Venice Biennale Faces Another Political Shock as Iran Withdraws
The 2026 Venice Biennale has lost one of its national participants just days before opening, with organizers confirming on May 4 that Iran will not take part in the 61st International Art Exhibition. No explanation was given for the withdrawal, which arrives as the country remains caught in an uncertain ceasefire after a war with the United States and Israel that has unsettled the Middle East.
The announcement adds another layer of instability to an edition already defined by geopolitical strain. The Biennale is scheduled to open publicly on May 9 and will include 100 countries, among them the newly announced United Republic of Tanzania and the Republic of Seychelles. South Africa, meanwhile, will not host a pavilion this year after a legal dispute over a Gaza-focused artwork by Gabrielle Goliath led to its withdrawal.
Iran’s absence is especially significant because the country has been a recurring presence in Venice for more than two decades. After nearly 30 years away, it returned in 2003 and has participated in most editions since. In 2024, its pavilion presented “Of One Essence is the Human Race,” a project centered on women’s rights. For 2026, the commission had been listed as Aydin Mahdizadeh Tehrani, the general director of visual arts at Iran’s culture ministry.
The Biennale itself has also been reshaped by controversy. Last week, its five-person prize jury resigned, relinquishing responsibility for the Golden and Silver Lion awards, among the most closely watched honors in the international art world. Organizers responded by creating “Visitor Lions,” with audiences voting throughout the run of the exhibition. The ceremony has been moved to November 22, and both Russia and Israel will be included for consideration.
That decision followed the Biennale’s April 22 announcement that it would not consider nations charged with crimes against humanity at the International Criminal Court, a move widely read as directed at Russia and Israel. The Russian Pavilion has also been a flashpoint: on April 28, organizers said it would be closed to the public during the Biennale, though open during the four-day preview. The European Union has since withdrawn €2 million in funding over Russia’s involvement, a cut that will affect the 2028 edition.
For an event built on the idea of international exchange, this year’s Biennale is becoming a test case for how cultural institutions navigate war, law, and public accountability at once.
