEN protested loudly and clearly against Russia and made a concerted effort to draw attention to the misery in both countries and the need for protest against Russia. Near the Giardini (one of the main venues of the biennial), hundreds of people protested against the genocide in Gaza and Israel's presence at the biennial. Harsh action was taken by the police.
All in all, this edition of the biennial - in which much of the art in the country pavilions may not be mind blowing is, exceptions certainly aside - but all together - the politics, the critical art, the uncritical art, the protests, the people (i.e., the public who can afford to go there) - it touches. All together it points to a world in decline, a world in conflict, while we, the public, can take note of it at our ‘leisure.
Russia's Pussy Riot and Ukraine's FEMEN protested loud and clear
The exhibition In Minor Keys by Koyo Kouoh in the Arsenale is both beside and against this. It shows - among many other things - part of the origins of the world's current turmoil: the arrogance of the West, of a society in which many people once thought they were bringing good and in the meantime mainly fetched things and practiced bad. The biennial shows a half-rooted world in the process of seeking a new balance. For now, that balance seems far away.
The biennial shows a half-rooted world in the process of seeking a new balance.
The protests during the opening days of mostly young people standing up for their lives and the lives of their compatriots in Russia and Ukraine was powerful and moving. As was Gaza's makeshift country pavilion, where press photos of horrific scenes had been transformed into embroideries. Every square inch of every possible form of misery had been copied at very close quarters, each time with a new cross-stitch. We are used to looking away from photographs, but looking away from handmade embroidery is impossible.
English 
Dutch