ROME — Russia’s inclusion in the lineup of the 2026 Venice Biennale art fair sparked international outcry that quickly escalated beyond the art world, with European officials threatening consequences over the decision and the war in Ukraine.
The European Commission condemned the Biennale’s decision and said it could withhold EU funding for the fair. Commissioners Henna Virkkunen and Glenn Micallef warned that if the Biennale Foundation proceeds, the commission would consider “further measures, including the suspension or termination of ongoing EU funding to the Biennale Foundation,” a step the threats would amount to “some 2 million euros over three years.”
The backlash also came from governments: 22 European countries wrote to the head of the Venice Biennale Foundation, Pietrangolo Buttafuoco, expressing “profound concern” over Russia’s participation. The letter warned Moscow could use the platform to “project an image of legitimacy and international acceptance” that would stand in contrast to the reality of Russia’s ongoing war against Ukraine and the destruction of Ukrainian cultural heritage, as well as European and international sanctions.
The Biennale Foundation announced the 2026 lineup on March 4, with the show scheduled to run May 9 through Nov. 22. The festival said 99 nations would participate, including seven for the first time. Russia’s return was not described as a headline change; it was included in the list of participating countries with an exhibition titled “The Tree is Rooted in the Sky,” alongside some three dozen Russian artists.
Italian officials faced domestic pressure as well. Culture Minister Alessandro Giuli voiced opposition to the Biennale’s decision but said the government does not control the Biennale Foundation. He said the foundation, which oversees the festival, is independent and acted autonomously when it included Russia in the lineup for the Biennale’s 61st arts festival.
Giuli’s response included personnel and investigative steps. This week, Giuli fired Tamara Gregoretti, a ministry official who sits on the Biennale board. Giuli accused Gregoretti of failing to disclose to the ministry that Russia had indicated it would be participating and that she had supported its inclusion.
Giuli also launched an investigation into whether Russia’s participation was compatible with EU sanctions. According to the account, he demanded the Biennale urgently provide documentation, including correspondence with Moscow, about Russia’s plan to set up and manage the pavilion during the fair.
The Italian ministry said Giuli spoke by telephone Friday with his Ukrainian counterpart, Tetyana Berezhna. It said Giuli reiterated the Italian government’s commitment to protecting Ukraine’s cultural identity, which it said has been under threat for over four years due to the Russian invasion, and reaffirmed his personal commitment and that of the government to the reconstruction of Ukraine’s cultural heritage.
The ministry said Berezhna told Giuli that Russia’s participation was “unacceptable for Kiev” and “contrasts with the strong support for Ukraine maintained by the Italian government.”
Buttafuoco defended the decision, framing Russia’s participation as an act opposing censorship. He said the 2026 Biennale would be accompanied by two dedicated exhibition spaces for “dissident” art, and he recalled that last year’s Venice Film Festival had featured the world premiere of “The Wizard of the Kremlin,” a film starring Jude Law about Vladimir Putin’s rise to power.
The row also comes after related decisions involving Russian participation in other international events. The outcry surfaced weeks after the International Paralympic Committee allowed Russian and Belarusian athletes to compete under their national flags at the Milano Cortina 2026 Winter Paralympics, according to the report.
Russia has long had a permanent pavilion in the Giardini exhibition area, and it is described as having a streamlined participation process under Biennale rules. Moscow has not appeared since the Ukraine war began: in 2022 the Russian pavilion was shuttered after its artists withdrew following Moscow’s invasion, and in 2024 the pavilion was loaned to Bolivia for its exhibition. With Russia listed again for 2026, European officials and governments are now weighing whether the venue can operate within the constraints of EU sanctions and wartime politics.