Venice Biennale Jury Resigns
The exhibition’s international jury quits, Banksy strikes again, and a conversation with artist-activist Tania Bruguera.
Happy May Day! Today in the news: drama in Venice. The jury for the 61st Venice Biennale, which awards the top prizes, resigns en masse. Why? They didn't say, but the decision is likely related to their recent announcement that no awards will go to countries accused of committing crimes against humanity (i.e., Russia and Israel).
Meanwhile, Banksy strikes again. This time, it's a full-blown anti-imperialist statue in the heart of London. And here in New York, a new public artwork honors the city's first Arabic-speaking community.
There's more, including Senior Editor Valentina Di Liscia in conversation with Cuban artist and activist Tania Bruguera ahead of the restaging of her iconic free-speech performance, "Tatlin's Whisper #6," in Times Square later today.
—Hakim Bishara, editor-in-chief

Tania Bruguera on Why Today’s Art Must Be Political
Ahead of her performance “Tatlin’s Whisper #6” in Times Square, the artist and activist talks to Hyperallergic about free speech in times of rising authoritarianism. | Valentina Di Liscia
News

- Banksy is back. See the artist's new anti-imperialist monument in central London.
- The Venice Biennale jury announces its collective resignation a week after its statement of intent to omit Russia and Israel from consideration.
- New York City unveils its very first commemorative public artwork in recognition of Manhattan’s first Arabic-speaking enclave, “Little Syria.”
- German artist Georg Baselitz, known for his emotionally charged paintings and distorted views about women artists, dies at 88.
Art Fairs

An Art Fair for the “Global Majority” Debuts in Brooklyn
Conductor Art fair at Powerhouse Arts seeks to represent the underrepresented, with some notable overlap with next week’s Venice Biennale. | Rhea Nayyar
Community

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From the Archive

The Cuban Artists Who Turned Havana’s May Day Parade Into a Protest
Luis Manuel Otero Alcántara and Raychel Carrión used state-orchestrated political theater as a backdrop for their critiques of institutional power and mindless consent. | Coco Fusco

