The Venice Biennale reopened on Tuesday amid significant controversy over Russia’s return to the prestigious art festival for the first time since its full-scale invasion of Ukraine in 2022. The event, which takes place every two years in the Italian city, has faced protests, boycotts, funding threats, and the resignation of its jury in response to Russia’s participation.

Russia had withdrawn from the Biennale in 2022 following the outbreak of war and was absent again in 2024 when its pavilion was lent to Bolivia. This year’s return has reignited tensions as the conflict continues, prompting condemnation from multiple quarters. The European Union threatened to withdraw two million euros in funding allocated for the Biennale, citing concerns that hosting Russia breached EU sanctions. The Italian Culture Minister Alessandro Giuli expressed opposition to Russia’s inclusion and announced he would not attend the event.

Protests erupted at the Russian pavilion during the opening previews. Ukrainian feminist collective Femen and Russian punk band Pussy Riot staged a demonstration, setting off pink, blue, and yellow flares and blocking access to the pavilion for about 30 minutes. Activists declared that “the only Russian art today is blood,” drawing attention to ongoing violence in Ukraine. About a hundred pro-Palestinian demonstrators also gathered near Israel’s pavilion, which alongside the United States, represents another country involved in international conflict at the Biennale.

Russia’s exhibition, titled “The Tree Is Rooted in the Sky,” broke from traditional formats by featuring audio performances, electronic music, and folk singing instead of visual artworks. The pavilion welcomed invited guests during press previews but will remain closed to the general public throughout the event, scheduled to run until November 22. Organizers cited EU sanctions as the reason Italians could not work with Russians to certify the space for public access. Russia’s ambassador to Italy criticized the sanctions as misplaced cultural targeting and defended the country’s participation.

The Biennale’s president, Pietrangelo Buttafuoco, has maintained that excluding nations based on political conflicts would undermine the festival’s purpose as a space for open dialogue and cultural exchange. He stated that art should unite rather than divide, especially when the world faces geopolitical ruptures. This stance, however, has faced sharp criticism. Ukrainian artist Zhanna Kadyrova condemned Russia’s presence as unjustifiable in light of ongoing drone attacks on Kyiv. Several artists and curators withdrew their involvement in past editions protesting Russian aggression, and the current jury resigned rather than award prizes given the participation of countries under investigation by the International Criminal Court.

The situation has sparked broader debate over the role of cultural events in conflicts. Some argue that art inevitably intersects with politics, especially when national pavilions are state-sponsored and serve as vehicles of soft power. Critics highlight Russia’s historical use of culture to promote imperialistic narratives and question the wisdom of providing a platform to a regime accused of war crimes. Others emphasize the importance of maintaining cultural spaces that foster dialogue and resist censorship.

As the Venice Biennale proceeds under unprecedented strain, organizers face the challenge of balancing artistic freedom, political realities, and ethical considerations. The boycott calls and protests underscore a growing demand that cultural institutions align their practices with evolving international norms amid ongoing global conflicts.