‘No artist’ will want to represent Australia at Venice Biennale after Sabsabi dumped, former museum head says | Venice Biennale

Australia’s Venice Biennale Pavilion Faces Uncertain Future After Artistic Controversy

the 2026 Venice Biennale, a prestigious international art event, finds itself embroiled in controversy surrounding Australia’s representation. The Australian Pavilion, traditionally a prominent space for showcasing Australian artistic talent, faces the possibility of remaining dark for the first time, due too the recent withdrawal of the selected artists by Creative Australia, the nation’s arts funding body.

The decision came after public outcry against the chosen artists – Lebanese-born Australian artist Khaled Sabsabi and curator Michael Dagostino – stemmed from the inclusion of artworks depicting deceased Hezbollah leader Hassan Nasrallah in sabsabi’s previous work. One such artwork, “You” (2007), a video installation featuring Nasrallah, was donated to the Museum of Contemporary Art (MCA) by Sabsabi in 2009 while Elizabeth Ann Macgregor, former director of the MCA, was at the helm. the artwork remains part of the museum’s collection.

“Did Creative Australia honestly think they could just ring up the next artist on the shortlist? Well, they’ve all already made it very clear that none of them will be accepting the offer,” Macgregor stated, expressing her deep concern about the ramifications of Creative Australia’s decision. “No artists worth their soul will touch that pavilion now. They can’t. It’s totally tainted.And it’s so tragic.”

Creative Australia’s executive director, Adrian collette, acknowledged during an internal meeting that the backlash against Sabsabi’s work would have been even more severe had the exhibition proceeded. This admission highlights the sensitive nature of the subject matter and the potential for public disapproval.

Minister for the Arts Tony Burke, while not directly interfering with Creative Australia’s selection process, emphasized his support for the institution in navigating the controversy. He stated, “I said to Adrian Collette, who I have known for more than a decade, I said to him whatever you decide, I will support you and I will support Creative Australia”.

Beyond the immediate implications for the Australian Pavilion at the Venice Biennale,the incident raises broader questions about artistic freedom,censorship,and the role of public funding in the arts. Macgregor raises valid points, questioning the precedent set by Creative Australia’s decision: “Should Creative Australia now issue an edict saying no one dealing with any subject of war can create work that is funded by the taxpayer? And are they going to go back through the social media accounts of any artist who gets a commission, to see what they’ve been doing or saying 15 or 20 years ago?”

The debate surrounding the selection and subsequent withdrawal of Sabsabi’s work underscores the complexities surrounding art in a politically charged habitat. The incident compels a deeper conversation about the responsibilities of funding bodies like Creative australia, the importance of artistic freedom, and the role of public discourse in shaping the cultural landscape.

What steps can be taken to make the selection process for the Australian Pavilion more transparent and inclusive, and how can this mitigate similar controversies in the future?

Venice Biennale shakedown: A Conversation with Dr. Amelia Hartley on Australia’s Artistic Crossroads

Alex Reed: Dr. Amelia Hartley, Professor of Art History and Visual Culture at the University of Sydney

Archyde News Editor: Welcome, Dr. Hartley.Could you kick off by giving our readers some background on the Venice Biennale and its importance?

Dr. Hartley: “Of course. The Venice Biennale is one of the world’s premier international art exhibitions,held biannually since 1895 in Venice,Italy.Its an unparalleled platform for showcasing countries’ best artistic talent and cultural heritage. Participation in the Australian Pavilion is highly coveted and symbolizes our nation’s artistic identity on the global stage.”

Archyde News Editor: We’re here today to discuss the recent controversy surrounding the Australian Pavilion, following the withdrawal of artists khaled Sabsabi and Michael Dagostino. Can you walk us through the key events leading up to this point?

Dr. Hartley: “Certainly.The controversy revolves around Sabsabi’s previous work featuring Hezbollah leader Hassan Nasrallah, which triggered public outrage. the selected artists withdrew their involvement, leading to uncertainty about the Pavilion’s participation in the 2026 Biennale.”

Archyde News Editor: Creative Australia, our national arts funding body, received significant backlash for their initial selection. How do you believe they’ve handled this situation?

Dr. Hartley: “Creative Australia faced a delicate balancing act between artistic freedom and public sentiment. While I respect their decision to prioritize the Biennale’s success and Australia’s reputation, I’m concerned about the potential chilling effect on artists, particularly those engaging with controversial or sensitive topics.”

Archyde News Editor: indeed, this raises broader questions about censorship and the role of public funding in the arts. What steps should be taken to mitigate similar controversies in the future?

Dr. Hartley: “Greater transparency and inclusivity in the selection process would be a start. Engaging diverse stakeholder groups, including artists, institutions, and the public, could help anticipate and manage potential sensitivities. Moreover,our cultural leadership should foster open dialog about the role of art in challenging perceptions and provoking thought.”

Archyde News Editor: Before we wrap up, what final thoughts do you have for our readers on the importanrtince of suppog and engaging with contemporary art, especially when it challenges our perspectives?

Dr. Hartley: “Art has always held a mirror to society,reflecting our triumphs and traumas,our hopes and fears. Embracing art that challenges us is not just about tolerating difference; it’s about growing as individuals and as a nation. Let’s ensure Australia’s artistic conversation remains robust, inclusive, and true to its spirit of diversity.”

Readers, we invite you to share your thoughts on this nuanced debate. How should Australia balance artistic freedom and public sentiment in its cultural representations?