The 60th Venice Biennale Arte, held from April 20 to November 24, 2024, presented a profound exploration of identity, migration, and cultural exchange under the theme "Stranieri ovunque - Foreigners Everywhere". Curated by Brazilian art historian Adriano Pedrosa, this edition expanded the Biennale's scope, featuring 331 artists—approximately one-third more than in 2022.Pedrosa's curatorial vision emphasized voices from the Global South, Indigenous communities, and queer artists, aiming to reflect on and reshape perceptions of the 'other' and highlight shared human experiences.

"I feel deeply connected to the themes and projects of the Central Exhibition. In my life, I have been fortunate to travel extensively, and at times, I’ve been treated as a traveler from the Global South—even though I’m not a refugee and I hold one of the strongest passports from the region. I also identify as queer—the first openly queer director of the Venice Biennale. Everything begins in my homeland. Brazil is a land of foreigners: beyond the Portuguese colonizers, it is home to large communities from all over the world, including Italians. The Biennale will be a celebration of the foreigner, the outsider, the queer, and the strange", said Adriano Pedrosa, appointed Curator of the Venice Biennale, ror the first time curated by a director from South America.

The exhibition's title draws inspiration from a series of neon sculptures by the collective Claire Fontaine, which render the phrase "Foreigners Everywhere" in multiple languages. Pedrosa explains that the expression carries a dual meaning:

““First of all, that wherever you go and wherever you are you will always encounter foreigners—they/we are everywhere. Secondly, that no matter where you find yourself, you are always truly, and deep down inside, a foreigner”. ”

This theme emphasizes the universality of displacement and the collective experiences of those who experience and navigate between cultures and identities.

The central exhibition, housed in the Giardini's Central Pavilion, was a tapestry of diverse artistic expressions. A standout feature was a monumental mural by the Huni Kuin Artists Movement (MAHKU), an Indigenous group from the Brazilian Amazon. Their intricate designs adorned the pavilion's façade, symbolizing the interconnectedness of all cultures and the importance of preserving Indigenous traditions. Inside, the exhibition showcased works by artists such as Kay WalkingStick and Emmi Whitehorse, Native American painters whose pieces reflect themes of displacement and identity. The Mataaho Collective, a group of Māori women artists, presented large-scale fiber sculptures that explored ancestral narratives and the passage of time. These installations, among others, invited visitors to reflect on the complexities of belonging and the fluidity of cultural thresholds.

Massimo Bartolini
Italian Pavilion

“Due qui/To Hear” at the Italian Pavilion explores sound’s relational nature across three spaces, inviting contemplation and meditation through sculptures, organ music, and performative storytelling in a garden setting.

Massimo Bartolini's installation in the Italian Pavilion transformed the space into an immersive environment that engaged the senses. Utilizing scaffolding, sound, and water, Bartolini created a contemplative space that invited visitors to pause and reflect. The work's minimalistic aesthetic and subtle interactions encouraged a meditative experience, highlighting the importance of introspection in understanding cultural narratives. Curated by Luca Cerizza, "Due Qui To Hear" is an auditory exploration of the Italian landscape, focusing on the sounds of its diverse regions and communities. The pavilion's design incorporates acoustic elements, with speakers strategically placed to immerse visitors in the auditory experience. The recordings capture the everyday sounds of Italy—from bustling city streets to tranquil rural areas—offering a sonic portrait of the nation's cultural tapestry. The exhibition encourages visitors to listen attentively, fostering a deeper appreciation for the subtleties of sound and its role in configuring identity.

Italian Pavilion
Massimo Bartolini curated by Luca Cerizza

Iva Lulashi
lbanian Pavilion

Iva Lulashi’s exhibition revolves around universal themes of love, sex, and desire, transcending geographic boundaries through her paintings inspired by film stills, housed in a stylized representation of her studio.

Curated by Antonio Grulli, the Albanian Pavilion presents Iva Lulashi's intimate exploration of sexuality and desire through a series of large-scale paintings. Drawing inspiration from the "glass of water theory" by feminist thinker Alexandra Kollontai, Lulashi's works depict sensual encounters, primarily featuring female bodies, captured in soft-focus compositions reminiscent of film stills. The exhibition's layout within the Arsenale is minimalist, with each painting thoughtfully spaced to allow viewers to engage deeply with the emotional resonance of the works. The subdued lighting and neutral walls create a contemplative atmosphere, inviting visitors to reflect on the universality of love and intimacy.

Albanian Pavilion @albanianpavillion2024
Iva Lulashi @ivalulashi
Curated by Antonio Grulli @antonio_grulli

EMET
Greek Pavilion

“Xirómero/Dryland” is a hybrid audiovisual installation exploring the political potential of sound, music, and technology on rural landscapes and cultural diversity, drawing from local Greek traditions.

EMET's installation at the Greek Pavilion presented themes of migration and ecological collapse, with a speculative narrative of a future where Greece's Dryland region has become a desolate, militarized zone. The pavilion's design incorporates elements of dystopian architecture, with fragmented structures and immersive soundscapes that evoke a sense of dislocation. Visitors navigate through the space, encountering projections and installations that depict the consequences of unchecked nationalism and environmental degradation. The experience is both unsettling and thought-provoking, inviting audiences to confront the realities of geopolitical tensions and climate crises.

Greek Pavilion
EMET curated by Panos Giannikopoulus @panosgnk

Yael Bartana
German Pavilion

Titled “Thresholds,” the German Pavilion explores migration’s multidimensional experience, challenging territorial and national perspectives through Yael Bartana’s scenarios of a perceived catastrophic present.

The German Pavilion featured "Farewell: Light to the Nations," a collaborative project by Israeli artists Yael Bartana and Ersan Mondtag. Their installation, which extended to the island of La Certosa, utilized mixed media to explore concepts of migration, belonging, and the thresholds between cultures. The work's immersive nature prompted viewers to physically and metaphorically cross borders, reflecting on the obstacles and possibilities inherent in cultural exchange. The installation combines archival footage, personal narratives, and contemporary media to reconstruct a multifaceted portrait of displacement. The pavilion's interior is designed to evoke a sense of intimacy, with dim lighting and strategically placed seating areas that encourage personal engagement with the material. Visitors are invited to immerse themselves in the narrative, fostering a deeper understanding of the complexities surrounding migration and belonging.

German Pavilion
Yael Bartana @yaelbartana
Curated by Cagla Ilk @ilkcagla

Polish Pavilion: “Repeat After Me I”I by Open Group
"Repeat After Me II", curated by Marta Czyż, offers a harrowing glimpse into the lived experiences of war refugees from Ukraine. The installation employs a unique "karaoke" format, where visitors are prompted to repeat sounds of warfare - gunshots, explosions, and sirens - accompanied by subtitles that describe these sounds. The pavilion's design is stark, with minimalist furnishings that resemble a karaoke bar, creating an ghostly juxtaposition between entertainment and trauma. This interactive approach forces audiences to confront the visceral reality of conflict, transforming passive observation into active participation.

Moroccan Pavilion: “The Mapping Journey Project” by Bouchra Khalili
Bouchra Khalili's "The Mapping Journey Project" is a compelling video installation that chronicles the perilous journeys of refugees and stateless individuals across the Mediterranean. Each of the eight films features a static shot of a hand drawing a migratory path on a map, accompanied by personal narratives. The pavilion's design within the Arsenale is contemplative, with dim lighting and a circular arrangement that encourages viewers to focus on the unfolding stories.The accompanying "Constellations Series" translates these journeys into silkscreen prints, inviting audiences to reflect on the broader implications of displacement and the human desire for belonging.

Belgian Pavilion: “Petticoat Government”, a collective and multidisciplinary approach
The Belgian Pavilion's "Petticoat Government" is a multidisciplinary project that mixes art, folklore, and performance to examine the role of women in governance and societal structures. The exhibition, curated by Massamba Mbaye, features oversized puppets and figures inspired by traditional Belgian folklore, reimagined to comment on contemporary political issues. The pavilion's layout is dynamic, with interactive installations and performance spaces that engage visitors in the narrative. The use of scale and movement creates a sense of whimsy, while the underlying themes prompt critical reflection on gender and power dynamics.

French Pavilion by Julien Creuzet
Julien Creuzet's exhibition at the French Pavilion of the 2024 Venice Biennale, titled Attila cataracte ta source aux pieds des pitons verts finira dans la grande mer gouffre bleu nous nous noyâmes dans les larmes marées de la lune, offers a profound exploration of identity, migration, and cultural memory. Curated by Céline Kopp and Cindy Sissokho, the installation immerses visitors in a multisensory experience that interlaces sound, sculpture, video, and scent to evoke the artist's Caribbean heritage and his upbringing in France.

Supported by the Chanel Culture Fund, Creuzet's installations created a sensory experience that engaged visitors in a dialogue about the complexities of identity and the legacies of colonialism. Upon entering the pavilion, visitors are greeted by a large-scale video projection on the façade, depicting mythological figures that embody the five continents. Inside, the space is transformed into an underwater landscape, where connected sculptures resembling marine life and organic forms hang from the ceiling. Creuzet's installation has been widely acclaimed for its evocative use of materials and its ability to engage audiences in a dialogue about the complexities of identity and cultural heritage

United States Pavilion by Jeffrey Gibson
Jeffrey Gibson, a Native American artist, represented the U.S. Pavilion with an exhibition that fused Indigenous artisanal traditions with contemporary art, curated by Kathleen Ash-Milby and Abigail Winograd. His works, which included beadwork, textiles, and multimedia installations, addressed themes of resilience, cultural preservation, and the reimagining of Indigenous identities in modern contexts.

Senegal Pavilion: “Bokk – Bounds” by Alioune Diagne
Senegal's debut at the Biennale was marked by Alioune Diagne's "Bokk – Bounds," an installation that combined painting and sculpture to address themes of community, migration, and identity. A central piece was a traditional canoe adorned with Senegalese textiles, symbolizing journeys and the interconnectedness of human experiences. The exhibition's vibrant colors and intricate details invited viewers to reflect on the shared narratives that unite diverse cultures.

Romanian Pavilion: “What Work Is” by Șerban Savu
Șerban Savu's "What Work Is" examines the evolution of labor and its representation in art, drawing from Socialist realism and contemporary perspectives. The pavilion features a series of paintings and mosaics that depict scenes of labor, both historical and modern, narrating the traditional narratives and the complexities of work. The layout is structured to guide visitors through a chronological journey, with each section offering a different perspective on labor and its societal implications. The use of scale and detail invites close examination, prompting reflection on the changing nature of work and its impact on identity.

Czech Republic Pavilion: “The Heart of a Giraffe in Captivity Is Twelve Kilos Lighter” by Eva Koťátková
Eva Koťátková's installation proposes themes of captivity and decolonization, using the story of Lenka, the first giraffe in Czechoslovakia, as a metaphor. The pavilion's design incorporates elements of the giraffe's enclosure, reimagined to reflect the complexities of captivity and the human desire for freedom. Interactive installations and collaborative workshops invite visitors to engage with the narrative, fostering a deeper understanding of the issues at hand. The exhibition's immersive design encourages reflection on the parallels between human and animal experiences of confinement and liberation.

Pedrosa's curatorial strategy involved presenting artists who embody various forms of "foreignness," including immigrants, exiles, Indigenous peoples, and queer artists. The exhibition was structured into two main sections: the Nucleo Storico, focusing on historical works, and the Nucleo Contemporaneo, highlighting contemporary practices.Notably, the Nucleo Contemporaneo featured four thematic threads: Indigenous artists, queer artists, outsider artists, and artists from the Global South. These categories were not presented in isolation but interwoven throughout the exhibition, reflecting the interconnectedness of these identities.

There are 43 countries participating in the 60th Art Biennale, across the Arsenale, the Giardini, and the historic center of Venice. The Contemporary Core will bring together works by queer artists, those who navigate various sexualities and genders and are victims of discrimination; outsiders, on the margins of the art world, often self-taught; and Indigenous artists, treated as foreigners in their own lands.

The Historical Core, on the other hand, will consist of three rooms in the Central Pavilion: the room titled Portraits - paintings and works on paper by 112 artists, mostly portraying non-white people, the room dedicated to Abstractions featuring 37 artists, and a third room dedicated to the Italian artistic diaspora around the world throughout the 20th century.

Critical Observations Following the Biennale

Foreigners Everywhere" was not just an exhibition but a platform for dialogue on pressing global issues: the Biennale addressed topics such as colonialism, migration, Indigenous rights, and the climate crisis. Through art, it invited visitors to reconsider notions of belonging and to recognize the shared humanity that transcends borders. The inclusion of artists from underrepresented regions and communities underscored the Biennale's commitment to diversity and inclusivity. The 2024 Venice Biennale Arte was a testament to the power of art to bridge divides, provoke thought, and inspire change. By amplifying voices often marginalized in mainstream narratives, it offered a platform for stories that are essential to understanding our collective past and working toward planning a more inclusive future.

Some critics argued that while the exhibition addressed important themes, it did so in a manner that lacked novelty. For instance, Artribune noted that the Biennale presented diversity and foreignness in a transversal way but did not offer avant-garde perspectives, making it feel more like a terminal rather than a germinal exhibition. The review suggested that the Biennale missed an opportunity to approach diversity from an innovative standpoint, potentially limiting its impact. The Welt highlighted issues with "ethno-kitsch" in the exhibition, pointing out that some works, such as Claudia Alarcón's modern tapestry, relied on Indigenous art traditions and stereotypes. Critics felt that Pedrosa's focus on Indigenous, queer, and outsider art sometimes veered into fetishization, imposing neocolonial tendencies by pigeonholing art from the Global South into stereotypes.

This approach was seen as outdated and disconnected from contemporary technological advancements in these regions. ArtReview discussed the limitations of Pedrosa's curatorial politics, suggesting that while the exhibition aimed to give visibility to marginalized groups, it often reduced them to their "otherness." This approach, while ethically commendable, was critiqued for not addressing the deeper political situations of these groups, rendering the exhibition's gestures of inclusion somewhat symbolic. The Art Newspaper pointed out that much of the work in the exhibition was from earlier decades, bringing up issues about the Biennale's role in showcasing contemporary practices. While the inclusion of historical works aimed to provide context, it also led to debates about the exhibition's focus and its alignment with the Biennale's contemporary mandate.

Regarding the exhibition's approach to Indigenous artists, Pedrosa emphasized the importance of agency. He rejected comparisons to colonial-era "human zoos," arguing that such perspectives diminish the agency of the artists involved. Pedrosa defended the inclusion of Indigenous artists wearing traditional attire at the opening, stating that it was a form of self-representation and not a spectacle. He also addressed concerns about the term "artista popular," explaining that it is a patronizing term in Brazil for artists working outside traditional European aesthetics and should not be used to describe these artists

Final reflections and side journeys in Venice

Looking ahead to the next Biennale, the anticipation for how the curatorial direction might evolve is palpable, particularly with the emphasis on underrepresented voices and alternative narratives. With great curiosity, we will discover the next Biennale around the title Intelligens. Natural. Artificial. Collective., which will have numerous national pavilions and collateral events throughout the beautiful city of Venice.

Beyond the main exhibitions, our experience of the pre-opening shows further enriched the discourse. "Liminal," with its exploration of thresholds and in-betweenness, provided a perfect prelude to the main event, while, once again, Pierre Huyghe’s work demonstrated his unparalleled ability to mix art, biology, and philosophy in an exhibition both deeply spiritual and grounded — a show that moved me with its dystopian melancholy, like a desperate end to the world as we know it.

The Milanese MATTA Gallery offered a thought-provoking glimpse into surrealism’s contemporary resonance, and "NERO" with its late-night events provided a welcome space for the intersection of nightlife and art. The "Baronato 4 Bellezze" exhibit was a standout for its juxtaposition of beauty and critique, making us reconsider the standards by which we measure aesthetic value. Lastly, Christoph Büchel's "Monte di Pietà" continued his tradition of confronting complex issues, this time exploring the relationship between money, power, and cultural heritage in an extraordinary, majestic, and unforgettable exhibition we documented in a dedicated article. The diversity of experiences and the breadth of thought-provoking works we encountered during these early days of the Biennale prove that the art world continues to be an ever-evolving space, ripe for new ideas and powerful narratives.