Cape Town, South Africa – South Africa will not participate in the 2026 Venice Biennale after a dispute with the artist selected to represent the nation, Gabrielle Goliath, whose planned exhibit centered on the ongoing conflict in Gaza. The decision underscores the complex intersection of art, politics, and international diplomacy, particularly regarding the Israeli-Palestinian conflict.
Goliath, a South African artist, intended to present a performance piece titled “Elegy,” which would have included a memorial dedicated to Hiba Abu Nada, a Palestinian poet killed in an Israeli airstrike in 2023, according to the Jewish Telegraphic Agency (JTA). Her selection by Art Periodic, the nonprofit managing the South African pavilion, quickly drew criticism from South African Culture Minister Gayton McKenzie, who deemed her work “highly divisive.”
While South Africa has historically been a strong critic of Israel, and diplomatic relations have been strained due to the war in Gaza, McKenzie has publicly expressed strong support for the Jewish state. In January, McKenzie terminated the agreement with Art Periodic, stating his intention to showcase art in Venice that would convey a “positive message” about South Africa, as reported by The New York Times.
McKenzie further claimed, in a January Facebook post, that a “foreign country” had attempted to fund the South African installation, alleging that the platform was being used to promote a geopolitical stance on Israel’s actions in Gaza. He stated, “South Africa’s position on Israel and Gaza is clear. Maybe this country’s position should also be stated clearly – by them, and not indirectly through another country’s platforms.”
Goliath subsequently filed a lawsuit seeking to overturn McKenzie’s decision and reinstate her as the country’s representative. However, the court dismissed her challenge on Tuesday, as reported by Artnet News. Goliath and her legal team released a statement expressing their belief that the ruling sets a “dangerous precedent,” jeopardizing artistic freedom and the right to dissent in South Africa, and indicated plans to appeal the decision.
Despite initially seeking a replacement artist, the ministry announced on Friday that South Africa will not have an installation at the Venice Biennale this year. This marks a significant departure for a nation that has historically used the prestigious art exhibition to showcase its cultural identity and political viewpoints.
This is not the first instance of controversy surrounding the Israeli-Palestinian conflict at the Venice Biennale. In 2024, the Israeli representative at the exhibition temporarily shut down her exhibit to advocate for a ceasefire in Gaza and the release of hostages, as noted by JTA. This year, the potential return of Israel to the Biennale has already sparked boycott calls from the pro-Palestinian group Art Not Genocide Alliance.
The decision by South Africa to withdraw from the Biennale highlights the increasing challenges faced by artists and cultural institutions navigating politically charged issues on the international stage. The incident also underscores the diverging views within South Africa itself regarding its stance on the Israeli-Palestinian conflict, with Minister McKenzie taking a notably different position than the country’s long-held foreign policy.
The outcome of Goliath’s appeal will be closely watched, as it could have broader implications for artistic freedom and the role of government in shaping cultural expression within South Africa. The Biennale, scheduled to open in April, will proceed without South Africa’s participation, leaving a notable absence in a forum known for its global representation and often provocative displays.
What comes next is the anticipated appeal by Goliath and her legal team, which will likely focus on the constitutional rights of artists and the limits of ministerial discretion in cultural representation. The Biennale will proceed without South Africa, but the debate surrounding the intersection of art and politics is likely to continue.
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