Biennale and Fenice, the difficult relationship between Venice and culture

Phoenix of Venice give theGoodbye a Beatrice Venezi. After months of controversies e clashesa month and a half after vote of last year March with which the Board of Directors of the Venetian theatre had officially awarded her theassignment Of conductor (task that should have started in October) the Foundation fire her Teacher and decides on the cancel all future collaborations.

To convince the superintendent Nicola Colabianchi it wasn’t the cultural and political debate (lit up to the point that over the months it has become a real arm wrestling) ma “the repeated and serious public statements of the maestro, offensive and detrimental to the artistic and professional value of the Foundation and its orchestra”.

The disputed statements

In particular returnable Venezia incompatible with his assignment at the Phoenix were the statements released to the Argentine newspaper The Nation in which he explained that: “I don’t have godfathers, that’s the difference. I don’t come from a family of musicians. And this is an orchestra where positions are practically handed down from father to son”.

The position of the Ministry

To complete trust was reiterated by Minister of Culture Alessandro Giuli towards the superintendent which, it was reiterated, took over the decision “in autonomy and independence”.

Strikes and internal protests

All after months of strikes, demonstrations, flyers, protests from the workers that they have always considered the Teacher not suitable for curriculum al Venetian theatreuntil requests for resignation towards the superintendent (the last time a few days ago when in sala she felt like one voce scream “Colabianchi resign” then followed by one rain of flyers).

Tortato’s resignation

And without forgetting the resignation of the advisor of the Ministry of Culture Alessandro Tortatowhich last 11 March he left his assignment in the open break with a appointment too defined “politics”.

The controversy over the Biennale

But for one controversy which, for better or worse, is resolved, another remains open. And it is the one relating to participation Of Russian artists at the 61st International Art Exhibition from the Biennale.

The absence of the minister

Just a few days ago the Ministry of Culture made it known that the minister Alessandro Giuli will not travel to Venezia on the days of pre-opening from the 61st Art Exhibition from the Venice Biennial (6-8 maggio), nor will he participate in the inauguration ceremony of the 9 maggio.

Petitions and exclusions

And even in this case it is one controversy which has been going on for months with lots of petitions e collected signatures to ask forexclusion of the Russian and Israeli artists.

The decision on awards

A few days ago it arrived decision Of exclude from the awards The artists “of countries accused of crimes against humanity” that they will exhibit at Biennale Arte 2026 (Russia and Israel), but the threat from the European Commission Of suspend funding per 2 million euros at the Biennale.

The accusations on sanctions

And finally the accuse which indicated the Biennale guilty of having circumvented the sanctions that hang on the Russia frominvasion of Ukraine.

The Russian pavilion

Il Russian pavilion in reality it will be open just for three daysdal 6 to 8 Maywhen at preview reserved for press will stage one performance from the title ‘The Tree is Rooted in the Sky’ (‘The tree is rooted in the sky’) that will come registered e broadcast on screens visible by Gardens.

Closing until November

Il pavilion it will remain then inaccessible dal 9 maggio until the end of demonstrationil November 22.

The note of the Biennale

But just today the Biennale took the word and, in one press notehe reiterated “absolute compliance with the rules, having acted in strict compliance with the national and international laws in force and within the limits of one’s competences and responsibilities”.

The response to the accusations

“No ban on European sanctions has been circumvented”as stated by journalistic reconstructions. “The sanctions were rigorously applied”.

Confidential documents and controversies

“We are amazed” – continues use – therefore that such distorted reconstructions have emerged from “vision” Of internal documents sent toSupervisory Authority from the Biennalecontaining moreover references to third partiesevidently widespread against every ethics, procedure e compliance with privacy rules.

The conclusion of the note

“Una manina-manonaand not a traveling pigeonwhich delivers to press under the counter i confidential documentsdoesn’t make us question the value of the things written, all of them legitimatebut on the Why the manina-manona he felt he had to distribute them. Stepping over the boundaries of institutional correctness and of decency. And so we are amazed” we finally read.