The seventh Jerusalem Biennale opened in 2026 with a theme reflecting the deep emotional and spiritual impact of last year’s conflict. Founded in 2013, the event gathers contemporary artists to engage with Jewish and Israeli experiences, and this edition, titled “De Profundis” (“Out of the Depths”), draws inspiration from the opening words of Psalm 130 and the collective trauma stemming from the October 7, 2023, Hamas-led attack. The assault resulted in the deaths of approximately 1,200 people and the abduction of 251 hostages, with the event continuing to resonate as a profound wound for many in Israel and beyond.

Jerusalem Biennale founder Ram Ozeri explained the choice of theme during a recent press tour, noting the dual significance of the Latin phrase “De Profundis” and its association with Oscar Wilde’s letter from Reading Gaol, which includes the phrase “Where there is sorrow there is holy ground.” For Ozeri, art serves not only as prayer but also as a channel for healing and bringing to the surface the collective subconscious affected by trauma.

The Biennale, running through November 12, features over 250 Israeli and international artists and includes 42 exhibitions spread across 21 venues throughout Jerusalem, making it the largest presentation to date. The event faced particular challenges in organization, including concerns from some international participants who feared potential backlash for showing their work in Israel. Others, however, welcomed the opportunity to counteract cultural boycotts.

The central venue at the former National Library on the Hebrew University’s Givat Ram campus offers a striking historical context with its monumental stained-glass windows by Mordecai Ardon, which depict Isaiah’s “Vision of Eternal Peace.” Curators David Sperber and Porat Salomon utilized these panels as a powerful backdrop for the “Or Chozer (Reflected Light): An Active Vision” exhibition.

Among the notable works, Andi LaVine Arnovitz’s “Isaiah’s Still Waiting” employs old-fashioned View-Masters that reflect black-and-white scenes illuminated by the stained-glass light. Ariane Littman’s pieces reference ancient protective amulets; her “incantation bowl” marked with the date “7.10.23” acts as a symbolic countercurse to the events of the attack, while “Sanguine Fields” features red-ink-stained gauze hung on meat hooks.

American artist Richard McBee showcased six paintings inspired by the biblical story of Abraham and Isaac, framing the narrative as a test of both figures and reflecting on Jewish suffering and resilience post-Holocaust and October 7. The exhibition opens with Abraham’s query, “Where is the lamb?” and closes on Isaac’s solitude after divine intervention.

“The One Who Dwells in This House” curated by Shoshana Guggenheim Kedem and Ahuva S. Zaslavsky responds to themes of grief and marginalization. Drawing from experiences within the Portland, Oregon Jewish community, their installation invites visitors to participate in acts that symbolize collective mourning and healing, such as moving soil into small linen sacks, evoking a reversed burial rite.

Another highlight, “Abraham’s Children,” curated by Ori Z. Soltes and created by artist Mel Brown, expands the conversation to include Muslim artists from Turkey and the United Arab Emirates, emphasizing shared artistic traditions and the common ground between Jewish and Muslim cultures despite historical differences in religious art.

Czech photographer David Tesinsky presents a photographic series, “The Light Within,” capturing diverse Jerusalem neighborhoods, demonstrating a detached artistic stance despite some criticism and loss of social media followers due to his participation. Meanwhile, American-Israeli artist Rina Nissel Shalhov’s acrylic work “A Sabra is Born” employs the metaphor of the resilient and thorny sabra cactus to explore themes of national pride and survival under adversity.

Mexican artist Alejandro Glatt contributes a vibrant, forward-looking dimension through his “Mezuzah to the Moon” project. Building on the inclusion of one of his papaya-themed works in a 2024 lunar mission, Glatt envisions elevating Jewish cultural symbols beyond earthly bounds, underscoring a refusal to be limited by fear of antisemitism or political opposition.

The 2026 Jerusalem Biennale thus combines artistic reflection on recent trauma with expressions of hope and resilience, leveraging Jerusalem’s unique cultural landscape and historical depth to foster dialogue and healing across diverse communities.