Russia’s Venice Biennale Return Draws Leaked Emails, Boycott, and EU Funding Cut
Russia’s return to the Venice Biennale, after a four-year absence, has become the center of a widening political dispute. Leaked emails published by Italian outlets suggest that Biennale officials had been coordinating with Russia’s pavilion commissioner, Anastasia Karneeva, for months before the country’s participation was publicly confirmed. The revelations arrive as Italy’s culture minister, Alessandro Giuli, says he will boycott the vernissage, the jury introduces a new eligibility rule tied to International Criminal Court charges, and the European Union withdraws $2 million in funding for the 2028 edition.
According to the documents, communication between Biennale president Pietrangelo Buttafuoco, director Andrea Del Mercato, and Karneeva began last June. By November, Karneeva was asking for help securing visas and an invitation letter so curator Petr Musoev could enter Italy. Del Mercato, according to the reporting, responded with support. Karneeva also requested that Russia’s pavilion be relabeled on the Biennale map after Bolivia used the building in 2024.
The emails indicate that Russia had confirmed its attendance by January and submitted plans for a multimedia presentation titled “The tree is rooted in the sky.” Texts for the catalog entry were completed in February. Additional emails from that month show Biennale officials working with Karneeva on a strategy that would allow Russia to take part without violating European Union sanctions that bar member nations from collaborating with state-backed Russian entities.
The pavilion is scheduled to open during the Biennale’s preview days, from May 6 through 8, when videographers will record Russian performers activating the space. From May 9 onward, footage will be shown to the public from inside the closed pavilion.
On April 23, the Biennale jury announced that it would not consider any country whose leaders face ICC charges for the Golden Lion and Silver Lion prizes, a move widely read as an indirect rebuke of both Israel and Russia. Two days later, the EU said it was pulling $2 million in support for the 2028 Biennale.
The Biennale Foundation has not responded to requests for comment. In a statement published by Il Giornale, it defended its “absolute respect of the rules” and said the communications were circulated “against any ethics, procedure and respect for the rules of privacy.” The episode underscores how quickly the Venice Biennale can become a stage not only for art, but for the legal and diplomatic pressures surrounding it.
